PROGRAM VOL. 26, ISSUE 6
State Theatre • 732-246-SHOW (7469) • StateTheatreNJ.org
5-Time NJ Monthly Readers’ Poll named STAGE LEFT
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LADYSMITH BLACK MAMBAZO
FEBRUARY 2014 2 3 6 7 8
Sun Mon Thu Fri Sat
2pm 10am 8pm 8pm 3pm & 8pm 3pm
8pm 10am & 12pm 10am & 12pm 8pm 10am & 12pm 8pm
23 24 28
Sun 5pm Mon 10:30am Fri 10:30am 8pm
Vienna Concert-Verein Orchestra ! Performance for Schools: Carmen in HD Shen Wei Dance Arts ! Memphis ! Memphis ! Music of the Beatles: Classical Mystery Tour with the NJSO An Evening with Peter Nero performing “Music of the Heart” Haifa Symphony Orchestra of Israel ! STATE THEATRE FAMILY DAY Hub City Spectacular by Big Apple Circus Visit FamilyDayNJ.org for a complete listing of events Alton Brown Live Performance for Schools: We’re Going on a Bear Hunt
MUSIC OF THE BEATLES
Performance for Schools: We’re Going on a Bear Hunt Foreigner Performance for Schools: We’re Going on a Bear Hunt Glen Burtnik & Friends British Invasion 3 Ladysmith Black Mambazo Performance for Schools: Ladysmith Black Mambazo Performance for Schools: Eileen Ivers Eileen Ivers
See HD BROADCASTS, MOVIES, and CONCERTS IN HD larger-than-life on our 46-foot screen. Visit StateTheatreNJ.org/HubCity for an up-to-date listing of events.
Buy Online: StateTheatreNJ.org Ticket Hotline: 732-246-SHOW (7469) Group Discount Hotline: 732-247-7200, ext. 517 Ticket Office: 15 Livingston Ave New Brunswick, NJ 08901
Pre-Performance Insights—an illuminating and thought-provoking exploration of the show, Free of charge.
L This event is not a State Theatre presentation. State Theatre ticketing policies may not apply. N Tickets for this event are available only through the New Jersey Symphony Orchestra: 1-800-255-3476.
Welcome TO THE STATE THEATRE Our beautiful, historic theater offers the finest amenities to make your experience a memorable one. The staff is anxious to serve your needs and is dedicated to helping you enjoy your time with us. To learn more about the State Theatre, visit us online at www.StateTheatreNJ.org.
THEATER AMENITIES Accessibility Services
Concessions and Gift Shop
• The orchestra level is wheelchair accessible. You can make arrangements for accessible seating through the Ticket Office when purchasing tickets. There is no elevator at the State Theatre.
• Food and beverages are available in the lobby. A variety of hot and cold beverages (both alcoholic and non-alcoholic), sweets, and other snack items can be purchased.
• The theater is equipped with an assistive listening system that improves sound clarity and amplification. The lightweight, wireless headsets may be borrowed free of charge at coat check. Guests are required to leave a photo ID as collateral when borrowing a listening device.
• Come early and browse. Our gift shop is in the lower-lobby and offers a wide array of gifts, jewelry, posters, and theatricallythemed items suitable for both adults and children.
• We are happy to offer coat check services for a nominal charge. • Large print programs are available free of charge for most performances. Please see an usher to obtain a copy. • Deaf and hearing-impaired patrons may contact us through the NJ Relay Service at (TTY) 800-852-7899. • Restrooms are available on both seating levels. • Booster Seats are available at the coat check for a nominal fee, with an ID. Lost & Found • If you discover that you have lost something during the performance, please contact the Theater Manager in the lobby or call the theater at 732-247-7200, ext. 521. Questions?
• An ATM is located in the lower-lobby. • Credit cards are accepted. Theatre Policies • Guests should arrive 30 minutes prior to showtime to ensure ample time to collect tickets, use the restroom, and be seated. • Guests who arrive after a performance has begun will be held in the lower lobby and will be seated at the discretion of the Theater Manager during an appropriate break in the performance. Please note this may not be until intermission, so guests should always plan to arrive early. Guests who must leave the theater during a performance are encouraged to do so during a break in the performance, and are subject to being held in the lobby until an appropriate break in the performance as deemed per management. • Food and drink are allowed in the theater chamber for select performances, check with your bartender/usher before entering the theater.
• Call 732-246-SHOW (7469) • Email info@StateTheatreNJ.org Photo on Cover: Big Apple Circus
A Message from the PRESIDENT AND CEO Dear Friends, Welcome to our 8th annual Hub City Carnivale, a winter festival for all ages. This February thousands of families— including yours—will enjoy a wide range of events. Here are some of the great things that we have in store for you: • Three performances of the Tony® Award-winning Broadway musical Memphis (2/7-2/8) • Music of the Beatles: Classical Mystery Tour with the New Jersey Symphony Orchestra (2/9) • The State Theatre debut of Haifa Symphony Orchestra of Israel (2/16) • British Invasion 3 with Glen Burtnik & Friends (2/22) • And the Grammy® Award-winning, South African vocal group Ladysmith Black Mambazo (2/23) Continuing a Hub City Carnivale tradition, Presidents Day (2/17) is Family Day at the State Theatre. Families can spend the school holiday enjoying dozens of performances, workshops, and hands-on activities—many of them free— plus costumed characters, Turtleback Zoo: Amazing Animal Adaptations, face painting, balloon animals, a live DJ, food, and more. The day, which runs from 10am to 4pm, encompasses multiple venues: the State Theatre, George Street Playhouse, Crossroads Theatre, United Methodist Church, and the popular Hub City Big Top, an enormous tent set up in front of the State Theatre. The mainstage event for Family Day is Hub City Spectacular performed by the Big Apple Circus.
BIG APPLE CIRCUS
Of course, none of this would be possible without the help of our festival sponsors including Miller’s Rentals and Colgate Palmolive. Thank you to these sponsors for helping us to continue our mission of encouraging and enabling members of the community to have a life-long association with the performing arts. Warm best wishes, LADYSMITH BLACK MAMBAZO
Mark W. Jones President & CEO
State Theatre offers sincere thanks to
for their generous support of the State Theatre and Vienna Concert-Verein Orchestra.
Sun, February 2, 2014 at 2pm
Vienna Concert Verein Orchestra Philippe Entremont, Conductor & Piano Soloist Sebastian Knauer, Piano Soloist
F. Schubert Allegro Andante con moto Menuetto, Allegro molto Allegro vivace W. A. Mozart Allegro Andante Rondo
Symphony No. 5 in B-flat Major, D 485
Concerto for Two Pianos in E-flat Major, KV. 365
—Intermission— F. Lehár J. Strauss Jr. J. Strauss Jr. J. Strauss Jr. J. Strauss Jr.
Piave Marsch Voices of Spring, Waltz, Op. 410 Leichtes Blut, Polka schnell, Op. 319 Annen-Polka, Op. 117 Wiener Blut, Op. 354
Tour Direction: COLUMBIA ARTISTS MANAGEMENT LLC Tim Fox/Alison Ahart Williams 5 Columbus Circle at 1790 Broadway, New York, NY 10019 www.cami.com
This program is made possible in part through a grant by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
Vienna Concert-Verein Orchestra
Notes on the Program Symphony No. 5 in B-flat major, D. 485 Franz Schubert Born in Vienna, January 31, 1797 Died in Vienna, November 19, 1828 Franz Schubert was possibly the most prolific composer ever to have lived. By the age of 18, he had produced more music than most composers today produce in a lifetime. In the year of 1815 alone the composer created two symphonies, two masses, four dramatic works, a sonata and other smaller piano pieces, a good amount of church music and other choral works, and no fewer than 145 songs. Even composers such as Bach, Handel, and Haydn never produced music at this rate. Indeed, having died at age 31, Schubert’s creative period was relatively short, lasting only 18 years; during this time, however, he produced well over 1,000 works. During the year 1816, Schubert was as equally prolific as he had been the previous year, having written close to 200 works, including 129 songs, as well as the Fourth and Fifth Symphonies. The Symphony No. 5 in B-flat was written between the months of September and October. It is speculated that the first performance of this work took place at the private residence of the conductor Otto Hatwig, when it was played by one of several amateur chamber orchestras with which the composer was associated. Like the vast majority of Schubert’s major works, Viennese audiences never heard the Second Symphony during Schubert’s lifetime. In fact, the first public performance of this piece occurred on October 17, 1841 at the Josefstadt Theater in Vienna; the second performance occurred in 1873, in London’s Crystal Palace, almost half a century after the composer’s death. The symphony then remained unperformed until it was finally published in 1885 as part of Schubert’s Collected Works. Schubert’s Fifth Symphony follows the models established by Haydn and Mozart and “early” Beethoven, yet bears a distinct Schubertian character as evidenced in other musical products from his youth. For the first time in
his symphonic writing, Schubert’s Fifth Symphony eschews a slow introduction to the proceedings. The Symphony’s initial movement, marked Allegro, begins with four short measures that immediately usher in the carefree main theme, heard in the first violins, with the flutes and second violins joining in the statement of the theme fifteen measures later. After a transitional passage in which the main theme is slightly developed, the violins present the second theme, in the dominant key of F major. After the development and recapitulation of these two themes, a short coda concludes the movement. The Andante con moto is built upon one of Schubert’s favorite structure, an A-B-A-B-A song form. The serene main theme is introduced by the strings with woodwinds soon joining in. With a dramatic change of key to Cflat major, we arrive at the subsidiary (B) section where the first violins and the woodwinds interplay in a beautiful duet. The flute and oboe then return to the main melody, this time with complimentary embellishments. The “B” section makes its second appearance, now in the key of G-flat. A coda based on the main theme brings the movement to its conclusion. The third movement takes the form of a Menuetto, marked Allegro molto; it is fraught with good-humored Viennese charm. The entire orchestra bursts in with the main theme, which is heard twice in a row. For the subsidiary section, the theme is heard in an abridged version as it passes in imitation from the violins to the cellos, to the flutes and on to the oboes. The Trio episode in G major consists of a quiet, pastoral Ländler melody; its opening gesture is derived from the inversion of the main theme. Following the traditional threepart design, the movement concludes with a literal repetition of the minuet section. Like the first movement, the last is written in sonata allegro form; it bears the tempo marking of Allegro vivace. The first theme, with its propulsive run of eights notes played alternately legato and staccato, is presented by the first violins, which are joined shortly by the flutes. After a transitional passage for the full orchestra, the violins introduce the flowing
Sun, February 2, 2014 at 2pm
subsidiary theme. The development section is concerned primarily with the opening motif of the movement, sparking off the harmonic and modulatory travails that are so characteristic of Schubert’s music. Following the recapitulation of the two themes in the home key of B-flat, a coda based on the material that closed the exposition brings the Symphony to its joyful conclusion.
solemn introduction in unison, the work takes flight when the two pianos enter on a long trill and a variant of the opening motif of the concerto. From there, the pianists - of seemingly inseparably equal rank - both challenge and magically complement each other through harmonic modulations, and even occasional dark passages, perhaps arising from Mozart’s reflection upon his lack of success in Paris.
Some critics may find Schubert’s treatment of symphonic form to be unsophisticated or immature; it cannot be disputed, however, that he endowed his symphonies with magic, romance and a sweet sense of naturalness that few other composers have ever achieved.
Although the slow movements of Mozart’s E-flat concertos tend to be in C minor, the key here is B-flat; it is set against a marvelous wind coloration and represents some of the composers most florid and poetic moods. In the rondo finale Mozart used the air of a comic song, “Die Katze lässt das Mausen nicht,” which he had already used in the Wind Divertimento, K. 252 in 1776. It is a sprightly yet restrained movement with a return to C minor in the middle section. With the unanimous appraisal of a number of Mozart scholars, one can claim to hear the pre-echoes of Mozart’s own opera The Magic Flute.
Concerto in E-flat major for Two Pianos and Orchestra, K. 365 Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756 Died in Vienna, December 5, 1791 Mozart composed his Concerto in E-flat major for Two Pianos and Orchestra, K. 365 in 1779 in Salzburg following a very unfortunate and unsuccessful trip to Paris. It was most likely written for him and his sister, Nannerl, but he was apparently so fond of it that he performed it in Vienna with Josepha Auernhammer, his pupil and a noted pianist of the time, on November 23, 1781. For this performance Mozart augmented the instrumentation to include clarinets, trumpets, and timpani, in addition to the basic orchestra of strings, oboes, bassoons, and horns. The Concerto is a happy, high-spirited piece, inspired by the joy of four hands playing in concert. Opening with a dignified and
F. Lehár Piave Marsch The Piave Marsch from Lehár’s First Operetta The year 1899 saw the deaths of both Johann Strauss II and Carl Millöcker, marking the end of the Golden Age of operetta. That same year, a young Hungarian violinst and composer named Franz Lehár graduated from the Prague Conservatory and became assistant bandmaster in his father’s military band. In 1902, he was appointed conductor at Vienna’s celebrated Theater an der Wien, where his first
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Vienna Concert-Verein Orchestra
operetta, Wiener Frauen (Viennese Ladies), was performed that year. In 1905 came The Merry Widow, by far his greatest success, followed by some two dozen other works. Lehár became the acknowledged king of what came to be called operetta’s Silver Age. Though known first and foremost for his works for the stage, Lehár also wrote sonatas, symphonic poems, marches, and waltzes. With the Piave Marsch, also known as the 106er Regimentsmarsch, Lehár paid tribute to his brother Anton, a much-decorated officer in the Austrian Army. During World War I, Anton commanded the Infantry Regiment 106 that fought on the Italian front in the battles on the Piave River. In Vienna in 1933, Anton founded a small music publishing company, which he later turned over to his celebrated composer brother. Franz now controlled performance rights to his works; as a result, Lehár and his estate made more money from operetta than probably any other operetta composer. Johann Strauss II Voices of Spring, Waltz, Op. 410 Johann Strauss II, the Viennese “Waltz King,” will forever remain famous as long as music is played. The composer’s Frühlingsstimmen (Voices of Spring) is one out of a handful of the most famous waltzes ever created by Strauss. Composed in 1882, it has been captivating audiences ever since. The waltz was written to include a soprano solo—most likely for Bianca Bianchi, a talented and well-known coloratura soprano during the time of Strauss. The lyrics were written by Richard Genée (1823–1895). However, its Viennese debut was ill received. It wasn’t until the waltz was performed in Russia that it gained its much-deserved attention. Soon thereafter, Strauss transcribed the Voices of Spring waltz for piano. His newly-revised work garnered him critical acclaim, its fame reaching far beyond Vienna. While there are no pauses or movements in the Voices of Spring waltz, the piece can be divided into three parts of two waltz pairs based on the musical ideas presented in the work.
The first waltz pair, and most familiar of the three, begins the waltz. Its declarative opening phrase gives way to its famous, sweeping melody. As it progresses, Strauss introduces its energetic pair, before repeating the opening theme. The second portion of the waltz has an almost pastoral sound. Its gentle melodies and harmonies are a delightful contrast to the previous waltz pair. While the third remains the most varied and least restrictive, it seems to fit perfectly within the waltz. Finally, Strauss reintroduces the opening theme to finish the piece. Leichtes Blut, Polka schnell, Op. 319 Strauss did not write this piece for an ensemble of a specific ensemble or orchestration. After composing a waltz or polka at the piano, he would start making arrangements: first for his orchestra and then for the other combinations that his publishers demanded. In the beginning, Strauss’ ensemble was small: perhaps two violins, a viola, and a cello or bass and perhaps a piano. They played in cafés and restaurants and at small parties. Later, when fame came, he created an orchestra. At first 10 to 12 players, then 16-20, and on special occasions perhaps 25 to 30. The music of the Strausses and the other Viennese waltz masters was first and foremost intimate chamber music. This is the time-honored way in which most Viennese, then and now, have listened to their beloved waltzes, polkas, and galops. Strauss certainly never envisioned his works being performed by the modern-day 100-member symphony orchestra. It is in this spirit that we present our arrangement for piano trio. The Leichtes Blut polka dates from March of 1867 and was premiered at the Strauss brothers’ annual Revue Concert, where all of the new dances written for the annual Vienna Carnival were presented. It is a polka schnell, that is, a quick polka. The trio is almost as fast as the polka itself. Leichtes Blut—literally ‘light blood’ in German—is perhaps best translated into English as ‘high spirits.’ For sure, this polka is lively, captivating, and full of youthful energy. Annen-Polka, Op. 117 The Annen-Polka was composed in 1852,
Sun, February 2, 2014 at 2pm
while Strauss was still making his way and generally performing with only a small group of players. It was first performed on July 26, 1852, at the public celebration of the Festival of St. Anne—hence the name of the piece— in Vienna’s huge municipal park, the Prater, which then contained (and still does today) restaurants, bandstands, a race track, and other amenities. It was on one of these bandstands that Strauss’ group performed it. (Interestingly, Strauss Sr. had also written a polka for the same festival some 10 years earlier. Both works are well-known. The Annen-Polka is what the Viennese called a ‘polka Français’—a much more refined dance than the raucous German polka. It is a relatively short work (about four-and-ahalf minutes; our version offers about onequarter of it). We offer it in three different arrangements: for string quartet, for piano trio, and for piano quintet or sextet (two violins, viola, cello and piano, also optional bass part).
Wiener Blut, Op. 354 Wiener Blut (Viennese Blood or Viennese Spirit), Op. 354, is a Strauss waltz first performed by the composer on April 22, 1873. The new waltz was to celebrate the wedding of the Emperor Franz Josef’s daughter Archduchess Gisela Louise Maria and Prince Leopold of Bavaria. It also marked Strauss’ début with the world-renowned Vienna Philharmonic Orchestra; for many years the orchestra had spurned the ‘Waltz King,’ whose ‘light’ or ‘pops’ music they deemed beneath them. The festival ball celebrating the event was held at the Musikverein Hall, which is the venue for the renowned present-day Neujahrskonzert (New Year’s concert). The waltz begins with a high-spirited melody in C major, with references to later waltz sections briefly played. It is the gentle first waltz melody that is instantly recognizable, with lyrical grace and an enthusiasm not apparent in his earlier light-hearted creations. Waltz 2A is rather more subdued although waltz 2B uplifts the mood to the one listeners
Vienna Concert-Verein Orchestra
would be familiar with from the beginning of the piece. As a composition befitting the wedding of the royalty, the waltz has its moments of grandeur (Section 3) where a triumphant melody in the home key of C major gives way to a rousing Viennese tune in F major. The waltz has only four two-part sections, as opposed to the earlier pattern of five two-part sections propounded by Josef Lanner and Strauss’ father Johann Strauss I. The fourth section begins quietly in F major, with a climax with cymbals to come. The coda recalls earlier sections (2 and 3) in a different key of E major before the first waltz theme comes in again. The finale is exciting, with a stirring timpani drumroll and a strong brass flourish. Wiener Blut is one of few last Strauss compositions to be independent from his stage works, as at that point in his career he was concentrating on writing for the stage and not actively writing music for the ballroom. Strauss wrote at least two operettas before penning this waltz, with the famous Die Fledermaus still to come.
