La Belle et la Bête

THE TOWN HALL PRESENTS | SPRING 2017

Shoots & Scores: Films in Concert

PHILIP GLASS and ERROL MORRIS, in Conversation

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Gods & Savages: A Literary Series

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MUSIC BY

FILM BY PERFORMED BY

CONDUCTED BY INTRODUCED BY

PHILIP GLASS and ERROL MORRIS in Conversation Lisa Bielawa, Peter Hess, Jon Gibson, Ryan Kelly, Jamie McElhinney, Nelson Padgett, Michael Riesman, Mick Rossi, Andrew Sterman WITH Gregory Purnhagen La Bête, Officiel du Port, Avenant, Ardent Hai-Ting Chinn La Belle Marie Mascari Félicie, Adélaïde Peter Stewart Le Père, Ludovic MUSIC DIRECTOR

PRESENTED BY THE TOWN HALL IN ASSOCIATION WITH

LARRY ZUCKER, Executive Director CINDY BYRAM, Publicity

M.A. PAPPER, Artistic Director BILL DEHLING, Technical Director

PRODUCED BY POMEGRANATE ARTS INC. THE TOWN HALL 123 W 43rd st nyc | THETOWNHALL.ORG | #TownHallPresents

NOtes on the program The opera/film presentation of La Belle et la Bête began as the second part of my trilogy of theater works based on the films of Jean Cocteau. In the first of the series, I used the scenario from the film Orphée as the basis for the libretto of a chamber opera. I didn’t use the imagery of the film, allowing the staging in operatic form to attempt a new visualization of the libretto. But in this case the opera, composed with the dialogue, is performed live in conjunction with the projected film (with the original soundtrack eliminated entirely).

This made the job of composing the music much more complex since the words and the voices had to be synchronized as closely as possible to the images on the screen.

The third part of the trilogy was a dance/theater work based on the scenario of the film Les Enfants Terribles. In this way the trilogy represents translation of film into the live theatrical forms of opera (Orphée), opera and film (La Belle et la Bête), and dance/theater (Les Enfants Terribles).

To realize La Belle et la Bête as a live opera/film event has been a dauntingly complex project and without prior experience working with live music and film, I would not have attempted it at all. However, since the mid-80’s I have presented a variety of projects involving live music and film, working with music director Michael Riesman, and sound designer Kurt Munkacsi. Specifically, I am thinking of the films Koyaanisqatsi and Powaqqatsi as well as the melodrama 1000 Airplanes on the Roof, (while not actually a film, it is based on film imagery and technology). This preoccupation with film has grown out of my appreciation of film as one of the two new art forms (jazz being the second) born in the 20th Century.

In its first 100 years, the world of film has created a new kind of literature, one that the world of live music, experimental theater, dance, and even opera can draw on, just as in the past, historic novels, plays, and poems become the basis of new music/theater works.

For me Cocteau has always been an artist whose work was central to the “modern” art movement of the 20th Century. More than any other artist of his time, he again and again addressed questions of art, immortality and the creative process, making them subjects of his work. In his day, it seems that this was not well understood and, at times, he was not fully appreciated. He was even dismissed by some critics of his work as a talented dilettante who never finally settled on one medium to express himself. And, in fact he worked successfully as a novelist, playwright, artist and filmmaker. However, to me the focus of this work—the creative process itself—has always been clear. And it was equally clear that he was using the various art forms to illuminate his chosen subject from as many angles as possible.

As far as film is concerned, Orphée, La Belle et la Bête, and an earlier Cocteau film, Blood of a Poet are all extremely thoughtful and subtle reflections of the life of an artist. Of these three La Belle et la Bête is the most openly allegorical in style. Presented as a simple fairy

tale, it soon became clear that the film has taken on a broader and deeper subject-- the very nature of the creative process. Once we begin to see the film in this way, it becomes hard to see the journey of the Father to the Chateau itself in the opening moments of the film as anything other than the journey of the artist into his “unconscious.” The Chateau itself is then seen as the very site of the creative process where, through an extraordinary alchemy of the spirit, the ordinary world of imagination takes flight (as seen quite literally in the last moment of the film).

Perhaps for this reason, La Belle et la Bête has always been for me the most compelling of Cocteau’s films. This work more than any other, expresses the profundity of his thoughts and the eloquence of his artistic vision.