About the Artists PHILIPPE ENTREMONT, conductor The exceptional career of Philippe Entremont began at the age of 18 when he came to international attention with his great success at New York’s Carnegie Hall playing Jolivet’s piano concerto and Liszt’s Piano Concerto No. 1. Since then, he has pursued a top international career as a pianist, and for the last 30 years, on the podium as well. Philippe Entremont in the 2013-2014 season will guest conduct European and American orchestras as well as perform numerous piano and chamber music concerts. He will also tour the Vienna Concert-Verein in the U.S. with soloist, Sebastian Knauer. The 2012-13, 2011-12, and 2010-11 seasons took Philippe Entremont all over the world, with many orchestral tours including the Munich Symphony Orchestra, the Israel Festival Orchestra, the Deutsche Staatsphilharmonie, and the Shenzhen Symphony Orchestra. Moreover, in the 2010-2011 season, Philippe Entremont became Principal Con-
ductor of the Boca Raton Philharmonic and Lifetime Laureate Conductor of the Munich Symphony Orchestra. Entremont was Music Director of the New Orleans Philharmonic Orchestra between 1981 and 1986, after which he became Music Director of the Denver Symphony. He was also Chief Conductor of the Netherlands Chamber Orchestra until 2002. After having served as Music Director and Chief Conductor of the Vienna Chamber Orchestra for almost thirty years, he is now Conductor Laureate for Life. He was also Music Director of the Israel Chamber Orchestra and is now their Conductor Laureate. Philippe Entremont has directed the greatest symphony orchestras of Europe, Asia and America: Philadelphia, San Francisco, Detroit, Minnesota, Seattle, St. Louis, Houston, Dallas, Pittsburgh, Atlanta, Montreal, The Academy of Saint Martin in the Fields, The Royal Philharmonic Orchestra, the Orquestra Nacional de España, the Academy of Santa Cecilia of Rome, l’Orchestre National de France, the orchestras of Göteberg, Stockholm, Oslo and Warsaw, the NHK of Tokyo, the KBS Orchestra of Seoul, the Vienna Symphony and the Philharmonic Orchestra of Bergen, to name a few. He has worked with the world’s greatest soloists, both instrumental and vocal. He is proud to have a special relationship with the Wiener ConcertVerein Orchestra. One of the most recorded artists of all time, Philippe Entremont has appeared on many labels, including CBS Sony, Teldec and Harmonia Mundi, and he has garnered all of the leading prizes and awards in the industry. His 2008 releases include Mozart’s Concertone; Concerto for Violin and Piano with the Wiener Kammerorchester; Strauss’ lieder with Sophie Koch (mezzo-soprano); and Rachmaninoff’s Symphony No. 2 with the Orquesta del Festival Musical de Santa Domingo. Great Cross of the Austrian Republic Order of Merit, Officer of the French Legion of Honor, Commander of the Order of Merit, Commander of the Order of Arts et Lettres, Philippe Entremont has also been awarded the
Sun, February 2, 2014 at 2pm
Arts and Sciences Cross of Honor of Austria. He is President of the International Certificate for Piano Artists, President of the Bel’Arte Foundation of Brussels and is Director of the famed American Conservatory of Fountainebleau, a post formerly held by the legendary Nadia Boulanger. In connection with his anniversary, Sony plans to release a special boxed set of all Entremont’s concertos as orchestral recordings. SEBASTIAN KNAUER, piano Pianist Sebastian Knauer was born in Hamburg in 1971 where he made his performance debut at age 14. He now looks back on a career lasting more than 25 years. His intense musicality, characterized by his unique style of playing, has led to innumerable successes, establishing his name throughout the international world of music. He has given performances in more than 50 countries on four continents, each time appearing on the world’s most reputable stages. For many years he has collaborated with his close friend, conductor Sir Roger Norrington, and in 2006 Warner Classics published his allMozart CD with the Camerata Salzburg under Sir Roger s baton. The German periodical Die Zeit claimed this as one of the best Mozart recordings of all time. Five years later, he recorded for Berlin Classics “Bach & Sons”— this time with the Chamber Orchestra of Zurich, again conducted by Sir Roger Norrington. This recording too won international acclaim. Amongst the reviews was the German magazine Stern with “brilliant”, The Neue Zürcher Zeitung with “fantastic” and Die Presse Vienna with “excellent”. This past October saw a third recording collaboration with Knauer (this time as both soloist and producer) and Norrington with piano concertos by Mozart and Beethoven under the title “Vienna 1789.” Fono Forum, RBB Berlin and BR Klassic praised the album with critical acclaim from “huge hit” and “pure enjoyment” to “incredibly tasteful touch.” In the course of 14 years Knauer created 28 program entitled “Wort trifft Musik.” Each time, one composer is brought centre-stage
and various readings relevant to his life are given alongside the music, performed by Knauer himself. For these evenings, Knauer engaged famous German-speaking actors such as Hannelore Elsner, Martina Gedeck, Iris Berben, Gudrun Landgrebe, and Barbara Auer. For special projects he appears together with the Golden Globe® winner Klaus Maria Brandauer. Some of these program have been recorded by Deutsche Grammophon, such as “Bettina v. Arnim und Ludwig v.Beethoven in einem Weltmeer von Harmonie.” There is no stopping Sebastian Knauer when it comes to his enthusiasm for organizing events. In 2012, he established his very own Festival mozart@augsburg of which he is Artistic Director. During the first half of September he offers concerts in Mozart s city of Augsburg, presenting artists like András Schiff, Menahem Pressler, Philippe Entremont, Sir Roger Norrington, Daniel Hope, Jan Vogler, the Emerson String Quartet, Lars Vogt, Christian Tetzlaff, the Artemis Quartet, Hannelore Elsner, Klaus Maria Brandauer, Alfred Brendel, Rudolf Buchbinder, the Zurich Kammerorchester and the Concertverein Vienna. Sebastian Knauer has retained his home in his birthplace Hamburg, where he has traced his roots back to the 18th century. By now, however, he has become a true World Citizen. Please visit these websites for more information: www.sebastianknauer.com and www.mozartaugsburg.com WIENER CONCERT-VEREIN ORCHESTRA The Wiener Concert-Verein, WCV, (Vienna Concert-Verein-Orchestra: VCVO) is an orchestra of international stature, which bears the original name of the Vienna Symphony Orchestra. Members of the Vienna Symphony Orchestra founded the WCV in 1987. Its repertoire ranges from orchestral works of the Viennese classical composers to contemporary music. Since its inception the WCV has given successful world premiere performances of over 18 works by contemporary Austrian composers. The WCV made its successful debut in
Vienna Concert-Verein Orchestra
1987. Since then the orchestra has toured in Asia and Canada and is a welcome guest at music festivals and concert halls in Europe such as the Wiener Festwochen, the Bregenz Festival, the Menuhin Festival Gstaad, the Dubrovnik Festival, the Mozart Festival Würzburg, the Oldenburger Promenade Concerts, the Mozart Festival Augsburg, the Prague Autumn, the Ljubljana Festival, the Vienna Klangbogen, the Haydn Festival Eisenstadt, International Santorin Music Festival, the Festival of European weeks Passau, the Concertgebouw Amsterdam, the Lisinski hall and the Berlin Philharmonic.The orchestra’s collaboration with contemporary composers is unique in Austria. It has been presenting the works of contemporary Austrian composers in a high profile concert series in the Vienna Musikverein, which has been running since 1993. In the past years the WCV has worked with internationally acclaimed conductors and soloists such as Christian Arming, Philippe Entremont, Vladimir Fedosejev, Claus Peter Flor,
CONCERTMASTER Franz Fischer VIOLIN I Helga Poecherstorfer Jan Vidimsky Alois Wilflinger Josef Herzer Josef Fuchsluger VIOLIN II Thorwald Almassy Johannes Krasanovsky Jan Timcak Monika Buineviciute Annette Mittendoerfer
VIOLA Werner Frank Franz Moschner Daniel Moser Eva Schanznig CELLO Martin Foerst Wilhelm Pflegerl Georg Schwarz Mira Weihs DOUBLEBASS Werner Fleischmann Yongrui Li
Leopold Hager, James Judd, Fabio Luisi, Andres Orozco-Estrada, Krzysztof Penderecki, Ildiko Raimondi, Ulf Schirmer, Martin Sieghart, Alison Balson, Giuliano Carmignola, Mischa Maisky, Julian Rachlin, and Radovan Vlatkovic. Thomas Rösner conducted the orchestra’s debut in Paris. The WCV’s CD releases are a tangible result of this duality in the orchestra’s programming, highlighting the connections between classical and contemporary music. In 2005 the WCV’s Michael Haydn recording was nominated for the Amadeus Classic Award, category “Orchestra and Large Ensemble”, competing with recordings by the Vienna and Berlin Philharmonic Orchestras. This CD features music by Michael Haydn, Leopold Mozart, Reinhard Süss and Jean Francaix. The WCV is subsidised by the City of Vienna, the Office of the Federal Chancellor of Austria, the OESTIG and the AKM. In 2001, 2002, 2006 and 2011 the WCV was awarded prizes by the Ernst von Siemens Music Foundation. FLUTE Florian Aichinger Enikoe Balogh
HORN Markus Obmann Daniele Obmann
OBOE Anna Oslansky Alexandra Lechner
TROMPET Stefan Fleissner Thomas Fleissner
CLARINET Marlies Wieser Tomaz Mocilnik
TIMPANI, PERCUSSION Simon Flatz
BASSOON Vincenzo Felicioni Sophie Breit
Thu, February 6, 2014 at 8pm
Shen Wei, Artistic Director Geoff Cohen, Executive Director
Rite of Spring Concept, Choreography, Costumes, Set and Make-up Design: Shen Wei Score: Le Sacre du Printemps by Igor Stravinsky Musical Recording: Four-Hand Piano Version performed by Fazil Say Original Lighting Design: David Ferri Dancers: Evan Copeland, Catherine Coury, Jordan Isadore, Kathleen Jewett, Cynthia Koppe Janice Lancaster Larsen, Russell Stuart Lilie, Chelsea Retzloff, Jennifer Rose Austin Selden, Alex Speedie, Kenna Tuski, Ricardo Zayas Rite of Spring was commissioned by the American Dance Festival and premiered there in 2003.
Collective Measures Concept, Choreography, Video, and Animation Design: Shen Wei Composer: Daniel Burke Video and Animation Technicians: Josh Horowitz, Layne Braunstein Lighting Design: Shen Wei and Matthew F. Lewandowski II Costume Design: Shen Wei and Austin Scarlett Associate Video and Animation Technician: Blair Neal Music “Crossing Now” by Illusion of Safety “Traveler Pierced By Arrows” by Asher “Feller by Feller” by Jerry Feller Original Score by Daniel Burke Dancers: Kathleen Jewett Evan Copeland, Catherine Coury, Jordan Isadore, Cynthia Koppe Janice Lancaster Larsen, Russell Stuart Lilie, Chelsea Retzloff, Jennifer Rose Austin Selden, Alex Speedie, Kenna Tuski, Ricardo Zayas Collective Measures was commissioned by the American Dance Festival with support from the SHS Foundation.
The presentation of Shen Wei Dance Arts was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.
This program is made possible in part through a grant by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
Shen Wei Dance Arts
Notes on Rite of Spring “Listening to the score, I identified several body systems and created a movement vocabulary that matched the quality found in the music as I heard it. The piece in its final form is a set structure within which there is a balance between movement exactitude and movement intuition. As in un-staged life, alongside that which is definite, there will always exist the coincidental, the uncontrollable, the chance happening.”—Shen Wei
About Collective Measures Collective Measures is Shen Wei’s striking exploration of isolation amidst physical proximity. The dance probes our individual navigations in and out of sync with a crowded world. In this work, Shen Wei makes use of simultaneous layering and mirroring of dancer and projected image, evoking questions of the concrete and the ephemeral, the transitory, and the permanent.
About the Company One of the premier international dance companies, Shen Wei Dance Arts has won worldwide acclaim for its interdisciplinary cross-cultural performances, which have been described as “breathtaking, powerful, and riveting” (The Boston Globe). The work Shen Wei makes for his company draws on influences as varied as traditional Chinese culture and arts; European Surrealism; American high modernism; and the ritual power of ancient drama. Celebrated for its “gorgeous visual imagery” (The London Times), the company’s dances reflect the compositional rigor of Shen Wei the visual artist—incorporating vivid colors, striking design, and imaginative use of space into theatrical, kinetic paintings. Since its founding in 2000, Shen Wei Dance Arts has performed in 138 cities, in 28 countries, on five continents and has appeared at prestigious festivals and venues worldwide including: the Jacob’s Pillow Dance Festival, the Spoleto Festival, annual performances at the American Dance Festival, the Los Angeles Music Center, Venice Biennale, Sadler’s Wells,
the Barbican Centre, Het Muziektheater, the Edinburgh International Festival, the Berliner Festpiele, and the Sydney Festival. In the United States, Shen Wei Dance Arts has performed in 25 of the 50 states, gave the first dance performances on the concert stage at Frank Gehry’s Disney Hall in Los Angeles and recently completed a unique five-year performance residency at the Kennedy Center in Washington, D.C. The company performs annually in New York City, where it has been presented by the Lincoln Center Festival (five times), the Metropolitan Museum of Art, the Park Avenue Armory, Works & Process at the Guggenheim, Asia Society, and Fall for Dance at City Center. Recent company highlights include performances at the Festival de Danse in Cannes, France; the Ludwigshafen Festival in Germany; Festival Internacional de Artes Escénicas of Lima in Peru; week-long engagements at San Francisco’s Yerba Buena Center for the Arts and Washington, D.C.’s Kennedy Center for the Performing Arts. Upcoming performances include the Dallas Opera House in Texas; Festival Iberoamericano de Teatro in Bogotá, Columbia; the Stanislavsky Theatre in Moscow, Russia; the Mariinsky II in St. Petersburg, Russia; and the Shanghai International Arts Festival in China.
About the Artists SHEN WEI Choreographer, director, dancer, painter, and designer, Shen Wei is internationally renowned for his boldly visual movementbased spectacles. He is perhaps best known as the lead choreographer for the Opening Ceremonies of the 2008 Beijing Olympics, which won acclaim worldwide. The Washington Times has called Shen Wei “one of the great artists of our time” and The New York Times proclaimed, “If there is something to write home about in the dance world, it is the startlingly imaginative work of the Chinese-born choreographer Shen Wei.” Admiration for his talent has earned Shen Wei numerous awards, including a MacArthur “Genius” Fellowship (2007), the U.S. Artists
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Fellow award and a John Simon Guggenheim Fellowship. Other accolades include: Australia’s Helpmann Award; the Nijinsky Emerging Choreographer Award; the World Economic Forum’s Young Global Leader Honor; the Algur H. Meadows Prize; and a 2012 New York City Center Choreography Fellowship. The impact of Shen Wei Dance Arts’ premiere performances on the Chinese mainland in Beijing led to a host of awards for Shen Wei: the Audi-China 2012 Artist of the Year Award; the Artist of the Year at the GQChina magazine’s 2013 Man of the Year Awards; and most recently, the Innovator Award from the Wall Street Journal–China 2013. Born in China’s Hunan province in 1968, the son of Chinese Opera professionals, he was trained from youth in the rigorous practice of Chinese opera performance, traditional Chinese ink painting and calligraphy and was a performer with the Hunan State Xian Opera Company from 1984 to 1989. During his student years, he studied Western visual art, which propelled an interest in modern dance. In 1991, at the age of 23, he became a founding member of the Guangdong Modern Dance Company, the first such company in China. In 1995, upon receipt of a fellowship, he moved to NYC to study with the Nikolais/Louis Dance Lab and was invited to present his work at the American Dance Festival. In July 2000, he founded Shen Wei Dance Arts (SWDA) and his company quickly entered the international touring circuit. Since forming his company, he has received numerous commissions to support his creative works for Shen Wei Dance Arts including multiple commissions from the American Dance Festival, Het Muziektheater, Amsterdam, the Lincoln Center Festival and the Kennedy Center for the Performing Arts, as well as from The Metropolitan Museum of Art, the Park Avenue Armory, Hong Kong’s New Vision Arts Festival, and the Edinburgh International Festival. Shen Wei also created dances for Les Grands Ballets Canadiens de Montréal and Les
Ballets de Monte‐Carlo and choreographed the Rome Opera’s production of Rossini’s Moise et Pharaon, conducted by Ricardo Muti. Last spring, Shen Wei was commissioned to create a new work for the Dutch National Ballet in Amsterdam, and he choreographed, directed and designed a new production of Carmina Burana for the chorus, orchestra and ballet of Teatro di San Carlo in Naples, Italy. The production, which included SWDAs’ dancers, premiered in July 2013 and toured to the Mariinsky Theater in St. Petersburg, Russia in September of 2013.
Artistic Collaborators/ Creators LAYNE BRAUNSTEIN (Video and Animation Technician) is a Co-Founder of Fake Love. He created video designs for Shen Wei’s Limited States at the ADF in 2011. Braunstein has received two Promax|BDA awards for broadcast design, has been featured in Promax Best of 2008, and received a Boston Ad Club’s Rosoff Award. He was also nominated for Best
Shen Wei Dance Arts
of Show at SXSW Interactive, holds an AIGA SEED Award for Best Flash Site, and his work is seen frequently in national and international design magazines and sites. Braunstein was featured/interviewed on Voice America’s Design Matters with Debbie Millman – Bad Boys of Design Episode. DAVID FERRI (Lighting Designer) has worked with prominent choreographers such as Pina Bausch, Doug Varone, Jane Comfort, Eiko and Koma, David Rousseve, and Ballet Preljocaj. He has been the production manager for the prestigious American Dance Festival since 1996 training upcoming designers in America. Recipient of 1987-1988 Bessie Award for his design of Doug Varone’s Straits, and 2000-2001 Bessie Award for Sustained Achievement in Lighting Design, Ferri was also resident lighting designer and technical director at PS 122 in NYC from 1985-1991. Ferri lives in New York between his travels and projects. JOSH HOROWITZ (Video and Animation Technician) is a Co-Founder and Creative Director of Fake Love, where he develops new media and experiential projects. He created video designs for Shen Wei’s Limited States at the ADF in 2011. Horowitz has been fortunate to collaborate with a variety of musical artists and created an interactive video VJ set at Lollapalooza. He has also directed indie band music videos. His first video, ‘Novel’ won Video Of the Week on MTVU. Subsequent music videos won accolades from the BBC as well as debuting in the top 10. Horowitz’s educational background is in drawing, painting, and interactive, projectionbased installations. He holds a Masters in digital animation and design from NYU. MATTHEW F. LEWANDOWSKI II (CoLighting Designer) has toured nationally and abroad with shows such as Cats, Disney on Ice, and Crazy for You. Design credits include Hot & Sweet, Tick, Tick…Boom!, Dance CT/Hartford Ballet, and lighting director for the University of Hartford. Additional credits include the Music@Menlo Chamber Music Festival, the New York Music Theatre Festi-
val, American Repertory Ballet, North Carolina Theatre, and Crossroads Theatre Company. Lewandowski is a native of Philadelphia, PA, and holds a degree in music direction/conducting from the Hartt School of Music. BLAIR NEAL (Associate Video and Animation Technician) is an artist working within multiple digital disciplines. A graduate of Rensselaer Polytechnic Institute’s Electronic Arts MFA program, Neal’s work jumps between live visual performances, coding interactive projection pieces, and traditional video making. His video works have been exhibited as part of the Onedotzero festival and Pixilerations [v.5], among others. He has performed visuals and toured with Girl Talk and Phantogram. He was also involved in Pauline Oliveros’ improvisational telepresence group Tintinnabulate for over a year. Previously, Neal and Fake Love coordinated the visuals and technology used for Shen Wei’s Limited States, which premiered at ADF in 2011. AUSTIN SCARLETT (Costume Designer) is a designer whose work spans the realms of theatre, fashion, and pop culture. From 2006 to 2009, he served as the creative director of Kenneth Pool’s luxury bridal and evening wear collection for Amsale. Scarlett is popularly known for his designs and appearances on the television programs Project Runway and On the Road with Austin and Santino. Scarlett’s love for theatrical performance has led him to costume design for David Parson’s Dance, The Aspen Santa Fe Ballet, and Greenwich Music Festival, among others.
Dancers EVAN COPELAND began his dance training at the Wevodau Dance Center. He continued his training at NYU/Tisch School of the Arts where he received his B.F.A. in dance and briefly studied abroad at the Salzburg Experimental Academy of Dance (SEAD). Copeland went on to work with Seán Curran Company, and has also worked with Kyle Abraham/Abraham.In.Motion, Wendy Blum, Stephen Koplowitz, Brook Notary, and Elke
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Rindfleisch. Copeland has danced with SWDA since 2008. CATHERINE COURY is a native of Detroit and a graduate of the University of Michigan. As a performer she has danced with Shannon Gillen + Guests. This past year, Coury relocated to Israel to study alongside Vertigo Dance Company, under Artistic Director Noa Wertheim. She is pleased to be dancing with SWDA. JORDAN ISADORE received his B.F.A. from California State University, Long Beach. He has performed works by Barak Marshall, Alex Ketley, and Guy & Roni and has danced with BodyTraffic (Los Angeles), Christopher Williams Dance, Skybetter & Associates, Gallim Dance and Jennifer Edwards. He is also one of the creators and editors of the blog, SARAdujour.blogspot.com. Isadore has danced with SWDA since 2011. KATHLEEN JEWETT joined Shen Wei Dance Arts in 2005. As a company member, teacher, rehearsal director, and teaching artist, she has conducted master classes at various venues and performed all over Europe, Asia, Australia, and the U.S. Her own works have been performed at DeSales University, the United Nations, Park Avenue Armory, Milan, the Fabbrica Europa, and Performatica festivals. Named Director of Education and Outreach for SWDA in 2008, she has created a dance-in-education program for New York City Schools. Jewett has been Rehearsal Director for SWDA since January 2009. CYNTHIA KOPPE Born in Singapore, Cynthia graduated from Cornell University with a double major in dance and sociology. She has had the pleasure of working with Yve Laris Cohen, Liz Santoro, Ellis Wood, and Bill Young, among others, and was a “re-performer” for Marina Abramovic’s 2010 MoMA retrospective The Artist is Present. She has danced with SWDA since 2009. JANICE LANCASTER LARSEN holds a M.F.A. in dance from Hollins University/ American Dance Festival (2010) and B.F.A. in dance from the University of NC School of the
Arts (2001). She has danced with Danielle Russo, Lauri Stalling’s glo ATL, Rodger Belman, Abby Chan, Satoshi Haga, and Aynsley Vandenbroucke Movement Group. Her residencies and commissions include the 2011 Omi International Dance Collective, the 2007 Bessie Schönberg Choreographic Residency on the Yard (Chilmark, MA), the Hubbard Street 2 Dance Company, and the Black Mountain College Museum + Art Center. She first danced with SWDA in 2005. RUSSELL STUART LILIE attended the Idyllwild Arts Academy. He has worked with Stephen Koplowitz, Gus Solomons Jr., Lucinda Childs, studied at the Salzburg Experimental Academy of Dance (SEAD), and has presented his own work at Dancespace Project and La MaMa. He is a recent graduate of NYU/Tisch School of the Arts. He began working with SWDA in 2011. CHELSEA RETZLOFF graduated from UC Santa Barbara with a B.F.A. in dance, a B.A. in chemistry, and received the Daniel G. Aldrich Outstanding Senior Award for the class of 2007. Retzloff had danced with Brooke Broussard Infinite Light, David Dorfman Dance, MacArthur Dance Project, and Santa Barbara Dance Theater. She began working with SWDA in 2011. JENNIFER ROSE received her B.F.A. in dance from Temple University in 2006. She also attended The Ailey School, ADF, and worked with Philadanco II. She has worked professionally with Kun- Yan Lin/ Dancers and has also had the pleasure of working with Keith Thompson’s Dancetactics, Stephanie Batten Bland, Bill Young, Erick Montes, and Manuel Vignoulle. She is pleased to dance with SWDA. AUSTIN SELDEN received his B.F.A. from the University of Michigan. He has recently performed with Artichoke Dance Company, ChavasseDance&Performance, and Megan Kendzior. He currently creates/presents dances and video works with his collaborator, Sarah Konner. He has danced with SWDA since 2011.
Shen Wei Dance Arts
ALEX SPEEDIE received his B.F.A. from North Carolina School of the Arts. He has danced for Mark Dendy and is furthering his education in the medical field. He began working with SWDA in 2011. KENNA TUSKI graduated from SUNY Purchase Conservatory of Dance with Honors in the spring of 2013. While at Purchase she performed works by Lar Lubovitch, Twyla Tharp, and Merce Cunningham. In the fall of 2011 she studied abroad in Taiwan at Taipei National University of the Arts. She has danced professionally with Nimbus Dance Works and is pleased to be dancing with SWDA. RICARDO ZAYAS studied on scholarship at the schools of the Dance Theater of Harlem and the San Francisco Ballet. In 2005, he graduated with honors from Fordham University and was invited to join Ailey II in his senior year. Zayas has also danced with Complexions Contemporary Ballet, Sidra Bell Dance New York, Post:Ballet and Alonzo King/LINES Ballet. In 2009, Dance Magazine named him “25 to Watch.” He first danced with SWDA in 2006.
Key Staff GEOFF COHEN (Executive Director) is the co-Founder of the groundbreaking New York Musical Theatre Festival. For eight years he guided the Mike Ockrent/Alan Menken/Lynn Ahrens/Susan Stroman production of A Christmas Carol for Madison Square Garden and general managed The Wizard of Oz in NYC and on its national tour with Mickey Rooney, Roseanne, and Eartha Kitt. Cohen has managed Paper Mill Playhouse, George Street Playhouse, York Theatre Company, and many shows on Broadway, Off Broadway and OffOff Broadway. He served as Company Manager for the world premiere of Athol Fugard’s Master Harold…and the boys and presented L’Histoire du Soldat with the Boston Symphony. Having presented and managed dance companies, musicians, concerts, and events across North America, Cohen’s work has received accolades including Grammy® nominations,
BizBash recognition, and a host of awards for artistic excellence. He received an M.F.A. from the Yale School of Drama where he worked and studied with Lloyd Richards, Earle Gister, Ben Mordecai, Len Vignola, George White, and Ed Martenson. DIANE ROSENBLATT (Director of Development and External Affairs) An arts administrator and development professional with two decades of experience, Diane Rosenblatt served as a fundraising consultant to several dance organizations, including SWDA, before joining the Shen Wei Dance Arts staff. Prior to turning her focus exclusively to fundraising and development, she served as Executive Director of the Armitage Foundation/Armitage Gone! Dance (2007-2010), where she oversaw a 32% growth in the company’s operations. She served as the Executive Director of Doug Varone and Dancers for 10 years, where she produced more than 20 new Varone works and guided the organization’s growth from a small organization to a million-dollar operating budget. She has also served as the Marketing and Public Relations Director of the Michigan Theater in Ann Arbor, Acting Executive Director of the Michigan Dance Association, and Managing Director of Michael Mao Dance. She completed graduate coursework as a Ph.D. candidate in History at the University of Michigan and holds a B.A. from Boston University. She has published several articles on dance for Michigan publications. She is a member of the Association of Fundraising Professionals. ROCCO DISANTI (Projections Director) is a projection designer and has designed for numerous Broadway productions such as The Columnist (Manhattan Theatre Club), Wit (MTC), Collected Stories (MTC), and Time Stands Still (MTC). Regionally and off-broadway, he has created projections and video for productions of The Adventure of Fishy Waters: In Bed With The Blues (Crossroads Theatre), Second Chance (Signature Stage), Completeness (Playwrights Horizons), Inner Voices (Primary Stages), A Second Chance (The Public), Bright New Boise (Obie Award Best New Play Partial
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Comfort Productions), Imelda the Musical (Pan Asian Rep), and Monster (P.A.R.). DiSanti has also designed for operas such as I Fioretti in Musica, Alli Uccelli e Al Lupo (La Mama). He
has been honored with the Robert L.B. Tobin Director-Designer Showcase.
Board of Directors Helen Y. Little, Chair Shen Wei, President Susan L. Baker David S. Brown William M. Carey Caroline Cronson Mary Yung Kantor Susan Kessler Charles L. Reinhart
Staff Artistic Director ..................................Shen Wei Executive Director ........................Geoff Cohen Director of Development and External Affairs ..........Diane Rosenblatt Company Manager and Assistant to the Artistic Director.............Stephen Xue Development and Administrative Associate..............................Renee Anderko Finance and Office Manager ...........Yunlin Zhu Intern....................................Hua Xia, Joy Heller Director of Projections ..............Rocco DiSanti Lighting Supervisor ...........Christina Watanabe Stage Manager............................Donald Myers Rehearsal and Education Director .................. Kathleen Jewett Wardrobe Supervisor ..........Russell Stuart Lilie Makeup Supervisor...................Jordan Isadore Legal Consultant....Lawrence W. Greene, Esq., Cowan, Liebowitz & Latman, P.C. Auditor ................A. Gary Aaronson CPA, PLLC Bookkeeping ...........................Arthur Steinberg Osteopathic Specialist...................................... Lilia Gorodinsky D.O., NYC Osteopathic PLLC
Advisory Council Kenneth Foster Stephanie French Pieter Hofman Norma Stevens Patricia Pei Tang Jennifer Tipton
Shen Wei Dance Arts is a 501(c)3 charitable organization. Gifts to the Company are tax-deductible to the full-extent allowed by law. Your support is truly appreciated. Shen Wei Dance Arts, 135 W. 23rd St., Ste. 1100, New York, NY, 10001 Exclusive Tour Representation: USA and Canada — Mr. Harold Norris, President; H-ART Management; 481 Eighth Avenue, Suite 834; New York, NY 10001; TEL +1 212 868 2134; FAX +1 212 504 3229; EMAIL email@example.com; URL www.h-artmanagement.com Shen Wei Dance Arts Acknowledgments In ongoing support of its mission, the company wishes to thank Rebecca Robertson and Park Avenue Armory; Jodee Nimerichter and the American Dance Festival; Arlene Schuler and New York City Center; Nigel Redden and the Lincoln Center Festival; Alicia Adams and the Kennedy Center for the Performing Arts; Mary Sharp Cronson and Works & Process at the Guggenheim. Shen Wei Dance Arts receives public support for its activities from the National Endowment for the Arts, the New York State Council on the Arts and the New York City Department of Cultural Affairs. Additional support is provided by: the SHS Foundation; the Winston Foundation; the Shubert Foundation; the Jerome Robbins Foundation; the Asian Cultural Council; the Mid-Atlantic Arts Foundation through U.S. Artists International, in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation; the Trust for Mutual Understanding; and the U.S.– Russia Bilateral Presidential Commission of the U.S. Department of State. Special thanks to Mark Jones and the State Theatre Staff; Richard Feldman and the SHS Foundation; Lawrence W. Greene, Esq; Jan Krukowski and Nancy Harrow; Katie Glasner, Paul Scolieri and the Barnard College Department of Dance. The company’s dancers wish to thank Leslie Bachrach, Dr. Lilia Gorodinsky, D.O, and Dr. David S. Weiss, M.D. for their healing arts.
February 7-8, 2014 NETworks presents
Book and Lyrics by
Music and Lyrics by
DAVID BRYAN Based on a concept by
GEORGE W. GEORGE Starring
JASMIN RICHARDSON with
D. SCOTT WITHERS
JERRIAL T. YOUNG
KEELY BEIRNE OYOYO JOI BONNER TAYLOR BROADARD SIDNEY DuPONT KENNY FRANCOEUR LAURIE ELIZABETH GARDNER DANIEL S. HINES KYSHAWN K. LANE JT McKENZIE KAITLIN NIEWOEHNER JONATHAN RAGSDALE JONAS SHUMPERT EDDIE URISH ERIKA CONAWAY JOSE GONZALEZ
Scenic Design DAVID GALLO
Costume Design PAUL TAZEWELL
Lighting Design HOWELL BINKLEY
Sound Design SHANNON SLATON
Hair & Wig Design CHRISTOPHER LaPOINTE
Fight Director STEVE RANKIN
Associate Scenic Design STEVE KEMP
Associate Lighting Design MARK SIMPSON
Casting BOB CLINE
Orchestrations DARYL WATERS & DAVID BRYAN
Musical Director ALAN J. PLADO
Executive Producer KARY M. WALKER General Manager GENTRY & ASSOCIATES
Dance Arrangements AUGUST ERIKSMOEN
Tour Marketing & Press ANITA DLONIAK & ASSOCIATES, INC MARY K. WITTE Production Management HECTOR GUIVAS
Production Stage Manager TRAVIS HARTY
Music Coordinator/ Consultant JOHN MEZZIO Tour Booking Agency THE BOOKING GROUP
Company Manager COLIN BYRNE
Music Producer/Music Supervisor CHRISTOPHER JAHNKE Original Choreography Recreated by JERMAINE R. REMBERT Original Choreography by
SERGIO TRUJILLO Original Direction Recreated by ADAM ARIAN Original Direction by
CHRISTOPHER ASHLEY This Production of Memphis Originally Co-produced by La Jolla Playhouse and 5th Avenue Theatre, Seattle Originally produced on Broadway by Junkyard Dog Productions, Barbara & Buddy Freitag, and Kenny & Marleen Alhadeff
This program is made possible in part through a grant by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
Cast (in order of appearance)
Ensemble/White DJ/Perry Como/Buck Wiley/Frank Dryer/Martin Holton.....DANIEL S. HINES Ensemble/Black DJ/Wailin’ Joe/Reverend Hobson. ...............................................JT McKENZIE Delray.........................................................................................................RaMOND THOMAS Gator .........................................................................................................AVIONCE HOYLES Bobby.........................................................................................................JERRIAL T. YOUNG Ensemble/Someday Backup Singer/Teenager .....................................................KEELY BEIRNE Ensemble/Someday Backup Singer .........................................................OYOYO JOI BONNER Ensemble/Someday Backup Singer/Ethel..................................................TAYLOR BROADARD Ensemble/Be Black Trio .................................................................................SIDNEY DuPONT Ensemble/Be Black Trio .............................................................................KYSHAWN K. LANE Ensemble/Be Black Trio ..............................................................................JONAS SHUMPERT Felicia...................................................................................................JASMIN RICHARDSON Huey...................................................................................................................JOEY ELROSE Ensemble/Mr. Collins/White Father/Gordon Grant..............................................EDDIE URISH Ensemble/Clara/Teenager/White Mother .................................LAURIE ELIZABETH GARDNER Ensemble/Teenager ................................................................................KENNY FRANCOEUR, KAITLIN NIEWOEHNER, JONATHAN RAGSDALE Mr. Simmons............................................................................................D. SCOTT WITHERS Mama......................................................................................................................PAT SIBLEY SWINGS AND UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performances. SWINGS Erika Conaway; Jose Gonzalez UNDERSTUDIES For Huey—KENNY FRANCOEUR, DANIEL S. HINES, JONATHAN RAGSDALE; For Felicia—KEELY BEIRNE, OYOYO JOI BONNER; For Delray— KYSHAWN K. LANE, JT MCKENZIE; For Bobby— SIDNEY DUPONT, JT MCKENZIE; For Gator— SIDNEY DUPONT, KYSHAWN K. LANE; For Gladys—LAURIE ELIZABETH GARDNER; For Mr. Simmons— EDDIE URISH Dance Captain—ERIKA CONAWAY Fight Captain, Assistant Dance Captain—JOSE GONZALEZ
February 7-8, 2014
Musical Numbers ACT I “Underground” .............................................................................Delray, Felicia and Company “The Music of My Soul” ..................................................................Huey, Felicia and Company “Scratch My Itch”...............................................................................Wailin’ Joe and Company “Ain’t Nothin’ But a Kiss”.................................................................................Felicia and Huey “Hello, My Name Is Huey” ................................................................................................Huey “Everybody Wants to Be Black on a Saturday Night” ..................................................Company “Make Me Stronger” ............................................................Huey, Mama, Felicia and Company “Colored Woman” ...........................................................................................................Felicia “Someday”................................................................................................Felicia and Company “She’s My Sister”..............................................................................................Delray and Huey “Radio”.......................................................................................................Huey and Company “Say a Prayer” ............................................................................................Gator and Company ACT II “Crazy Little Huey”.....................................................................................Huey and Company “Big Love”........................................................................................................................Bobby “Love Will Stand When All Else Falls” ......................................................Felicia and Company “Stand Up” ....................................................Delray, Felicia, Huey, Gator, Bobby and Company “Change Don’t Come Easy” ......................................................Mama, Delray, Gator and Bobby “Tear Down the House”. .............................................................................Huey and Company “Love Will Stand/Ain’t Nothin’ But a Kiss” (Reprise) ........................................Felicia and Huey “Memphis Lives in Me”...............................................................................Huey and Company “Steal Your Rock ‘n’ Roll” ................................................................Huey, Felicia and Company Time—The 1950s —There will be one intermission—
THE MEMPHIS BAND Conductor/Keys 1 – Alan J. Plado Associate Conductor/Keys 2 – Shane Parus Drums/Percussion – Kevin McNaughton Guitar – Will Yanez Bass – Daniel Durston Trumpet – Patrick Stouffer Trombone – James Yardley Reed – Jason Mink Music Coordinator – John Mezzio
The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.
Please turn off your cell phones and pagers prior to the beginning of the performance.