- Philip Glass, 1994

La Belle et la Bête Story, Dialogue, and Direction by Jean Cocteau From a fairy-tale by: Mme. Leprince de Beaumont La Bête, Avenant, Ardent | Jean Marais La Belle | Josette Day Adélaïde | Mila Parléy Félicie | Nane Germon Ludovic | Michel Auclair Le Père | Raoul Marco The Merchant | Marcel André Artistic Adviser | Christian Bérard Technical Adviser | René Clément Settings by | René Moulaert and Carré Costumes | Escoffier and Castillo Made by | Paquin Original Music | Georges Auric Camera | Henri Alaken Make-up | Arakelian Supervising Editor | Claude Iberia Filmed at: St. Maurice Studios G.M. Films Laboratories Distribution | Pandora, Paris

ARTISTS PHILIP GLASS

(Composer) Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects, creating a large collection of new music for The Philip Glass Ensemble, and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts, and the landmark opera, Einstein on the Beach for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra, and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). In the past few years several new works were unveiled, including an opera on the death of Walt Disney, The Perfect American (co-commissioned by Teatro Real, Madrid and the English National Opera), a song cycle entitled, Ifé, written for Angelique Kidjo, a new touring production of Einstein and the publication of Glass’s memoir, Words Without Music, by Liveright Books. In May 2015, the Los Angeles Philharmonic, conducted by Gustavo Dudamel, performed the world premiere of a double piano concerto Glass wrote for Katia and Marielle Labèque. In November of 2015, the Washington National Opera premiered a revised version of Glass’s opera, Appomattox, created in collaboration with librettist Christopher Hampton.

In 2017, Glass celebrates his 80th birthday. The celebration began on January 31st with the world premiere of his 11th Symphony and continues with several highlights throughout the year: a new concerto written for Simone Dinnerstein, US premieres of his operas The Perfect American and The Trial, and tribute festivals around the world. The Jack Quartet will premiere String Quartet No. 8 in March 2018 during Glass’s tenure as the Carnegie Hall 2017-2018 Richard and Barbara Debs Composer’s Chair.

JEAN COCTEAU (Director, La Belle et La Bête) The French poet, writer, artist, and filmmaker Jean Cocteau was born to a wealthy family on July 5, 1889 in a small town near Paris.

Cocteau’s father committed suicide when he was ten years old. In 1908, Cocteau associated himself with Edouard de Max, a reigning tragedian of the Paris stage. De Max encouraged Cocteau to write, producing the premiere of the young writer’s poetry.

In 1909, Cocteau met the Russian impresario Sergey Diaghilev who ran the Ballets Russes. Diaghilev encouraged Cocteau to venture into the genre of ballet. He inspired Cocteau to write the libretto for an exotic ballet called Le Dieu Bleu. During this time, Cocteau also met composer Igor Stravinsky. In the spring of 1914, Cocteau visited Stravinsky in Switzerland. It was during this visit that Cocteau finished his first book, Le Potomak. In 1917, he met Pablo Picasso. Cocteau and Picasso went to Rome where they met up with Diaghilev. Cocteau helped prepare the ballet Parade: Picasso designed the sets, Erik Satie wrote the music, and the

ballet was choreographed by Leonide Massine. After World War I, Cocteau founded a publishing house called Editions De La Sirene. The company published Cocteau’s writings and many musical scores of Stravinsky, Satie and a group of composers known as Les Six. In 1918, Cocteau formed an intimate friendship with a 15 year-old novelist, Raymond Radiguet who strongly influenced Cocteau’s art and life. The young writer would die from typhoid fever in 1923––a severe blow to Cocteau which drove him to use opium. During Cocteau’s recovery from his opium addiction, the artist created some of his most important works including the stage play Orphée, the novel, Les Enfants Terribles, and many long poems. In 1930 Cocteau’s first film, Blood Of A Poet was released. In the early 1930’s, Cocteau wrote what some believe is his greatest play, La Machine Infernal. The play was a treatment of the Oedipus theme. Cocteau also wrote La Voix Humaine (1930, The Human Voice), Les Chevaliers de la Table Rounde (1937, The Knights of the Round Table), Les Parents Terribles (1938, Intimate Relations), and La Machine a Ecrire (1941, The Typewriter).

In 1945, Cocteau directed his adaptation of La Belle et La Bête (Beauty and the Beast), starring his close friend Jean Marais as the Beast, Beauty’s suitor, and the Prince. Cocteau adapted two of his plays to film; The Eagle With Two Heads and The Storm Within and directed Orpheus which again starred Marais. In 1959, Cocteau made his last film as a director, The Testament of Orpheus.