Who’s Who JOEY ELROSE (Huey Calhoun) is a native New Yorker and is thrilled to be touring with the fantastical Memphis! Credits include: Rock of Ages (national tour), Grease (national tour), RENT (Welk Resort), Pajama Game (Starlight CLO), Babes in Toyland (Lincoln Center). B.F.A. Adelphi U. “Thanks to my family. Measure in Love and HOCKADOO!!!” JASMIN RICHARDSON (Felicia) is a graduate of Abilene Christian University where she received her B.F.A. in musical theater. National/ iInternational tour credits: Dreamgirls (Deena Jones). Regional Credits: Dreamgirls (Michelle), Drowsy Chaperone (Trix). Cruise Lines: Disney, Norwegian, and Celebrity Cruise Lines. Some of her theater credits include Aida (Aida), All Shook Up (Lorraine). Catch up with Richardson on JasminRichardson.com RaMOND THOMAS (Delray). Creative Cauldron: Thunder Knocking On The Door (Thunder), Keegan Theater: Working (Rex/Utkarsh) and The 25th Annual Putnam County Spelling Bee (Mitch Mahoney), The InSeries Love Potion #1— L’Elisir D’Amore (The Jock), TheatreWorks Palo Alto Grey Gardens (Brooks understudy). D. SCOTT WITHERS (Mr. Simmons) is thrilled to travel the country with Memphis! National tours: Catch Me If You Can (Roger Strong). Recent regional: Gypsy (Herbie); Hairspray (Edna); Baby (Alan); Lyle the Crocodile (Victor P. Valenti). B.F.A. AZ State University. “Love to AJP, Childsplay family and Withers clan!” AVIONCE HOYLES (Gator) is a Rock Hill, SC native and graduate of The American Musical & Dramatic Academy, NY. Hoyles is thrilled to be a part of this incredible production! National tour: Tyler Perry’s The Haves and Have Nots (Wallie u/s), Pippi Longstocking (Larson). Regional: Rent (Angel), Tyler Perry Presents U Don’t Know Me: The Musical (Brent), Songs For a New World (Man 1), Black Nativity (Reuel), Charlotte’s Web (Wilbur). “Thank you Jesus for this awesome opportunity and my family for all their support!” JERRIAL T. YOUNG (Bobby) is ecstatic to be a part of the Memphis family!! Previous credits include: Off Broadway Joshua (Benjamin), Dust and Shadow (Husband). National tours: Smokey
Joes Café (Adrian), Go Diego Go Live! (Rescue Pack). Regional: Ragtime (Coalhouse Walker Jr.) Children of Eden (Father), Damn Yankees (Applegate), Aint Misbehavin (Ken), Parade (Jim Conley), Guys and Dolls (Nicely Nicely), Full Monty (Horse). He is a proud member of the Equity Membership Candidate Program! He hopes to grace the Broadway stage someday soon! He would like to thank god, dad, Nik Alexzander, and “mom I love you and this one is for you!” Follow @InDaHeightsFan PAT SIBLEY (Mama) This is her ninth year of touring having previously been seen as Frau Blucher in Young Frankenstein, The Wicked Witch of the West in The Wizard of Oz, Mrs. Pugh in Annie, and Aunt Eller in Oklahoma! Originally from Los Angeles, she now resides in Seattle. KEELY BEIRNE (Ensemble) is thrilled to making her national tour debut as a recent graduate of Penn State University’s B.F.A. musical theatre program! Recent Credits: Seven Brides for Seven Brothers, 42nd Street, and Phantom at Pittsburgh Civic Light Opera, Hairspray at Merry-GoRound Playhouse, as well as numerous productions at Penn State. She also studied dance at Center Stage Dance and Theatre School in New Jersey. “Many thanks to Bob Cline, cast, crew, loving family and squad!” www.keelybeirne.com OYOYO JOI BONNER (Ensemble) is excited to be on her first national tour with this great musical! “What an amazing opportunity and experience this journey has become, I hope for many more like it!” Studied Music Dance Theatre at Brigham Young University, has enjoyed tours as a featured singer to Denmark, Norway, Finland, Sweden, and Cuba! Her most cherished roles are Ti Moune in Once On This Island, Melpomene in Xanadu, Sarah in Ragtime, and Ensemble in Hairspray, Aladdin, and White Christmas. “Thank you family and friends for your continued support!” TAYLOR BROADARD (Ensemble) is ecstatic to be going Underground in Memphis! Regional: Monty Python’s Spamalot (Ensemble) B.F.A. musical theatre, minor dance from Pace University. “Much love to God, family, friends, & teachers! Couldn’t have done it without you! MT F13RCE!” Twitter/Instagram @TBroadard8
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SIDNEY DuPONT (Ensemble) was born and raised in Philadelphia, PA. Some favorite credits (National Tour) A Chorus Line; (Regional) Hairspray, Cabaret, and Songs for a New World. “Thanks to my family, friends, BLOC, BDF, and this fantastic cast of Memphis! UARTS MT13” KENNY FRANCOEUR (Ensemble) is excited to join the cast of Memphis! Theater: Hair (Berger), Gypsy (Tulsa), Titanic (Jim), Children of Eden (Japeth). B.F.A. Elon University. “Many thanks to Mom & Dad, Gail, M, Katie, the harem, and my Elon family.” www.kennyfrancoeur.com LAURIE ELIZABETH GARDNER (Ensemble) thrilled to be on tour with Memphis! Recently seen creating title role in 50 Shades of Grey, Musical Parody (Ana Steele)! Cabaret (Sally), Marvelous Wonderettes (Suzy), Lend Me a Tenor (Maggie), Carousel (Carrie U/S, DC), Marriage of Figaro (Barbarina, Susanna U/S), Two Noble Kinsmen (Emilia). Graduated CCM. broadwaydemo.com/lauriegardner “Love to Papi!” DANIEL S. HINES (Ensemble) is stoked to join the NETworks team in bringing a little soul to your town. Ever the nomad, Hines has been blessed to perform regionally from Florida to Alaska and everywhere in between. Favorite credits include Miss Saigon (Chris), HAIR (Claude), The Pillowman (Katurian), Carousel (Jigger), and Oklahoma! (Will Parker). Hines gives thanks to God, family, and Timmy for unending love and support. “Now sit back, relax, and enjoy the show!” www.danielshines.com KYSHAWN K. LANE (Ensemble) From a kid singing with his karaoke to the big stage joining the Memphis family, Lane can not be more excited. Past favorite credits include: Off Broadway: Songs for a New World. Regional: Hairspray (Papermill Playhouse, Coastal Arts) Joseph... (Arizona Broadway Theatre); A Christmas Carol (McCarter Theater) Rent, All Shook up (Seacoast Rep). Commercial: Verizon, Wendys. “Thanks to God for this amazing opportunity, to my parents, family, Dani, and friends for their continuous love and support. Special thanks to my family at About Artists and Bob Cline casting.” JT McKENZIE (Ensemble) is beyond excited and proud to be part of an amazing show and cast! Favorite credits: The Sizzlin’ Sixties at The
Fireside Theatre, 1776, and B Boy Blues. “So much love to friends and family. Apt 22!” KAITLIN NIEWOEHNER (Ensemble) is elated to join the ensemble of Memphis! She is a gymnast turned dancer with a B.S. in architecture. National Tours: A Chorus Line (swing). Regional: Can-Can (WBT, Ensemble), Hairspray (Amber), Spelling Bee (Olive). “All gratitude to God!” www.kaitlinniewoehner.com JONATHAN RAGSDALE (Ensemble). First National Tour! B.A. in theater and dance from UNM. Favorite roles: PIPPIN (Pippin), Footloose (Ren), Hairspray (Link), Cats (Tugger/Skimble), RENT (Ensemble, Roger u/s). TV: Breaking Bad, In Plain Sight. Choreography: Legally Blonde, JC Superstar, Joseph...Dreamcoat, 101 Dalmatians, Godspell. “Thanks to Mom & Dad, and all of my friends and students for inspiring me every day!” Twitter/Instagram: @TheJRags, YouTube.com/ ragsdalejt JONAS SHUMPERT (Ensemble) is excited to be joining the cast of Memphis. A graduate of The American Musical and Dramatic Academy in NYC. The Chicago native credits include inter-
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national tour of Fame—The Musical, Walt Disney World’s Festival of The Lion King, Dance Captain/Dancer for Royal Caribbean and Holland American Cruise lines. He thanks God for the opportunity to share this story, and hopes you enjoy the ride of Memphis! Follow @JonasShumpert EDDIE URISH (Ensemble). Huck in Huckleberry Finn (national tour), August: Osage County (The Fulton), Our Town (Steppenwolf), You Say Tomato… (Downstairs Cabaret). Directed U.S. premieres of Steve Schalchin’s Amy & Steve (OffBroadway) and Joe Brooks’ Metropolis. Former CBS Morning Show Host. “Whit, Ellie, ILU!” ERIKA CONAWAY (Swing/Dance Captain) is excited to be joining the Memphis family! Tours: A Chorus Line (Judy Turner) Regional: Aida (Amneris), Anything Goes (Reno Sweeney), and Oklahoma! (Ado Annie). “Love my family, friends, and especially AJ and Ricky Kitty. Peace. Love.” JOSE GONZALEZ (Swing/Asst. Dance Captain) is very excited for his national tour debut! In 40 words: Oakland, CA —> NYC. Favorite credits: Spring Awakening (Ernst), A Chorus Line (Richie), Cats (Rum Tum Tugger u/s). Other credits: In The Heights, West Side Story, High School Musical 2, overseas with NICKELODEON. “Love you mom! =)” TRAVIS HARTY (Production Stage Manager) graduated from Otterbein University with a B.A. in stage management and music. Regional: Maple & Vine, A Devil at Noon (Humana Festival), Ma Rainey’s Black Bottom, Dracula, Christmas Carol (Actors Theatre). Other: The Woman in Black and Suds! (Crossroads Rep) JOE DiPIETRO (Book and Co-Lyrics) won two Tony® Awards for co-writing Memphis. Memphis also received the 2010 Tony®, Drama Desk and Outer Critics Circle awards for Best Musical. He was nominated for a Tony® Award and won a Drama Desk Award for his book for his current Broadway show Nice Work If You Can Get It starring Matthew Broderick. His other plays and musicals include I Love You, You’re Perfect, Now Change (the longest-running musical revue in Off-Broadway history); The Toxic Avenger and The Thing About Men (both winners of the Outer Critics Circle Award for Best OffBroadway Musical); the much-produced comedy Over the River and Through The Woods; The Art of
Murder (Edgar Award winner for Best Mystery Play); and the Broadway musical All Shook Up. His work has received thousands of productions across the country and around the world. DAVID BRYAN (Music, Co-Lyrics) recently won Tony® Awards for Best Score and Best Orchestrations for Memphis, as well as Drama Desk Awards for Best Music and Best Orchestrations. Memphis also received 2010 Tony®, Drama Desk and Outer Critics Circle awards for Best Musical. Bryan is the Grammy® Award-winning keyboard player and founding member of Bon Jovi. Over the past 26 years the band has sold more than 130 million records and toured the world playing to millions of people. Bryan and Joe DiPietro have also co-written the award-winning musical The Toxic Avenger. Among his work for other charities, Bryan is a national spokesperson for VH1’s Save the Music Program. “Much love to Lexi, Colton, Gabby, Lily and my family.” CHRISTOPHER ASHLEY (Original Director) has served as artistic director of La Jolla Playhouse since October 2007. During his tenure, he has helmed the Playhouse’s world-premiere productions of Arthur Kopit’s A Dram of Drummhicit, Claudia Shear’s Restoration, as well as Glengarry Glen Ross, A Midsummer Night’s Dream, and the acclaimed musicals Xanadu and Memphis, which went on to win four 2010 Tony® Awards on Broadway, including Best Musical. Prior to joining the Playhouse, he directed the Broadway productions of Xanadu (Drama Desk nomination), All Shook Up and The Rocky Horror Show (Tony®, Drama Desk, and Outer Critics Circle Award nominations), as well as the Kennedy Center Sondheim Celebration productions of Sweeney Todd and Merrily We Roll Along. Other New York credits include: Leap of Faith, Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie awards), The Most Fabulous Story Ever Told, Valhalla, Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died, Fires in the Mirror (Lucille Lortel Award), among others. Ashley also directed the feature film Jeffrey and the American Playhouse production of Blown Sideways Through Life for PBS. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.
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SERGIO TRUJILLO (Original Choreographer). Broadway: Tony® and Olivier Award-winning Best Musical Jersey Boys (Olivier, Drama Desk, Dora, OCC Award noms.), Leap of Faith (Drama Desk, Astaire noms.), The Addams Family, Next to Normal (Lucille Lortel Award nom.), All Shook Up, Guys and Dolls (Astaire Award nom.). Off-Broadway: Saved (Lucille Lortel nom.), The Capeman, Romeo & Juliet (Public), A Tree Grows in Brooklyn, Kismet (Encores!), Salome (NYC Opera). Regional: White Noise (director/choreographer), The Wiz, Zhivago (La Jolla), Mambo Kings, The Marriage of Figaro (L.A. Opera), Chita and All That Jazz. International: Disney’s Tarzan (World Theatre Award nom.); West Side Story; The Sound of Music (Stratford); Peggy Sue Got Married (West End); Kiss Me, Kate (Japan). TV: Judging/choreographing on So You Think You Can Dance: Canada, Broadway: The American Musical (PBS), The 14th American Comedy Awards (ABC), Triple Sensation (CBC). Ovation Award for Empire: A New American Musical, four Dora Award nominations in Canada. Upcoming: director and choreographer for the national tour and Broadway production of Flash-
dance. On Broadway: Hands on a Hardbody. CHRISTOPHER JAHNKE (Music Producer/Music Supervisor) Orchestrations: Porgy and Bess (2012 Tony® Nomination—Best Orchestrations), Les Misérables (Broadway, Madrid, Netherlands, London, U.K. tour, U.S. tour, Dutch album, Spanish album, 25th anniversary album, O2 arena concert—also DVD/Blu-ray), Do You Hear the People Sing? (symphonic tour of Schonberg/Boublil), Dessa Rose, A Man of No Importance, Legally Blonde, Cry-Baby, Grease (2007 revival), Tom Jones (Stiles/Leigh), Chasing Nicolette, Dear World, Not Wanted on the Voyage, Just So. Assistant to William David Brohn: Sweet Smell of Success, Ragtime, The Three Musketeers, The Witches of Eastwick, Mary Poppins, Wicked. ADAM ARIAN (Associate Director) is thrilled to be continuing his five year journey with Memphis, which started as Chris Ashley’s A.D. at the La Jolla Playhouse. He is the winner of San Diego’s Patte Award for Outstanding Direction for Rosencrantz & Guildenstern are Dead and his production of Camino Real, landed on several San Diego newspapers’ “best of year” lists. World premieres include works by Kristoffer Diaz, Lucy
Thurber, Rachel Axler, Lauren Yee, and more. Other work includes: New York Musical Theater Fest: Arnie the Doughnut, 2012; Fantasy Football the Musical, NYMF 2009 – (Audience Favorite Award). Sam French Festival Finalist 2012. 2010 Geva Theater Center Directing Fellow; Geva Theater; HERE; Prospect Theater Co.; Chalk Rep; Iama Theater Co.; NY Fringe; Reverie Productions; Winnipesaukee Playhouse; Williamstown; and the La Jolla Playhouse. Arian is also an actor, and has appeared in Broadway and Off Broadway productions, as well as several television appearances, Arian has received his M.F.A. in directing from UC San Diego, and his B.A. from Brown University. JERMAINE R. REMBERT (Associate Choreographer) Credits include: dance captain and assistant choreographer for Broadway and First National tour of Memphis; assistant director for Midtown International Theatre Festival in NYC production of Motel Rasdell, and choreographer and teacher at Sun Valley Ballet School in Sun Valley, Idaho. Performance credits include: Film/Television as well as the Broadway productions of Memphis, La Cages aux Folles, Oklahoma, Swing, All Shook Up, On the Twentieth Century, and Funny Girl. Other credits include The Will Rogers Follies (Gateway Playhouse), Camelot (Lincoln Center w/NY Philharmonic), and a member of Columbia City Ballet in Columbia, SC. DAVID GALLO (Set Design) won the Tony® Award for Best Scenic Design of a Musical for The Drowsy Chaperone. A longtime collaborator of celebrated playwright August Wilson, Gallo’s designs for Gem of the Ocean and Radio Golf garnered him two additional Tony® Award nominations. His designs may be seen in more than one dozen cities worldwide. Favorite Broadway credits include Memphis; Stick Fly; The Mountaintop; Colin Quinn: Long Story Short; reasons to be pretty; Xanadu; Radio Golf; Company; The Drowsy Chaperone (Tony®, Drama Desk and Outer Critics Circle awards); Gem of the Ocean; Thoroughly Modern Millie (also London); You’re a Good Man, Charlie Brown; A View from the Bridge; and Hughie. Selected off-Broadway: Evil Dead; The Wild Party; Jitney (also London); Wonder of the World; A New Brain; Bunny Bunny; and Blue Man Group (New York, Boston, Chicago and Las Vegas). Designs for numerous family productions include the very popular Super Why Live, Yo
Gabba Gabba Live (Billboard Award for Creative Content), Elmo’s Christmas Countdown, The 135th Ringling Bros. Barnum and Bailey Circus, as well as the national tours of Dora the Explorer, Blues Clues Live, DreamWorks’ Madagascar Live, and the current international tour of SpongeBob Squarepants. Gallo was selected to design August Wilson’s Twentieth Century at The Kennedy Center as well as represent American Set Design at the Cooper-Hewitt Design Triennial. His work is part of The National Archive at The Smithsonian. www.davidgallo.com. PAUL TAZEWELL (Costume Design). Broadway: Memphis (Tony® nomination); A Streetcar Named Desire; Jesus Christ Superstar; Lombardi; Guys and Dolls; In the Heights (Tony® nomination); The Color Purple (Tony® nomination); Bring in ‘da Noise, Bring in ‘da Funk (Tony® nomination); Caroline or Change; A Raisin in the Sun; Drowning Crow; On the Town; Def Poetry Jam; Elaine Stritch at Liberty; Fascinating Rhythm. Off Broadway: Ruined, Flesh and Blood; Harlem Song; Dina Was; City Center Encores! The Wiz; Li’l Abner and Purlie. The Met: Faust. HOWELL BINKLEY (Lighting Design) Recent Broadway: A Christmas Story, Jesus Christ Superstar, How to Succeed… starring Daniel Radcliffe (2011 Tony® nomination), Million Dollar Quartet, West Side Story (2009 Tony® nomination), Gypsy starring Patti LuPone, In the Heights (2008 Tony® nomination), Jersey Boys, Avenue Q, The Full Monty, Parade, Kiss of the Spider Woman, How to Succeed… starring Matthew Broderick. Parsons Dance (co-founder), The Joffrey Ballet’s Billboards, Alvin Ailey, ABT, NYC Ballet, and The Kennedy Center’s Sondheim Celebration. Fivetime Helen Hayes Award recipient, 1993 Olivier and Canadian Dora Award for Spider Woman; 2006 Henry Hewes Design Award, Outer Critics Circle and Tony® Award for Jersey Boys. SHANNON SLATON (Sound Design) has designed many national tours including: Shrek, Hairspray, The Producers, Noise/Funk, The Full Monty, Contact, Tap Dogs, Sweeney Todd, Drowsy Chaperone, and Wedding Singer. He has also mixed many shows on Broadway including: Man of La Mancha, Bombay Dreams, Sweet Charity, Jersey Boys, Spring Awakening, Fela!, Anything Goes, Annie, and Legally Blonde. He was also the production sound for Wicked on Broadway and The
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Phantom of the Opera on Broadway and the U.S. national tour. GEORGE W. GEORGE (Story Concept) produced nine Broadway shows including Any Wednesday, the Tony® Award-nominated Dylan starring Alec Guinness, and Bedroom Farce written by Alan Ayckbourn. George began his career writing for television: Bonanza, The Rifleman, and Wanted: Dead or Alive. His film writing credits include The Navadan, Peggy, and Smoke Signal. George produced The James Dean Story, directed by Robert Altman; Night Watch, starring Elizabeth Taylor; Rich Kids, written by Judith Ross; and My Dinner with Andre, directed by Louis Malle. CHARLES G. LaPOINTE (Hair and Wig Design) Broadway: Memphis, The Performers, Bring It On The Musical, The Columnist, A Streetcar Named Desire, Clybourne Park, Magic/Bird, Newsies, Bonnie and Clyde, The Mountaintop, 33 Variations, Guys and Dolls, In the Heights, Jersey Boys, The Color Purple, Martin Short: Fame…, Good Vibrations, The Apple Tree, A Raisin in the Sun, Cat on a Hot Tin Roof, The Lieutenant of Inishmore, Radio Golf, Sight Unseen, Cymbeline, Henry IV, The Rivals, Xanadu, and Superior Donuts. Jersey Boys U.S. tour, Chicago, Las Vegas, Toronto, London, and Melbourne; The Color Purple national tour; Xanadu national tour; and In the Heights national tour. Many Off-Broadway and regional credits. “Love to James.” STEVE RANKIN (Fight Director) Broadway: Memphis, Bonnie and Clyde, Henry IV, Parts I and II; Jersey Boys; The Farnsworth Invention; Dracula; Twelfth Night; Two Shakespearean Actors; Anna Christie; The Real Inspector Hound; Getting Away With Murder; The Who’s Tommy. Off-Broadway: The Third Story, Pig Farm, The Night Hank Williams Died, Below the Belt. Stratford Shakespeare Festival: Romeo and Juliet, Caesar and Cleopatra, Macbeth. Metropolitan Opera: Rodelinda, Iphigénie en Tauride. Rankin is also a mandolinist with the folk/bluegrass artist Susie Glaze and the Hilonesome Band. DARYL WATERS (Co-Orchestrator) Orchestrations: Memphis (Tony® Award), Bring in ‘da Noise, Bring in ‘da Funk; Street Corner Symphony (Broadway). Dance music arrangements: The Color Purple; Jelly’s Last Jam (Broadway). Original music: Noise/Funk (Tony®/Grammy® nom-
inations), Drowning Crow (Broadway). Longtime music director for Eartha Kitt. Waters is a music graduate of Livingstone College in Salisbury, NC. JOHN MEZZIO (Music Consultant/Coordinator) has conducted several national tours including State Fair starring John Davidson, Victor Victoria starring Toni Tennille, Seussical The Musical starring Cathy Rigby, Cinderella starring Eartha Kitt and Deborah Gibson, the Royal National Theatre’s revival of Rodgers and Hammerstein’s Oklahoma! and The Wedding Singer. Additionally, Mezzio was associate conductor for Andrew Lloyd Webber’s Starlight Express at the Las Vegas Hilton. Mezzio was musical coordinator for several national tours including Sweet Charity starring Molly Ringwald, Annie starring John Schuck and Mackenzie Phillips, Hairspray, The Producers, and Shrek the Musical. He is currently the musical coordinator for Disney’s Beauty and the Beast and Memphis. ALAN J. PLADO (Music Director) is ecstatic to work on Memphis. National tours: Elf The Musical first national tour, Legally Blonde, Beauty and the Beast. Internationally, he was the music director and arranger for Menopause The Musical on the West End (Shaw Theater) and in Dublin, Ireland (Tivoli Theater). Regional credits: Legally Blonde with Sally Struthers (Ogunquit Playhouse), Chaps, Crazy for You (PCPA), Striking 12 (Capital Repertory), Best Little Whorehouse (Phoenix Theater); Gypsy, Cats, Footloose (Arizona Broadway), as well as appearances at Laguna Playhouse, Alabama Shakespeare, Milwaukee Repertory, and Geva Theater. AUGUST ERIKSMOEN (Dance Arranger) Broadway: Memphis, The Addams Family, Million Dollar Quartet, Hugh Jackman on Broadway, Ring of Fire, All Shook Up, Rent. Off-B’way: Bare, Romantic Poetry, Walmartopia, Imperfect Chemistry. First nationals: All Shook Up, The Full Monty.
Memphis STAFF FOR MEMPHIS Executive Producer Kary M. Walker General Management Gentry & Associates Scott W. Jackson, Mary K. Witte Tour Marketing Anita Dloniak & Associates, Inc. Anita Dloniak Diane Rodes, Melissa A. Hazek Tour Direction The Booking Group Meredith Blair, Mollie Mann Brian Brooks and Richard Rundle www.thebookinggroup.com Casting Bob Cline Associate Scenic Designers ................................. Steven Kemp, Mike Kaukl Assistant Director ..............Matthew J. Schneider Assistant Choreographer.....Kenna Morris Garcia Costumes Coordinator...............Dale DiBernardo Assistant Costumes Coordinator ..Timmy Kasper Make-up and Hair Coordinator ........Kelly Meurer Assistant Sound Designer .............David Thomas Head Carpenter ......................James D. McCrory Assistant Carpenter.....Timothy Curtis Bergstrom Flyman .....................................William Strickland Head Props........................................L. Kris Julio Head Wardrobe...................Kaitlin May Saltzman Hair Supervisor...................Jason Michael Torres Head Electrician ...............Patrick Medlock-Turek Assistant Electrician ........Michael James Hawley Electrician .......................................Renee Levine Head Audio................................Marisa J. Barnes Moving Light Programmer..............Chris Herman Rehearsal Assistant............................Katie Falter Radio and TV Spot Production..........HMS Media Video Production ...............................HMS Media Website....................................Pit Bull Interactive Production Photography ...............Jeremy Daniel Accounting............NETworks Presentations, LLC HR & Payroll Services .......Human Resources inc Financial Services................................................. George W. Wilson, OneSource PSG Insurance ...........................................OneBeacon Tax Consultant....Brent A. Turner, OneSource PSG IT Services...George W. Wilson, OneSource PSG Trucking........................................................Clark Cast Bus ...............................Croswell VIP Coach Crew Bus .......................................Clarion Coach Hotel Booking .........Lisa Morris, Road Concierge
For NETworks Presentations Chief Executive Officer ................Kenneth Gentry Chief Operating Officer.............Scott W. Jackson President ................................................Orin Wolf Executive Vice President Production .Seth Wenig Director of Finance .............................John Kinna Executive Producer ......................Kary M. Walker Associate Producer.......................Angela Rowles Director of Booking .............Charmaine McVicker Senior General Manager ....Gregory VanderPloeg General Manager ..........................Dawn Kusinski General Manager ............................Mary K. Witte General Manager.................................Guy Heard Assistant to the CEO/Associate General Manager .............................................................................. Curt Owens Assistant General Manager ........Penelope Lopez Assistant General Manager ...Bobby Maglaughlin Senior Production Manager ..........Jason Juenker Associate Production Manager .....Hector Guivas Associate Production Manager..........Ben Neafus Assistant Production Manager ........Evan Rooney Intern, Production Department.....Ashley Harman Warehouse Manager ............................Brad Korff Director of Marketing/PR ................Heather Hess Music Coordinator............................John Mezzio Controller .....................................Jennifer Gifford Accounts Payables............................Laura Carey Office Manager ...........................Buddy Piccolino Administrative Assistant .....Esther Schwarzbauer Office Assistant.................................Carol Jewell CREDITS Scenic construction Showroom Scenic, Adirondack Studios provided Scenic Services; Properties provided by Prop N and Spoon; Sound provided by Sound Associates; Lighting provided by Christie Lights; Additional tailoring by Jennifer Love Costumes, Inc.; Scafati, Inc.; and D.L. Cerney. Men’s shirts, finale suits, and band suits by Top Hat Imagewear. Additional shirts by Cego. Dance shoes by Worldtone Dance. “Gator” head by Rodney Gordon, Inc Rehearsed at Pearl Studios NYC Special Thanks to James Patrick and The Velma V. Morrison Center for the Performing Arts at Boise State University in Boise, ID
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State Theatre and New Jersey Symphony Orchestra present
Music of the Beatles: Classical Mystery Tour MARTIN HERMAN conductor TYSON KELLY rhythm guitar, piano, vocals BENJAMIN CHADWICK bass guitar, piano, vocals JIMMY POU lead guitar, vocals JOE BOLOGNA drums, vocals NEW JERSEY SYMPHONY ORCHESTRA
Beatles Medley Overture, arr. Martin Herman Other selections to be announced from the stage. —There will be one intermission—
All songs written by John Lennon, Paul McCartney, or George Harrison. www.classicalmysterytour.com
Music of the Beatles
About the Artists Since its initial performance at the Orange County Performing Arts Center in 1996, CLASSICAL MYSTERY TOUR has become one of the top symphonic pops attractions over the last decade. The group has performed consistently for 17 years with more than 100 orchestras in the United States, Canada, Europe, Asia, and Australia. Classical Mystery Tour was the highest selling show of the San Diego Symphony’s 2011 Summer Concert Series and played three packed houses at the Sydney Opera House in 2009. The group has performed 12 times with the Fort Worth Symphony and has broken attendance records for four years running with the Indianapolis Symphony. The four musicians in Classical Mystery Tour look and sound just like The Beatles, but Classical Mystery Tour is more than just a rock concert. The show presents more than two dozen Beatles tunes transcribed note-for-
note and performed exactly as they were originally recorded. For more about Classical Mystery Tour, visit www.classicalmysterytour.com. Los Angeles-based conductor MARTIN HERMAN was educated at Duke University, University of Pennsylvania, University of California at Berkeley, and Stanford University. He also spent two years on a Fulbright Grant in Paris, where he worked as a composer and conductor with the New American Music in Europe and American Music Week festivals. Herman is also an active composer and arranger. He has received fellowships and grants from the American Music Center, Camargo Foundation, Meet the Composer, Trust for Mutual Understanding and National Endowment for the Arts. He has written chamber and orchestral works, as well as three operas and has recorded on the Albany Record label. As a longtime Beatles fan, Herman was commissioned to provide the orchestral transcriptions heard on the Classical Mystery Tour. Recent conducting engagements include the Philharmonia Chamber Orchestra in Prague and the orchestras of Detroit, Pittsburgh, Dallas, San Diego, Fort Worth, Louisville, Virginia, Delaware, Alabama, Omaha, and Buffalo.
About the New Jersey Symphony Orchestra Named “a vital, artistically significant musical organization” by The Wall Street Journal, the New Jersey Symphony Orchestra embodies that vitality through its statewide presence and critically acclaimed performances, education partnerships and unparalleled access to music, and the Orchestra’s superb musicians. Under the bold leadership of Music Director Jacques Lacombe, the NJSO presents classical, pops, and family programs, as well as outdoor summer concerts and special events. Embracing its legacy as a statewide orchestra, the NJSO is the resident orchestra of the New Jersey Performing Arts Center in Newark and
Sun, February 9, 2014 at 3pm
regularly performs at the State Theatre in New Brunswick, Count Basie Theatre in Red Bank, Richardson Auditorium in Princeton, Mayo Performing Arts Center in Morristown, and bergenPAC in Englewood. Partnerships with New Jersey arts organizations, state universities, and civic organizations remain a key element of the Orchestra’s statewide identity. In addition to its lauded artistic programming, the NJSO presents a suite of education and community engagement programs that promote meaningful, lifelong engagement with live music. Programs include the threeensemble Greater Newark Youth Orchestras, school-time Concerts for Young People performances, and multiple initiatives that provide and promote in-school instrumental instruction. The NJSO’s Resources for Education and Community Harmony (REACH)
chamber music program annually brings original programs—designed and performed by NJSO musicians—to a variety of settings, reaching as many as 17,000 people in nearly all of New Jersey’s 21 counties. For more information about the New Jersey Symphony Orchestra, visit njsymphony.org or email information@ njsymphony.org. Tickets are available for purchase by phone 1.800.ALLEGRO (255.3476) or on the Orchestra’s website. The New Jersey Symphony Orchestra’s programs are made possible in part by The New Jersey State Council on the Arts, along with many other foundations, corporations and individual donors. United is the official airline of the NJSO.
Music of the Beatles
NEW JERSEY SYMPHONY ORCHESTRA JACQUES LACOMBE, Music Director, The Jaqua Foundation Chair JEFFREY GROGAN, Education & Community Engagement Conductor GEMMA NEW, Associate Conductor HENRY KAO, Greater Newark Chamber Orchestra Conductor FIRST VIOLIN Eric Wyrick, Concertmaster, The Donald L. Mulford Chair Brennan Sweet, Associate Concertmaster Albin Ifsich Adriana Rosin Edward Engel Naomi Youngstein James Tsao Xin Zhao Darryl Kubian Judy Lin Wu Kelly Hall-Tompkins• SECOND VIOLIN Francine Storck, Principal, The Dr. Merton L. Griswold, Jr. Chair Rebekah Johnson, Assistant Principal Debra Biderman Ann Kossakowski John Connelly Susan Gellert Lisa Matricardi • Alexandra Gorokhovsky Ming Yang Héctor Falcón VIOLIN Fatima Aaziza Wendy Y. Chen Maya Shiraishi
VIOLA Frank Foerster, Principal, The Margrit McCrane Chair Elzbieta Weyman, Assistant Principal Michael Stewart Christine Terhune Martin Andersen Lucy Corwin Henry Kao Brett Deubner David Blinn
FLUTE Bart Feller, Principal Kathleen Nester
CELLO Jonathan Spitz, Principal, The MCJ Amelior Foundation Chair, in honor of Barbara Bell Coleman Stephen Fang, Assistant Principal Myung Soon Wooh Sarah Seiver Ted Ackerman Frances Rowell Na-Young Baek
ENGLISH HORN Andrew Adelson
BASS Paul Harris, Principal, The Lawrence J. Tamburri Chair Frank Lomolino, Assistant Principal Jonathan Storck, The Tray and Maris Davis Chair David Rosi Joseph Campagna
PICCOLO Kathleen Nester OBOE Robert Ingliss, Principal, The Arthur E. Walters and Marjory S. Walters Chair Andrew Adelson
CLARINET Karl Herman, Principal, The Roy and Diana Vagelos Chair Andrew Lamy E-FLAT CLARINET Andrew Lamy BASSOON Robert Wagner, Principal, The Charlotte and Morris Tanenbaum Chair Mark Timmerman
HORN Lucinda-Lewis, Principal Andrea Menousek Chris Komer Susan Standley TRUMPET Garth Greenup, Principal Christopher Stingle David Larson TROMBONE Charles Baker, Principal Vernon Post Vincent Belford TUBA Derek Fenstermacher, Principal, Anonymously Endowed Chair TIMPANI Randall Hicks, Principal, The Mia and Victor Parsonnet Chair PERCUSSION David Fein, Principal PERSONNEL James Neglia, Manager Naomi Youngstein, Assistant Manager LIBRARIAN Ann Kossakowski • Leave of Absence
The NJSO uses a system of string rotation. In each string section, members are listed in order of seniority. The musicians and librarians employed by the New Jersey Symphony Orchestra are members of the American Federation of Musicians of the United States and Canada.
Fri, February 14, 2014 at 8pm
Peter Nero performing Music of the Heart with Bassist, Michael Barnett
“Mountain Greenery” “Memory” “Night and Day” “Obla-di Obla-da” Variations “Phantom Phantasy” “Summer of ’42” “All the Things You Are” Variations on “I Got Rhythm”
Rodgers/Mozart A. L. Weber Cole Porter Beatles/Nero A.L. Weber M. LeGrand J. Kern Gershwin/Rachmaninoff/ Beethoven/ Liszt/Mozart/Prokofiev —Intermission—
“Scratch My Bach” “Send in the Clowns” West Side Story Suite
P. Nero S. Sondheim L. Bernstein
About the Artist Peter Nero This year marks the 50th anniversary of the birth of Peter Nero’s recording career, which eventually produced 67 recordings. In 1960 he was signed to a three-year contract with RCA Victor records, which was then renewed for another five years, producing more than 26 LPs, including Gershwin’s Rhapsody in Blue and Piano Concerto in F with Arthur Fiedler and the Boston Pops. The following year, he was honored with his first Grammy® Award, as Best New Artist of the Year. In January 2013, pianist and conductor Nero was awarded a Certificate by the President of the Philadelphia City Council honoring his outstanding lifetime musical achievements, and recognizing his innumerable contributions to arts and culture in Philadelphia as an award-winning pianist and the founding conductor and Artistic Director of the world renowned Peter Nero and the Philly POPS orchestra. “If the perfect pops conductor could be conjured...he might answer to this description,” wrote Philadelphia Inquirer music critic Peter Dobrin: “Huge talent with polymath abilities and catholic tastes. Musician who actually enjoys giving audiences what they want. Plays piano like a dream....[H]e might look something like Peter Nero.” “Peter Nero is, of course, known for his piano playing, covering a range from classical concert repertoire to straight-ahead jazz. His fingers stretch as far as Art Tatum’s, and he practically knows no limits on the Steinway. He is also a fine conductor... Philadelphia is lucky to have him and his, by now, trademark Philly Pops,” said All About Jazz’s Victor L. Schermer on May 8, 2009. A two-time Grammy® Award-winning pianist, Peter Nero leads his unrivaled Pops orchestra blending classical, swing, Broadway, blues, and jazz—all performed with virtuosity, authenticity, and an inviting sense of humor. The Washington Post has called him “the epitome of the Pops Conductor/Performer.”
One of his greatest achievements is being the founding Music Director of the world renowned Peter Nero and the Philly Pops. On January 27, 2007, Nero joined Rod Stewart from the piano for a performance of “They Can’t Take That Away from Me” at the Academy of Music 150th Anniversary Concert. In addition to his two Grammy® Awards, he has garnered 10 additional nominations and released 68 albums. After his early association with RCA Records, he moved to Columbia Records, which resulted in a million-selling single and album—The Summer of ’42—now available on CD. His recordings over the last 14 years include two CDs with the Philly Pops, Holiday POPS! and Broadway Showstoppers, and three CDs with full symphony orchestra: On My Own, Classic Connections, and My Way. He also recorded Peter Nero and Friends, which contains collaborations with Mel Tormé, Maureen McGovern, and Doc Severinsen, among others. Among Nero’s long list of honors are six honorary doctorates (the most recent from Drexel University in 2004) and the prestigious International Society of Performing Arts Presenters Award for “Excellence in the Arts.” He is also included on two historic walks of fame—one in Philadelphia, and one in Miami, Florida. In 1999, he received the Pennsylvania Distinguished Arts Award, presented by Pennsylvania Governor Tom Ridge. Previous honorees include Marian Anderson, James Michener, Andrew Wyeth, and Riccardo Muti. In February 2009, the Abraham Lincoln Foundation of the Union League of Philadelphia presented Nero with its prestigious Lincoln Award as part of its Lincoln Day 2009 Celebration. The Award is given to persons of distinction who, through their actions, have significantly contributed to the United States of America.
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Sun, February 16, 2014 at 3pm
Haifa Symphony Orchestra of Israel Boguslaw Dawidow, Conductor Roman Rabinovich, Pianist Carl Maria von Weber
Pyotr Ilyich Tchaikovsky
Overture to the opera Euryanthe
Piano Concerto No.1 in B-Flat minor, Op. 23 Roman Rabinovitz, Pianist —Intermission—
Symphony No. 9 in E minor, Op. 95
SPECIAL SUPPORT PROVIDED BY
Anshe Emeth Memorial Temple of New Brunswick
Haifa Sympony Orchestra of Israel
Notes on the Program Overture to Euryanthe CARL MARIA VON WEBER Born November 18, 1786 in Eutin Died June 5, 1826 in London Wagner was not the first composer to conceive of the idea of “Music Drama”—that is, in which all the text is sung and the recitative is so interwoven with the melodic material that a division is no longer discernible. Weber tried this in his opera Euryanthe, but with different results. While Wagner’s operas are still performed today, we usually hear only an occasional aria and the numerous overtures that Weber composed. Weber’s opera Euryanthe, based on a French theme used by several authors (including Shakespeare in Cymbeline), had a cool reception when first produced. This fact troubled Weber considerably, although it might have come about only because the great opera composer Rossini was all the rage at the time and no one could be expected to compete with him. The themes of the Overture are taken from the overture itself; however, the inherent personal conflicts are not represented. Instead, Weber has used those themes to create a dazzling tone painting. After an exciting introduction, the listener is introduced to one of those peculiar strains of melody belonging solely to Weber, which soon gives way to a more rigorous mood. A final, more somber theme is introduced before all is tied up in coda-like manner, returning to its jovial intent. © 1994 Columbia Artists Management Inc.
Piano Concerto No. 1 in B-flat minor, Op. 23 PIOTR ILYICH TCHAIKOVSKY Born May 7, 1840, in Votkinsk, Russia Died November 6, 1893, in St. Petersburg In the winter of 1874, Tchaikovsky presented his newly written First Piano Concerto - one of the best-loved in the repertoire today - to his much admired and trusted senior colleague at the Moscow Conservatory, Nikolay Rubinstein, for an opinion on the work. Tchaikovsky suffered one of the biggest disap-
pointments of his career when, on Christmas Eve, Rubinstein - who had been so supportive of the composer in the past - rejected the concerto with a torrent of scathing criticism, summarily declaring the work ill-composed and unplayable. This unexpected reaction from Rubinstein left the composer totally devastated and sank him into a severe state of depression. Tchaikovsky then sent his concerto to Hans von Bülow, who found it “original, noble and powerful;” on October 25, 1875 Bülow took the concert world by storm when he presented the work in Boston with unprecedented success. After this, Rubinstein reconsidered his position, recognizing the concerto for the masterpiece it is, and added it to his repertoire, playing it quite often throughout Russia. The first movement begins with a lengthy— 106 measure long—introduction marked Allegro non troppo e molto maestoso. At the outset, the horns present a four-note descending motif, punctuated by sharp chords from the rest of the orchestra. The piano then enters with a long series of chords, as the violins play an impassioned theme based on the opening motif. Eventually, the first movement proper, Allegro con spirito, arrives as the piano introduces the main theme with minimal support from the orchestra. One of Rubinstein’s criticisms was that he found this an unseemly theme to ennoble by incorporating it into a piano concerto; the theme is derived from a Ukrainian folksong commonly sung by blind beggars. The somewhat more relaxed and stately second theme begins with an ascending scalar motif and ends with descending leaps. Both themes are subjected to a brilliant double exposition, with the exchange of virtuoso and expressive elements and argumentative tension between soloist and orchestra. The soloist has plentiful occasion to shine with its many ornate and rhapsodic passages and several demanding cadenzas. The contrasting second movement, Andantino semplice, takes the form of a scherzo, but in reverse - instead of the normal fast-slower-fast pattern, a soulful episode surrounds a jaunty middle section. It begins with a tender love theme played by a solo flute against pizzicato
Sun, February 16, 2014 at 3pm
strings, and then taken over by the piano. After a contrasting phrase is heard, the oboe once again takes the main melody. Then the piano embarks on a frolicsome scherzando episode marked Allegro vivace assai. Although it does so at first by itself, soon the violas and cellos join in with a melody of their own - the French song Il faut s’amuser, danser et rire (“One must have fun, dance and laugh”) which was a favorite of Désirée Artôt, to whom the composer was briefly engaged. After an ingenious reference to the first movement’s second theme, the soloist plays a short cadenza that leads into the main love theme once again to conclude the movement. The last movement, Allegro con fuoco, is built upon a rondo structure with elements of sonata form. After a few introductory measures from the orchestra, the piano presents the main recurring theme; this assertive mazurka-like theme is derived from yet another Ukrainian folksong. Two other subjects come into play here: one is of great significance and bears a syncopated dance rhythm; the other is of a
subsidiary nature and gentler in character. The two principal themes are freshly emphasized within a different context each time they are repeated. At the coda, now in the major key, the subsidiary theme finally attains its full import. Then, with minimal intervention from the orchestra and in a flurry of virtuoso playing, the piano rushes to the work’s exhilarating conclusion. © 1994 Columbia Artists Management Inc.
Symphony No. 9 in E minor, Op. 95 (“From the New World”) ANTONÍN DVOřÁK Born September 8, 1841, in Nelahozeves, near Kralupy Died May 1, 1904, in Prague Dvořák wrote his Symphony in E minor, Op. 95 in 1893; it was subtitled “From the New World.” In explaining this subtitle, the composer stated that it signified “Impressions and Greetings from the New World.” While various American musical influences are in evidence in the Ninth Symphony, it remains, nonetheless, fundamentally Czech music.
Haifa Sympony Orchestra of Israel
Dvořák himself attested to this fact as he stated, “The influence of American music can be felt by anyone who has a nose”; yet in his own estimation, the symphony remained “genuine Bohemian music.” Dvořák listened to Black spirituals and Native American music with much interest, and regarding American influences in this Symphony the composer stated in an interview in the New York Herald when the work was about to be performed for the first time: “...I found that the music of the Negroes and of the Indians was practically identical. I therefore studied a certain number of Indian melodies that a friend gave me, and became thoroughly imbued with their characteristics—with their spirit in fact. It is this spirit which I have tried to reproduce in my new symphony. I have simply written original themes embodying the peculiarities of the Indian music, and using these themes as subjects, have developed them with all the resources of modern rhythm, harmony, counterpoint and orchestral color. He also stated in the article that the second movement was “in reality a study, or sketch, for a longer work, either a cantata or an opera which I purpose [sic] writing and which will be based on Longfellow’s Hiawatha....The scherzo of the symphony was suggested by the scene at the feast in Hiawatha where the Indians dance, and is also an essay which I made in the direction of imparting the local color of Indian character to music.” Dvořák Ninth Symphony opens with an Adagio introduction wherein the violas, cellos and horns foreshadow the first part of the main theme of the Allegro molto. The main theme enters a half a dozen bars later, presented by the horns in unison. It has a jaunty character, with the presence of syncopated rhythms and, although in the key of E minor, is heavily colored with the tones of a pentatonic scale. Several restatements of the theme occur with changing orchestrations and keys leading to the second theme, in G minor, presented first by the flute and then taken up by the violins. The second theme is remarkable on account of its more than casual resemblance to the melody of the Spiritual, “Swing Low, Sweet Chariot.”
The second movement, Largo, is perhaps one of the most celebrated movements in the symphonic repertoire. It opens with a feeling of solemnity, provided most aptly by the timbres of the brass and low woodwinds. The principal theme, an elegiac melody for the English horn, is supported by underlying harmonies in the strings. One cannot help but hear certain plaintiveness, perhaps the melancholy of homesickness, in the hauntingly beautiful melody. There follows an episode which presents two subsidiary ideas: first, a slightly faster theme taken up by the flute and oboe over pizzicato basses and finally, the oboe breaking the subdued spell of the movement thus far with a bucolic tune. Dvořák ends the movement with a return to the main English horn melody and it ends as it had begun, contemplatively, with a few quiet chords. The third movement, Scherzo, has the character of a ritual Indian dance. The flute and oboe present the lively, rhythmic main theme, with its interplay of duple and triple groupings, answered by the clarinet. The same instruments introduce the flowing second theme. After the return of the first theme, a transitional passage leads to the Trio section. This section contains two spirited Trios, the first in E major and the second in C major. They both have a rustic charming quality with exchanges of trills between the strings and woodwinds. A repeat of the Scherzo section follows which leads directly to the coda which reintroduces the principal theme of the first movement in the horns and then fades out. The Finale begins with a fanfare of horns and trumpets presenting the principal theme against fortissimo chords for the orchestra. This eventually gives way to a dancing triplet theme heard in the violins. There follows a clarinet solo presenting a Romantic melody set against tremolo in the strings. Variants of themes from earlier movements are then interwoven with this material which culminates with the reappearance of the Largo movement’s opening chords. In the final coda, a tremendous climax is reached, Dvořák presenting in combination the opening themes of the first and last movements in the major key and scored for the
Sun, February 16, 2014 at 3pm
brass. The effect creates an astringent harmony and a most brilliant ending to this monumental symphony. © 1994 Columbia Artists Management Inc.
About the Aritsts BOGUSLAW DAWIDOW, Principal Guest Conductor Internationally renowned for his musical knowledge, immense enthusiasm, and extraordinarily charismatic stage presence, Maestro Dawidow is a “... conductor of a great stature,musically speaking, with a clear beat and marvelous rapport with the Orchestra...produced a truly magnificent Viennese sound... with romance and humor in hand... ”(Gazzette –USA); with “...[as] precise and clear baton techniqueas we’ve ever seen...”(The Washington Times) and “ ...a great Slavic soul...”(Wiener Zeitung). Maestro Dawidow served as the General and Music Director of the Opole Philharmonic of Poland from his appointment in September 1999 until 2012. Maestro Dawidow was highly involved in forming the artistic shape and raising the international stature of the Opole Philharmonic in his capacities as both Music Director and General Director of the Philharmonic. In 2010 Maestro Dawidow received the title of Professor honoris causa. Since 2008 he has been represented by Columbia Artists Management Inc. Born in Sopot, Poland, Maestro Dawidow studied conducting under Bohdan Wodiczko in Warsaw and Krzysztof Missonain Krakow, later continuing his conducting studies in Vienna and Italy. The most significant influence on his musical personality came from the legendary composer and conductor Leonard Bernstein. In the 1980s Maestro Dawidow founded the Chopin Chamber Orchestra in Krakow, Poland, with which he toured throughout Europe and South Americain 2009 and 2011. From 1991 to 1995 Maestro Dawidow was a resident conductor of the Polish Chamber Philharmonic Orchestra, touring with them around Europe in 1993, 1994, and 1995 as
Haifa Sympony Orchestra of Israel
well as recording almost 20 CDs. From 1994 to2002 he served as Artistic Director and Principal Conductor of the Russian National Academic Symphony Orchestra in Tomsk –one of Russia’s oldest orchestras, having been established in 1879.They have toured extensively around Europe in 1995, 1996, 1997, and 1999 as well as in China in 1997,1998, and 1999. Maestro Dawidow has cooperated on a regular basis with other orchestras and opera institutions around the world in such places as Paris, Vienna, Berlin, Rome, Zürich, Moscow, London, Haifa, Leningrad, Buenos Aires, São Paulo, Mexico, U.S., and in the Far East–in Seoul, Beijing, Hong Kong, and Shanghai. Maestro Dawidow, with his Opole Philharmonic, has conducted a number of very successful concerts in Vienna, at the Musikverein’s Golden Hall in 2008, 2009, and 2010. He also took the Opole Philharmonic Symphony Orchestra on numerous tours through Europe, with stops in Austria, France, Luxembourg, Holland, Belgium, Italy, and Germany, as well as on two far-reaching tours through China in 2004, 2005, and 2006. There were also two tours through South America in 2009 and 2011. In 2011 Maestro Dawidow and the Opole Philharmonic Orchestra performed an outstandingly successful U.S. concert tour organized by Columbia Artists Management Inc., embracing 46 concerts in 19 states—one of the longest tours by any European orchestra. The concert tour received critical acclaim and a great public reception. Apart from numerous archive audio and TV recordings, Dawidow has also made many CD recordings, including recordings of the Brahms Symphonic Cycle and works by Tchaikovsky, Szymanowski and Elsner, recorded in recent years with the Opole Philharmonic. Because of his exceptional musical talents, wide range of musical experience and management skills, in 2002 the American Biographical Institute in New York bestowed Maestro Dawidow with the title “Man of the Year” in honor of his musical accomplishments on both sides of the Atlantic and extending to the Far East
and Africa. ROMAN RABINOVICH, Pianist The Israeli pianist Roman Rabinovich, “whose mature, self-assured playing belies his chronological age” (San Francisco Classical Voice) is the top prize winner and four additional prizes at the 2008 Arthur Rubinstein International Piano Master Competition and the 1st prize at the 2007 Animato Competition. Since his Israel Philharmonic debut under the button of Zubin Mehta at age ten, Rabinovich has performed as a soloist with most of Israeli orchestras, Ensemble Orchestral de Paris, Buffalo Philharmonic, Ann Arbor Symphony, Delaware Symphony, Dohnanyi Orchestra, and many other orchestras and was praised for the “vivacity and virtuosity” and “the impeccable clarity of execution”. He has performed throughout Europe and USA in such prestigious venues as Lucerne Festival, Davos Festival, Leipzig’s Gewandhaus, Wigmore Hall, Carnegie’s Weill, and Zankel Halls as well as Great Hall of Moscow Conservatory and Millennium Stage at the Kennedy Center. In 2009 the French TV channel Mezzo has recorded his recital and since it has been broadcasted in numerous countries in Europe and Asia. Rabinovich is also an avid chamber musician and his partners have included Daniel Hope, Ralph Kirshbaum and Miriam Fried. Rabinovich has recently recorded ballets by Ravel, Prokofiev and Stravinsky for the Orchid Classics label. Rabinovich also excels as a gifted artist. He often combines his concerts with exhibitions of his paintings. His artwork can be viewed on his website at www.romanrabinovich.net Rabinovich has received financial support from Zfunot Tarbut, Ronen and Rich Foundations, as well as scholarships from the America-Israel Cultural Foundation.
Sun, February 16, 2014 at 3pm
Haifa Symphony Orchestra of Israel Zhong Zu, Music Director Boguslaw Dawidow, Principal Guest Conductor Roman Rabinovich, Piano Soloist ORCHESTRA PERSONNEL FIRST VIOLINS Elia Shulman Concert Master Michael Yanovsky Assistant Principal Ruti Bron Gal Eckstein Raanan Elefant Ilaria Lanzoni Ksenia Matukhnov Judith Picker-Saiet Boris Polinovsky Miriam Rapaport Amir Samsonov Vladimir Shmulenson Edith Shulman Milan Todorovich SECOND VIOLINS Cesare Zanfini Principal Mark Zeiger Assistant Principal Polina Bukin Larissa Ginzburg Alexander Gourvich Victor Jacob Hanan Levin Marian Rapaport Noga Ana Maria Mihaes Abramovith Yedidia Schwartz Yana Yout Irena Zatz
COLUMBIA ARTISTS MANAGEMENT LLC. 5 Columbus Circle New York, NY 10019 Andrew S. Grossman Senior Vice President & Senior Producer W. Seton Ijams Vice President
VIOLAS Victor Khristosov Principal Lev Kisilev Assistant Principal Nahum Korenblit Liora Kosov Nina Loeterman Alexander Nadelson Beate Prugel Dor Sperber Sergei Vasilchenko CELLOS Alexander Kotlyar Principal Lev Matiukov Assistant Principal Vladimir Dvorkin Dani Goren Eduard Kaplansy Tatiana Kaplansky Zygmunt Marek Karwowski Igor Tankevich BASSES Andrzej Wlodzimierz Szajda Principal Eli Kosov Janusz Lizon Sergei Narinsky Arie Roitman
FLUTES/PICCOLO Rotem Bartan Elisabet Franch Monocunill Anat Nazarathy
TRUMPETS Naum Birman Principal Erez Hudera Armen Aslanyan
OBOES Mori Silvia Principal Arielle Alvarez-Pereyre
TROMBONES Denis Vull Principal Erik Vull Greg Vull
ENGLISH HORN Arielle Alvarez-Pereyre CLARINETS Jeffrey Howard Principal Ira Goyfeld
TIMPANI David Zien Principal
BASS CLARINET Ira Goyfeld BASSOONS Noga Yeshurun Principal Jomart Ospanov HORNS Anatoly Rozenfeld Principal Gregory Bukin Jay Jackler Yuriy Krimshtein
LIBRARIAN Zvi Grizotzky GENERAL MANAGER Motti Eines STAGE MANAGERS Anatoly Rozenfeld Sergei Vasilchenko
TUBA Alexander Chutko
PERCUSSION Eldad Shiloah Principal Yana Krichevsky Ofer Malka/ Joshua Haggerty / Hannah Neman GUITAR Uri Jacob
ORCHESTRA COORDINATOR Grigori Bukin ADMINISTRATIVE MANAGER Dina G. Meitner Doron LOGISTICS COORDINATOR Offer Malka
Mon, February 17, 2014
Hub City Spectacular by Big Apple Circus
Hub City Spectacular
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About the Big Apple Circus Conceived and founded by Paul Binder to be a leading presenter of live family entertainment and a not-for-profit performing arts institution, the Big Apple Circus’ nation-wide performances and community programs have made their 34-year history far-reaching and full. It all began in Kent, England, in 1974, when American entertainers Paul Binder and Big Apple Circus co-founder Michael Christensen became juggling partners and took to the street corners of Europe.
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Their comedic juggling act was a hit, and they soon found themselves on the stage of the prestigious Nouveau Cirque de Paris. They returned home to America in 1976 with a vision: to entertain and improve the lives of millions. One year later, they found a site for the first tent-raising in Battery Park, New York, and went on to create the award-winning, not-for-profit Big Apple Circus.
Tue, February 18, 2014 at 8pm
Alton Brown Live! Edible Inevitable Tour
Alton Brown Live
About the Artist Alton Brown’s flair in the kitchen developed early with guidance from his mother and grandmother, a budding culinary talent he skillfully used later “as a way to get dates” in college. Switching gears as an adult, Brown spent a decade working as a cinematographer and video director, but realized that he spent all his time between shoots watching cooking shows, which he found to be dull and uninformative. Convinced that he could do better, Brown left the film business and moved to Vermont to train a t the New England Culinary Institute. Soon after, in 1999, Alton reinvented the food show Good Eats, a smart and entertaining food show that with pop culture, and science with common sense. Brown has
also served as the culinary commentator of Iron Chef America for 11 seasons, and hosted Next Iron Chef for five. In 2012, he joined the cast of Food Network Star as a mentor. Brown took home the James Beard Award for top food show host in 2011 and the medal bookends match nicely with the one his first book nabbed in 2002. Speaking of books, he’s written seven, the last three of which made the New York Times Best Sellers List. Tonight promises to be an eventful evening of stand-up comedy, talks show antics, multimedia lecture, live music,and food experimentation. Be prepared. Audience participation is guaranteed. Ponchos will be involved.
Thu, February 20, 2014 at 8pm
About the Artist
For A Girl Like You.”
With 10 multi-platinum albums and 16 Top 30 hits, Foreigner is universally hailed as one of the most popular rock acts in the world with a formidable musical arsenal that continues to propel sold-out tours and album sales, now exceeding 75 million. Responsible for some of rock and roll’s most enduring anthems including “Juke Box Hero,” “Feels Like The First Time,” “Urgent,” Head Games,” “Say You Will,” “Dirty White Boy,” “Long, Long Way From Home,” and the worldwide #1 hit, “I Want To Know What Love Is,” Foreigner continues to rock the charts more than 30 years into the game.
The frenetic ride of the original Foreigner incarnation came to a close in 2002, but with much support and encouragement, Jones rallied a newly-charged powerhouse lineup, the core of which remains unchanged more than 10 years later. Mick Jones, with the astonishing Kelly Hansen on vocals, led the group to a reemergence of astounding music that speaks to both hard-core Foreigner fans and younger generations.
At Foreigner’s core is founder and lead guitarist Mick Jones, the visionary maestro whose stylistic songwriting, indelible guitar hooks and multi-layered talents continue to escalate Foreigner’s influence, along with lead vocalist Kelly Hansen, bass guitarist Jeff Pilson, and multi-instrumentalist Tom Gimbel. Founded in 1976, Foreigner’s debut album produced the hits “Feels Like The First Time,” “Cold As Ice,” and “Long, Long Way From Home.” The album Double Vision followed, as did a string of hits like “Urgent,” “Juke Box Hero,” and “Waiting For A Girl Like You.” Those songs helped give Foreigner’s next album, 4, its impressive run at #1 on the Billboard chart. At the zenith of 80’s sound, Foreigner’s fifth album, Agent Provocateur, gave the world the incredible #1 global hit, “I Want To Know What Love Is.” This musical milestone followed the record-breaking song “Waiting
With renewed energy and direction, Foreigner released Can’t Slow Down in 2009, which entered the Billboard chart in the Top 30 and had great success on radio with two Top 20 singles. To follow was the release of the band’s 3-disc set, Feels Like The First Time, which included an acoustic CD with an intimate and unique re-interpretation of many Foreigner classics, studio re-records by the new lineup and a live performance DVD showcasing the group’s exceptional live energy. In 2012, Foreigner experienced another surge in popularity when several of their hits were featured on the Rock Of Ages soundtrack, including “I Want To Know What Love Is,” “Juke Box Hero,” and “Waiting For A Girl Like You”—more songs than any other one band on the soundtrack. Hollywood quickly took note, and several more tracks were featured in hit films Magic Mike and Pitch Perfect, sending Foreigner downloads up 400%, with their catalog outselling The Eagles, Def Leppard, Tom Petty, and The Who this year. In February 2013, Mick Jones was inducted to the Songwriters Hall Of Fame. A multi-talented and multi-dimensional “musician’s musician,” Jones has also written songs such as “Bad Love” with Eric Clapton and “Dreamer” with Ozzy Osbourne, and produced records for others including Billy Joel’s Storm Front and Van Halen’s 5150. A Grammy® and Golden Globe®-nominated songwriter, Jones is the winner of the prestigious British Ivor Novello Songwriter Award for “The Flame Still Burns,” the soundtrack music for the film Still Crazy.
State Theatre offers sincere thanks to
for its generous support of the State Theatre and Glen Burtnik & Friends.
PHOTO BY GINA HYAMS
Sat, February 22, 2014 at 8pm
Glen Burtnik and Friends British Invasion 3
Glen Burtnik & Friends
About the Artist
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GLEN BURTNIK Born in 1955, growing up in Somerset, NJ, visiting the State Theatre, watching the 1960s unfold before his eyes on the big screen, Glen Burtnik grew up to write #1 hits for Randy Travis, Patty Smyth, and Don Henley. Burtnik also penned songs for John Waite, Jodee Messina, and Beth Hart, among others. He has appeared on albums by Meat Loaf, Styx, and Celine Dion and has shared the stage with Bruce Springsteen and Jon Bon Jovi. His solo career began on A&M Records in the late 1980’s. Burtnik continues to write and release his own solo recordings, most recently “The Trouble with Sally” and “Baby Cinderella Monkeyshine” available on CDBaby and iTunes. Burtnik has been one of the most respected performers of Beatles music for over 30 years. After portraying the role of Paul McCartney in the Broadway hit show Beatlemania, he went on to spend two years with RAIN: The Ultimate Beatles Experience. He appears annually at the legendary “Fest For Beatles Fans” conventions and occasionally with The Fab Faux. Burtnik has been a member of prominent classic rock bands Styx and Electric Light Orchestra.
Sun, February 23, 2014 at 5pm
Ladysmith Black Mambazo
Ladysmith Black Mambazo
About the Artist In 2014, Ladysmith Black Mambazo, the South African a cappella group formed by Joseph Shabalala, celebrates over 50 years of joyous and uplifting music. Within the group’s singing are the intricate rhythms and harmonies of their native South African musical traditions. In those 50 plus years the group has created a musical and spiritual message that has touched a worldwide audience. Their singing efforts have garnered praise and accolades from a wide body of people, organizations, and countries. This year, the group releases their newest CD, Always With Us. The new recording is a tribute to group and Shabalala family matriarch, Nellie Shabalala, Joseph Shabalala’s wife who passed away in 2002. Always With Us is a collection of songs Nellie recorded with her church choir in 2001. As well, Ladysmith Black Mambazo’s 2013 CD, Live: Singing For Peace Around The World
has been nominated for a Grammy® Award as Best World Music Album for 2013. This is the most recent addition to their illustrious Grammy® Award history, now numbering 15 nominations. The winner of the Grammy® Award will be announced January 26, 2014. Prior to this nomination, the group had been awarded three Grammy® Awards, having won prior in 1988 for Shaka Zulu, 2004 for Raise Your Spirit Higher and 2009 for Ilembe. Ladysmith Black Mambazo, South Africa’s “Cultural Ambassadors to the World,” were assembled in the early 1960s in South Africa by Joseph Shabalala, then a young farmboy turned factory worker. Ladysmith is the name of Joseph’s hometown, a small farming area between Durban and Johannesburg; Black being a reference to the oxen, the strongest of all farm animals; and Mambazo, the Zulu word for chopping axe, a symbol of the group’s ability to “chop down” any singing rival who might challenge them. Their collective voices were so tight and their harmonies so polished that by the end of the 1960’s they were banned from competitions, although they were welcome to participate as entertainers. The group sings from a traditional music called isicathamiya (is-cot-a-ME-Ya), which developed in the mines of South Africa, where black workers were taken by rail to work far away from their homes and their families. Poorly housed and paid worse, the mine workers would entertain themselves after a six-day week by singing songs into the wee hours on Sunday morning. When the miners returned to the homelands, this musical tradition returned with them. During the 1970s Ladysmith Black Mambazo established themselves as the most successful singing group in South Africa. In the mid-1980s, Paul Simon visited South Africa and incorporated the group’s rich tenor/ alto/bass harmonies into his famous Graceland album—a landmark recording that was considered seminal in introducing world music to mainstream audiences.
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In addition to their work with Paul Simon, Ladysmith Black Mambazo has recorded with numerous artists, including Stevie Wonder, Dolly Parton, Sarah McLachlan, Josh Groban, Emmylou Harris, Melissa Etheridge, and many others. They have provided film soundtrack material for Disney’s The Lion King, Part II as well as Eddie Murphy’s Coming To America, Marlon Brando’s A Dry White Season, James Earl Jones’ Cry The Beloved Country, and Clint Eastwood’s Invictus. A film documentary titled On Tip Toe: Gentle Steps to Freedom, the Story of Ladysmith Black Mambazo, was nominated for an Academy Award. They have even appeared on Broadway and have been nominated for Tony® Awards. As we all know the father of their nation, Nelson Mandela, passed away on December 5, 2013. His death, while terribly sad, brings a celebration for a life and message that Lady-
smith Black Mambazo has been connected with for many years, a message of Peace, Love, and Harmony. Nelson Mandela, who bestowed on the group the title of “South African Cultural Ambassadors to the World” asked the group to join him on his trip to Oslo, Norway, in 1993, when he was awarded the Nobel Peace Prize. As well, when Mandela was inaugurated as the country’s first black President, he asked the group to perform at the celebration. Ladysmith Black Mambazo carries the message of Peace, Love, and Harmony as they travel the world year after year. They bring this message, in song, to every theater they perform in. We hope you will join them as they sing their message from South Africa.
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About the Artist EILEEN IVERS will change the way you think about the violin. Grammy® awarded, Emmy® nominated, London Symphony Orchestra, Boston Pops, guest starred with over 40 orchestras, original musical star of Riverdance, nine time all-Ireland Fiddle Champion, Sting, Hall and Oates, The Chieftains, ‘Fiddlers 3’ with Nadja SalernoSonnenberg and Regina Carter, Patti Smith, Al Di Meola, Steve Gadd, founding member of Cherish the Ladies, movie soundtracks including Gangs of New York, performed for presidents and royalty worldwide…this is a short list of accomplishments, headliners, tours, and affiliations. Fiddler Eileen Ivers has established herself as the pre-eminent exponent of the Irish fiddle in the world today. It is a rare and select grade of spectacular artists whose work is so boldly imaginative and clearly virtuosic that it alters the medium. It has been said that the task of respectfully exploring the traditions and progression of the Celtic fiddle is quite literally on Ivers’ shoulders. The Washington Post states, “She suggests the future of the Celtic fiddle.” She’s been called a “sensation” by Billboard magazine and “the Jimi Hendrix of the violin” by The New York Times. “She electrifies the crowd with a dazzling show of virtuoso playing” says The Irish Times. Ivers’ recording credits include over 80 contemporary and traditional albums and numerous movie scores. Ivers is hailed as one of the great innovators and pioneers in the Celtic and World music genres. The daughter of Irish immigrants, Ivers grew up in the culturally diverse neighborhood of the Bronx, New York. Rooted in Irish traditional music since the age of eight, Ivers proceeded to win nine all-Ireland fiddle championships, a tenth on tenor banjo and over 30 championship medals, making her one of the most awarded persons ever to compete in these prestigious competitions. More of Ivers’ overwhelming audience and critical response can be read at www.eileenivers.com.
TOMMY MCDONNELL (vocalist, percussion) Bronx, New York native McDonnell is an inspired vocalist who has been performing professionally since the age of 15. The son of a carpenter and professional actress/singer/dancer, McDonnell brings a deeply soulful aspect to the multidimensional thrust of the Eileen Ivers & Immigrant Soul. McDonnell played drums until 1988, when he decided to embark on a singing career. He has appeared as a featured performer in Universal Pictures Blues Brothers 2000, on The Late Show with David Letterman with Dr. John, and on SNL and The Super Bowl with the Blues Brothers. McDonnell has also shared the stage with such greats as B.B. King, James Brown, Eric Clapton, Lou Rawls, Isaac Hayes, Wilson Picket, to name a few, and was a member of the “ORIGINAL Blues Brothers Band” with Dan Aykroyd, John Goodman, and a host of music legends. BUDDY CONNOLLY (accordion, whistles, keyboards) Three time all-Ireland accordion champion Buddy Connolly hails from Newark, New Jersey with parents from Clare and Galway in Ireland. Connolly’s credits the teaching of button box master John Whelan for that individual success and the late Martin Mulvihill for numerous titles in other group categories. Some influential players during those formative years were New York City’s best-John Nolan, Joanie Madden, Mike Rafferty, and Eileen Ivers. As a freelance musician, Connolly was soon touring all over the USA with many bands. In 1995, he moved to Nashville and was introduced to bluegrass, Cajun, and country music. There were worldwide gigs/recordings with the likes of Tim O’Brien, Kathy Mattea, Rodney Crowell, Christian rockers Ceili Rain, Orleans, Matt Molloy (Chieftains), Joel Sonnier, and many others. Since 2001, Buddy has resided in Morris County, New Jersey with wife Joanna and their three children. GREG ANDERSON (guitar, backing vocals) Multi-instrumentalist and producer Greg Anderson hails from the musical melting pot of New York City. Anderson has performed and recorded with a wide variety of international
Fri, February 28, 2014 at 8pm
artists in an even wider variety of musical genres. A mainstay in the folk and traditional music worlds, he has performed with (among others) Cathie Ryan, Susan McKeown, Richard Shindell, Tommy Sands, Seán Tyrrell, and Steeleye Span fiddler Peter Knight. He has also worked with many artists in rock, jazz, and contemporary music, having played bass for the avant-rock group Doctor Nerve, with whom he has recorded and toured throughout the world, and also with The Klezmatics, accompanying them on tours of Itzhak Perlman’s In The Fiddler’s House. He also cofounded the NYC celtic-jazz fusion group Whirligig. As a producer, he is a recognized expert at the blending of traditional music with contemporary sounds and production values, and has produced albums for Richard Shindell, Eamon O’Tuama, The Klezmatics, Whirligig, Patrick Mangan, and James Keane, among many others. LINDSEY HORNER (upright and electric bass) Bassist Lindsey Horner is one of the more versatile musicians in jazz and modern music. He has most often been heard with mu-
sicians on the cutting edge recording and performing with artists such as Greg Osby, Bill Frisell, Bobby Previte, Dave Douglas, Don Byron, and Muhal Richard Abrams, to name but a few. He inhabits that unique area where jazz, folk, Celtic, and classical music overlap and he is as at home playing improvised music as he is in the orchestra pit of the dozens of Broadway shows he has been a part of from the Lion King to Tommy. He has produced five recordings with the most recent being one of his own music as a leader entitled Undiscovered Country and features Irish music legend Andy Irvine on two tracks. He was also a member of the co-operative group, Jewels and Binoculars, which focused on improvised takes of the music of Bob Dylan. Their final recording, Ships with Tattooed Sails, found its way onto many critics’ “Best of the Year” lists. He also has deep roots in Irish music having toured and recorded extensively with singer/songwriter Susan McKeown, Scottish fiddle master Johnny Cunningham and he is thrilled to be making music with Eileen Ivers and Immigrant Soul.
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Gifts to the State Theatre The State Theatre, a nonprofit organization, is deeply grateful to the many individual, corporate, and foundation donors to our Annual Giving program from 1/17/13 – 1/17/14. Their support enables us to continue to bring the finest artists and provide nationally recognized arts education programs to 31,000 children annually. To find out more about opportunities to support the State Theatre, contact Linda Van Derveer, Director of Major Gifts, at 732-247-7200, ext. 594 or firstname.lastname@example.org.
Corporate and Foundation Support $100,000 + The Blanche & Irving Laurie Foundation Johnson & Johnson Family of Companies New Jersey State Council on the Arts The J. Seward Johnson, Sr. Charitable Trusts The Star-Ledger $50,000 + Magic 98.3 Robert Wood Johnson Foundation The Heldrich
$25,000 + The Horizon Foundation for New Jersey Investors Bank Karma Foundation United Airlines $10,000 + Bank of America Colgate-Palmolive Community Foundation of New Jersey Financial Resources Federal Credit Union Frank & Lydia Bergen Foundation The Hyde and Watson Foundation Ingredion Incorporated Magyar Bank
MetLife Foundation Miller's Rentals New Brunswick Parking Authority New England Foundation for the Arts The Princeton Packet TD Charitable Foundation Thomas and Agnes Carvel Foundation Wells Fargo $5,000 + The Provident Bank Foundation $2,500 + Credit Suisse Great-West Financial Robert's Florals
Chairman’s Council Visionary Circle ($25,000+) Mr. and Mrs. Robert E. Campbell Louis and Sharon Cyktor Carolyn and Dave Horn Mr. and Mrs. Andrew J. Markey Michael Wagner and Caryl Mackin-Wagner
Diamond Circle ($10,000+) Ann and Lou Asbaty Henry and Lisa Bignell Mr. and Mrs. Omar Boraie Andrew Chen and Heidi Mass Doug and Diane Garback ~ The Garback Agency
Mr. and Mrs. John A. McCrane Dave Retcher Peter and Maggie Stavrianidis Ralph W. Voorhees [1926-2013] Donna and Jack Walcott Warren and Wendy Zimmerman
Gold Circle ($3,000+) Campbell Family Foundation E & G Foundation, In Memory of George W. & Edith H. DeVoe Mr. and Mrs. John Fischer Thomas and Annette Griffoul Ms. Eileen Harkins Mr. and Mrs. Edward J. Hartnett Robert Wood Johnson 1962 Charitable Trust Stephen K. Jones Mr. and Mrs. Bradley Korbel Charles and Ruth Larsson Barbara and Len Littman Andrew and Pamela Lovasz Mr. and Mrs. Duncan L. MacMillan Ron and Lisa Rapolas Salvatore J. and Bernice A. Romano Sharon Levine and Bruce Samuels Ms. Robin E. Suydam and Mr. Paul Corkery
Silver Circle ($2,000+) Joan A. Appelson Joseph and Xenia Balabkins Bryan Baugh Mark and Valerie Berkowitz Gil Blitz Mr. and Mrs. Robert J. Ciatto Susan and Steven Darien David and Jeanine DeFreese Russell and Stephanie Deyo Henry A. Dombrowski Matthew and Liz Drucker Jeff and Janine Erickson John and Jeanne Fitzgerald Franklin Mutual Insurance Judd and Carol Hamlin Carol Jefferson Mr. and Mrs. Chris Jensen Toby Lublin Patrick and Mary Ellen Morris Drs. Dean and Karan Newton Rita and David Paszamant Barbara and Richard Reinhardt Rona Solberg Art and Eva Stevens Steven and Peggy Tepper Anne and Robert Wilson
President’s Council Platinum Circle ($5,000+) Isa and Michael Beck Samer and Susan Boraie Stephan DeMicco and Jeanne M. Fox Mr. Efrem B. Dlugacz Scott and Barbra Fergang William and Constance Fortenbaugh Friend of the State Theatre James A. and Elizabeth E. Hance Mr. & Mrs. Timothy W. Harbison Mr. and Mrs. Robert W. Harkins Bill Herman Richard and Larisa Leist Joseph Light Jeff and Theresa Moeller Sherard and Naomi Murphy Kenneth G. and Jennifer J. Osterman Susan and Brent Podlogar Alma Scott
Patronâ€™s Council Guarantor ($1,000+) Anonymous Esta Aranoff Brother International Corporation Dr. Alvin and Joyce Glasgold Michael and Suzanne Lindemann Thomas Oates William and Barbara Rivers Frank Santiago and Dana Farrell Senator Bob Smith and Ellen Smith Mr. Tamas Tamas UFCW Local 464A Frank J. Wilson Benefactor ($500+) Anonymous (3) Aetna Roofing Forp. Madeleine Berk and Corey Weiner Robert and Jane Berry Augustina Bisso Mr. and Mrs. John A. Bradley II Mr. and Mrs. George L. Buchman Richard P. and Joan Burt Joann Camporeale Richard Cianfrone Meryl Conchar Ms. Ruth J. Crawford and Ms. Michelle Gorda Alice A. DeVoe and John Szabo Exceptional Dentistry - Craig Ratner, DMD Robert Fazen The Frazee's Mr. and Mrs. Frizalone Steve and Ann Garvey Mr. and Mrs. Philip G. George Lonnie Gietter Paul and Jeanette Goldman Rowie Gray Shelley and Woody Haiken Todd Harvey Carol Hoagland and Frank Damelio Cynthia Jankech Stanley E. Judson Mr. and Mrs. Robert E. Kahle, Jr. George Kazepis Ann and John Kosco Sidney Kress Bruce Lowenhaupt Dr. Barry H. Lustig Mr. and Mrs. William Lynch Jr. & Family Antonio Machado Joseph F. Marazzo Ann Marie Maroon Charles Marshall Mr. and Mrs. Arthur Martin Stephanie Martin Mr. and Mrs. Daniel McDonnell Michael Graphics, Inc Kevin Mooney Margaret Palermo Ruth Marcus Patt Robert and Joy Pellegrino Lawrence and Mimi Perfetti Russell and Janet Piparo Marion Prager-Aubrecht Anthony and Janis Scelsa & James and Diane Downey George and Jane Schildge Drs. Anthony and Rosanne Scriffignano
David Shushansky Rachel and Michael Silverstein Irving and Claire Sinai Patrick Sinko Peter and Karen Tarricone Angelo J. and Rosalind Valetutto Linda Van Derveer Clarendon and Linda Van Norman Mr. and Mrs. Ronald Weiss & Family Patron ($250+) Anonymous James and Jean Andrews Shelley and Haym Benaroya Richard and Susan Benitz Sandra Bilynsky Mr. and Mrs. Robert Bolanowski Mr. and Mrs. Terrill M. Brenner Mark and Stephanie Carey Lori Dacko Patricia Dewelde, in memory of Miriam Enright Ms. Ilona S. English Erika Lynn Foundation for Autism Emilia Fardman Lian Brooke Farrer Donna Fransen Deborah S. Freedman Bryan and Susan Garruto Mr. and Mrs. Phillip Gauthier Anna Marie and Michael Gewirtz Sharon and Sid Granetz Ms. Margaret Grove, in memory of Barbara Voorhees Robert and Kelsey Hamilton Mr. and Mrs. Hans O. Hansen Jean and Claude Heller Patrick and Ann Marie Hill Irene Hnidj John and Judy Hoffman Mary and Fred Hopke Theodore U. Horger Deborah and Frank Huber Mr. and Mrs. A. Jodidio Mark W. Jones Jerry and Barbara Judin Iris I. Kislin Wayne and Debi Klokis Casimir A. and Christine W. Kulikowski Bernardette S. Larsen Michael and Sara Levine Mr. and Mrs. John Lucs Dr. and Mrs. Joseph Lukacs Deborah Anne and Edward Magaziner Camille and Joseph Mallia Dr. and Mrs. Douglas M. Masi Larry and Pam Mayewski Richard and Joan McCormick Brian McDonnell Anthony Mero Adam Modzelewski Donna Marie Monek Michael and Diane Moskal Tina and Victor Ngai Alan and Kathy Negreann Robert and Ellen Norman On-Tech Consulting Ann O'Rourke Anthony A. Panko Jack and Helga Phillips
Mr. and Mrs. Portnoy Robert C. Provost Ann and Robert Rafano Mr. and Mrs. Joseph Ragonese Sherrie and John Sadlon John & Peggy Scanlon, in memory of Brian P. Scanlon Dr. Peter J. Schroeck and Alexander E. Pichugin Stephan and Leslie Sekulich Robert Stair Lei Sun Marjorie Toth Blanquita B. Valenti Mr. and Mrs. Robert Valentine Allan and Bonnie Warton Bill Conte and Kenny Whitworth Family & Friends ($100+) Anonymous (4) Jeffrey and Gail Aaron David Adams Atiya Aftab Bill and Nancy Ainslie Jane Anderson Marie and Tom Andreano James and Jean Andrews Dr. Robert Andrews Mr. Michael C. Bagarozza Barbara Baier Lawrence and Nancy Bailey Cheryl Barber Glenn Bell and Kathleen Love Patricia and George Bernet Mrs. Charlotte Biczi Albert and Mildred Bieber Mr. and Mrs. Lewis M. Bloom Barbara Boland Krystyna Borysewicz John A. Boughtwood Linda Bradley Gary and Janice Broder Dr. and Mrs. Jerry Brown Matthew Brown Joseph and Christina Bulman Eileen Carney Deborah Carr Mindy and David Carton Castellanos Family Nichole Chobin Laura A. Cisar and Robert Gowin Dr. and Mrs. James Cline Paul Coffey Elizabeth Columbo Mike Contay Richard Cooke George Copeland Kevin Corcoran Bruce and Robin Corini Susan Cort Gloria P. Cowherd Margaret Curry Karen d'Alessandro Kristine Dalrymple Fred and Vivian Daniel Victor and Sandy Dizengoff James Dolan Robert Dour John and Barbara Duffy Jeanne Egan and Nancey Kalletta Mr. and Mrs. Allan Ellis Lois and Mort Farrah
Patronâ€™s Council John Fedors, Jr. Lenore and Harvey Feldman Richard Feldman Mr. J. J. Ferraro Lori and Bob Fink Barbara Fisk James and Diana Flaherty James and Lucinda Florio Stephen Foley and Elisabeth Kaplan Stuart and Joane Fox, in honor of William Herman Bonnie and Sheldon Freidenreich Leonard P. and Lois J. Fromer III Esther George Arlene Gerencser Ron Germano John E. Gerometta Craig Glaser Warren Gooderman Jason Goodman Marjorie and Deborah Gourley, in memory of Herbert G. Stolzer Gilbert Grant Iris and Jeff Green Kenneth Greene Bob and Janice Grossman Raymond and Joyce Hanson Mr. and Mrs. Robert Hartmaier, Jr. Phyllis and Sal Lucille C. Heller Joy and Stanley Ho Laurel J. Hook David and Jan Houtman Ms. Barbara Howard Harry, Kathy, and Kara Hudson Janet and David Iacovone Frank and Susan Iuliano Mr. and Mrs. William R. Jenkins Kathleen and Albert Johnson Mr. Vincent Jule, Jr. Lola Kamp, in honor of Adelaide Zagoren and Ruth Marcus Patt Robert Karabin Dr. Basil and Katherine Kasimis Dr. and Mrs. Melvin Katz Joan E. Kautsky Susan and Brian Kheel Kim Kleasen and Glenn Thomas Alina V. Klein Ervin and Juliet Klein Frederic and Cynthia Kleinbart Ravikanth Kolla Joyce Kosa William and Eleanor Kover Jordan B. Krantz Tom Kukla Jennifer Kushinka Debra Lamanna
Miriam W. Lampen Eileen and Geoff Lanza Lois Laraia Beverly and Allan Lavroff Andrew Lear Robert and Linda Lecky Mr. and Mrs. Arthur E. Lee Van Lefford Mr. and Mrs. D. Leinwand Rich and Sharon Lesnik Joyce Levine Howard and Susan Levine, in honor of Bill Herman Karen and David Levinsky Paul and Katie Levit, in honor of Bill Herman Barbara and Milton Loeb Dr. and Mrs. James T. Luxhoj Gerard F. Lynch Ana Machado Bethsabe MacKnight Mr. and Mrs. G. Magliocca Carmel Mangarella Barbara and Vito Mannino Barbara and Joel Marcus Karl Marhoefer Joseph Marino Judith Marlowe Joseph P. Masterson Max Route Professional Services, Inc. The McBurney Family Thomas and Joanne McGuire J. McNulty Stanley Mendelson, in memory of Isabelle Mendelson Mark Miles Carol Miller Ronald and Paula Mindzak Vincent Minklier Barry Montalto Dr. Patricia Morton Drs. Robert and Sandra Moss Melissa Mount Mr. Camen J. Nastus Kurt and Barbara Nathan Thomas Michael Niebojewski Naomi Nierenberg Ray and Denise Nolan Doris and Dennis O'Dea Mr. and Mrs. Thomas Olson Ostrowitz & Ostrowitz, Esqs. Patricia Paszamant Judy and Mark Patrizzia Mark and Anne Pepper Charles Persing Evelyn Petercsak John Petrolino
The Pichinson Family James and Delores Pope Mr. and Mrs. Gerald Post Cesar Prado Leo Priola Dr. Norbert and Sylvia Psuty Mr. and Mrs. MK Pugsley Dr. and Mrs. Anthony G. Purpura Charlotte W. Quaintance Arnold and Barbara Rabson Jo Ann and Tony Razzano Mr. and Mrs. Karl Rebarber Debra and Scott Rekant David E. Reuss Michael and Frances Robinson Mr. and Mrs. James Ronk Buena Rosenbloom Karen and Hank Ross David and Frumet Sachs Richard P. Salvas Lawrence F. Salvatore Ronald R. Sauers George and Phyllis Scardena Karen Schmitt Sheila Schuhmann Mr. and Mrs. Clayton Seda Cynthia and Vincent Serrao Fred and Mary Jean Shandor Mr. and Mrs. Michael Sleppin Barbara and Rick Snepar Eugene and Kathleen Soucek Richard E. Spicer John and Alexis Stashkevetch Lois A. Steindl Mr. and Mrs. Daniel M. Suk Leonard and Judith Swerdlow Gayle C. Szczesny Dr. Barbara A. Tocco Michael Tomcho Allan Tordini Peter and Mary Beth Ventrice Dan Vickery Gabriella Vijtay Maria and Phil Ward Patrick Washam Larry Wehr Jeff and Loretta Weingart Eric and Suzanne Westberg Cecelia Widup and Sharron Williamson J. Michael and Pamela Williams Angela Wise John and Harriet Worobey Melissa L. Young Dr. Shawn and Phil Zipkin-Day
Endowments Endowment guarantees financial stability by providing reliable income, year after year, to support the State Theatreâ€™s programs, and is thus the perfect charitable investment opportunity for the donor who wishes to ensure permanence and excellence. Following are our endowed funds of $50,000 or more: Regina and John Heldrich Symphony Endowed Fund Betty Wold Johnson Endowed Fund J. Seward Johnson, Sr. 1963 Charitable Trust Endowed Fund
Robert Wood Johnson 1962 Charitable Trust Endowed Fund David Lloyd Kreeger Endowed Fund George F. Smith Charitable Trust Endowed Fund
Barbara B. Voorhees Symphony Endowed Fund Donna and Jack Walcott Symphony Endowed Fund
Bequests The State Theatre expresses its continued gratitude to those who care about the future of their communities, and leave a major legacy to the theater through a bequest of planned gift. Estate of Klaus Peter Kuchel
Estate of Barbara B. Voorhees
Major Capital Gifts The State Theatre is deeply grateful to the following donors, who have made major capital gifts to the theater to assist in the achievement of our mission and to take us to even higher levels of excellence. Thank you! Middlesex County/ Renovation of the Theatre J. Seward Johnson Trusts/Technology Madiha & Omar Boraie and Boraie Development Company/ Boraie Donor Lounge Margrit McCrane & McCrane Foundation/Concert Grand Piano
Dave & Carolyn Horn/Renovation of the Theatre & HD Equipment New Jersey Cultural Trust/ Cash Reserve Fund Microsoft, Inc./Technology Family of Ben & Marie Bucca/ Green Room
RTS Unified Communications & Stewart Filmscreen Corporation/HD Equipment The Blanche & Irving Laurie Foundation/Technology & Equipment
HD World Cultural Fund The HD World Cultural Fund was established to secure the state-of-the-art equipment for captured live performances of Opera, Ballet, and Classical music. Donors of $25,000 and above noted below. The Blanche & Irving Laurie Foundation Carolyn and Dave Horn The Hyde and Watson Foundation
The J. Seward Johnson, Sr. Charitable Trusts
RTS Unified Communications & Stewart Filmscreen Corporation Vornado Realty Trust
The Richard B. Sellars Fund for Artistic Excellence Established in honor and memory of Richard B. Sellars (1915-2010), leader of the campaign to preserve the State Theatre for future generations, the Sellars Fund provides vitally needed funds for original productions and performance enhancements to increase the artistry and excellence on the State Theatre stage. WWe deeply appreciate their commitment of $250 and above. Ms. Betty Wold Johnson Mr. and Mrs. Andrew J. Markey Professor August J. Molnar
The R. B. Sellars Foundation in memory of Richard B. Sellars Senator Bob Smith and Ellen Smith
William and Lora Tremayne Adelaide M. Zagoren Warren and Wendy Zimmerman
Governorsâ€™ Council The State Theatre Governorsâ€™ council includes former members of our Board of Trustees who remain active in the life of the State Theatre. We appreciate their support and continued dedication to our mission. Madiha Boraie Frankie Busch Kevin P. Egan Constance Fortenbaugh C. Judson Hamlin, Esq.
John Heldrich Joseph Light Nancy MacMilliam Andrew J. Markey Fredrick P. Pierce
Mort Plawner Herbert Stolzer Lora Tremayne William H. Tremayne Ralph Voorhees
Matching Gift Companies ADP Aetna American Express Arch Chemicals Inc. AT&T Foundation AXA Foundation Bank of America Bank of New York BlackRock Bristol-Myers Squibb Company Chubb & Son Cigna HealthCare CAN Duke Energy Corporation Elsevier Science, Inc.
ExxonMobil Chemical Company FMC Good Government Program Gannett Foundation GE Foundation Give With Liberty Glenmede Trust Company Goldman Sachs Horizon Blue Cross Blue Shield IBM IDT IFF Foundation Johnson & Johnson Family of Companies JP Morgan Chase Lucent
The McGraw-Hill Companies Merck Partnership Merrill Lynch Mico Mondrian Investment Partners The Pew Charitable Trusts Pfizer Foundation Prudential Financial Robert Wood Johnson Foundation Tyco Unilever The Vanguard Group Verizon Wells Fargo Bank
Board of Trustees Warren R. Zimmerman
John S. Fitzgerald
Efrem B. Dlugacz
Douglas M. Garback
Ann H. Asbaty Henry D. Bignell Sam Boraie Sharon Cyktor Matthew Drucker Scott Fergang C. Judson Hamlin Jacqueline Hancock-Pena
Timothy W. Harbison Bill Herman Richard J. Leist Sharon L. Levine Caryl Mackin-Wagner Andrew J. Markey Sherard Murphy Susan Podlogar Peter Stavrianidis Robin Suydam
John J. Heldrich Joan Schwartzman Paul Smilow Ralph W. Voorhees* [*1926-2013] EX OFFICIO MEMBERS
The Honorable James M. Cahill, Mayor, City of New Brunswick H. James Polos, Freeholder, County of Middlesex Superior Court Judge Christopher D. Rafano
Staff Mark W. Jones President & CEO
Daniel B. Grossman † Vice President of Marketing
Anna Marie Gewirtz Vice President of Development
Dave Hartkern ∞ Director of Operations
Kelly Blithe † Director of Public Relations
Linda Van Derveer † Director of Major Gifts
Brian O’Boyle Vice President of Programming
Tracy Furr * Art Director
Marlene Canavera Executive Assistant
Jason Paddock Marketing & PR Coordinator
May R. Van Norman Manager of Corporate and Foundation Relations
Tim Bailey * Facility Maintenance
Garry Owen Group & Advertising Consultant
Jessica Trechak * Theater Manager
Ben Negreann † Group & Advertising Consultant
Dan Lyons Bar and Concessions Manager
Don McKim † Ticket Office Manager
Alison A. Hegarty † Ticket Office Assistant Manager
Charles Hayman ∞ Head Flyman
Jerry Campagna, CPA, CGMA * Chief Financial Officer
Gary Frangione Ticket Office Shift Supervisor
Mike Sivetz ∞ Head Carpenter
Patricia Lanza † Accounts Payable Clerk, Volunteer Coordinator
Anna Synek Ticket Office Shift Supervisor
Richard Stanek ∞ Head Technician
Susan Blumert ˚ Ticket Office Sales Associate
Craig Werner ∞ Master Electrician, Lighting Designer
Joseph Rodriguez † Staff Accountant
Van Lefford Ticket Office Sales Associate
EDUCATION Lian Brooke Farrer ∞ Vice President of Education Jennifer Cunha † Education Associate
Leah J. Anglum † Development Associate for Donor Relations Alisson Canavera Development Assistant for Patron Relations
Willie Weist † Head Audio
AUDITORS Mercadien, PC Certified Public Accountants The State Theatre is proud to be associated with the professional technicians of IATSE Local #21
† Indicates 5+ years of service * Indicates 10+ years of service 15+ years of service ˚∞ Indicates Indicates 20+ years of service
These programs are made possible in part through a grant by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.
General Information STATE THEATRE is located at 15 Livingston Avenue, New Brunswick, NJ.
SMOKING is strictly prohibited in all areas of the theater.
CELLPHONES/CAMERAS And the use of such equipment are prohibited in the theater chamber at all times. Guests who do not adhere are subject to ejection without a refund.
TICKET OFFICE: 15 Livingston Avenue New Brunswick, NJ 08901 Telephone: 732-246-SHOW (7469) Fax: 732-745-5653 Ticket Office Hours: Mon-Tue & Thu-Fri: 10am6pm; Wed: 11am-7pm; Sat: 1pm-5pm; Sun: Closed unless there is a performance. On weekends, the State Theatre Ticket Office is always open at least 3 hours prior to any performance we ticket. For all performances we ticket, the State Theatre Ticket Office is always open at least one half hour past curtain and open through first intermission, when applicable.
STATE THEATRE RENTAL: Information regarding the rental of the State Theatre can be obtained by contacting Dave Hartkern, Director of Operations, at 732-247-7200, ext. 518. FIRE NOTICE: The red exit sign nearest to your seat indicates the shortest routes to the street. In the event of fire or other emergency, please do not run—walk to that exit. EDUCATORS interested in the State Theatre’s programs for teachers and students may obtain more information by calling the State Theatre Education Department at 732-246-SHOW (7469), ext. 545.
GROUP SALES discounts are available for groups of 12 or more. Contact State Theatre Group Sales, at 732-247-7200, ext. 517 for more information.
State Theatre Accessibility Services Only the orchestra level is wheelchair accessible. Patrons can make arrangements for accessible seating through the Ticket Office when purchasing tickets. The theater is equipped with an assistive listening system that improves sound clarity and amplification. The lightweight, wireless headsets may be borrowed free of charge at either coat check or the gift shop.
VOLUME 26, ISSUE 6 • FEB 2014
Large-print programs are available free of charge for most performances. Ask for your copy at the lower-lobby bar. Deaf and hearing-impaired patrons may contact the State Theatre through the NJ Relay Service at (TTY) 800-852-7899. If you know someone who loves the arts and would benefit from these services, please share this information.
Playbill Design by: Tracy Furr Edited by: Kelly Blithe & Jason Paddock Printed by: Premier Graphics
The State Theatre program is published directly under the supervision of the State Theatre Regional Arts Center in New Brunswick. Production costs are met by advertising revenue; any remaining monies benefit the State Theatre. For advertising information, contact 732-247-7200, ext. 517.
Photo by Suzy Perler.
The Price is Right! On December 6, fans of the TV show Price is Right packed the house for a sold-out show of The Price is Right Live with host Todd Newton. Fans came early and braved the cold rain to sign up to be a potential contestant for the show. While many people didn't hear their name that night, that didn't stop the excitement of the night. It was definitely a night to remember!
Celtic Woman Two lucky fans backstage with Celtic Woman after their breathtaking Christmas symphony performance on December 10.
The Midtown Men Far left: State Theatre Trustee Peter Stavrianidis and his wife Maggie (who were the underwriters of the show) backstage with their sons and the formidable Midtown Men minutes before they took the stage on December 5.
Check out â€œSightingsâ€? on the State Theatre website at www.StateTheatreNJ.org.
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