The elaborate home movie stars Cocteau and also features cameos from many celebrities including Pablo Picasso, Yul Brynner and Jean-Pierre Leaud.

The artist died of a heart attack at age 74 at his chateau in Milly-la-Foret, France on October 11, 1963 after hearing the news of the death of another friend, the singer Edith Piaf.

ERROL MORRIS

(Film Director and Author) Roger Ebert has said, “After twenty years of reviewing films, I haven’t found another filmmaker who intrigues me more…Errol Morris is like a magician, and as great a filmmaker as Hitchcock or Fellini.”

Morris’ films have won many awards, including an Academy Award for Best Documentary Feature, an Emmy, the Grand Jury Prize at Sundance Film Festival, the Silver Bear at Berlin International Film Festival, the Golden Horse at the Taiwan International Film Festival and the Edgar from the Mystery Writers of America. His documentaries have repeatedly appeared on many ten best lists Photo: Nubar Alexanian and have been honored by the National Society of Film Critics and the National Board of Review. His work has been the subject of a full retrospective at the Museum of Modern Art in New York in 1999. Roger Ebert, in fact, has placed Morris’ first feature Gates of Heaven on his list of the 10 Best Films of All Time.

Morris has directed over 1,000 television commercials, short films for the Academy Awards as well as for charitable and political organizations, and two seasons of the television series, First Person.

Morris has received five fellowships from the National Endowment for the Arts, a Guggenheim Fellowship and a MacArthur Fellowship. In 2007, he was inducted into the American Academy of Arts and Sciences. He is a graduate of the University of Wisconsin-Madison and was a graduate student at Princeton University and the University of California-Berkeley.

MICHAEL RieSMAN

(Music Director / Conductor / Keyboard) | Michael Riesman is a composer, conductor, keyboardist, and record producer, and has been a member of the Philip Glass Ensemble since 1974. He has conducted recordings of a great number of Glass works including Einstein on the Beach (both recordings), Glassworks, The Photographer, Songs From Liquid Days, Dance Pieces, Music in 12 Parts (both recordings), and Passages, and almost every Glass film soundtrack including Koyaanisqatsi (both recordings), Mishima, Powaqqatsi, The Thin Blue Line, Anima Mundi, A Brief History of Time, Candyman, Kundun, The Truman Show, Naqoyqatsi, The Fog of War, Secret Window, Taking Lives, and Undertow. He was the pianist for the AcademyAward-nominated soundtrack for The Hours, and has also recorded a solo piano version of that score. He has received two Grammy nominations as conductor, for The Photographer and for Kundun. He has conducted and performed on albums by Paul Simon (Hearts and Bones), Scott Johnson (Patty Hearst), Mike Oldfield (Platinum), Ray Manzarek (Carmina Burana), David Bowie (BlackTie/White Noise), and Gavin Bryars (Jesus’ Blood Never Failed Me Yet). Mr. Riesman released an album, Formal Abandon, on the Rizzoli label, which originated from a commission by choreographer Lucinda Childs. His film scores include Enormous Changes at the Last Minute, Pleasantville (1976), and Christian Blackwood’s Signed: Lino Brocka. Mr. Riesman studied at Mannes College of Music and Harvard University, where he received a Ph.D., and has taught at Harvard and SUNY-Purchase. He was Composer in Residence at the Marlboro Music Festival and at the Tanglewood Festival, where he has conducted performances of his own works.

LISA BIELAWA (Keyboard) | Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition and 2017 recipient of the Music Award of the American Academy of Arts & Letters. The New York Times describes her music as, “ruminative, pointillistic and harmonically slightly tart.” Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992 and has premiered and toured works by John Zorn, Anthony Braxton, and Michael Gordon. In 1997 she co-founded the MATA Festival.

Bielawa was appointed Artistic Director of the acclaimed San Francisco Girls Chorus in 2013 and is an artist-in-residence at Grand Central Art Center in Santa Ana, California. Bielawa’s music is frequently performed throughout the US and Europe. Highlights include premieres at the 2016 NY PHIL BIENNIAL, Orlando Philharmonic, and performances as both composer and vocalist at the Kennedy Center. She is currently working on Vireo, an episodic opera which will be released by KCET for free, on-demand streaming in spring 2017. Her latest album is The Lay of the Love (Innova 2015). For more information, please visit lisabielawa.net HAI-TING CHINN (Mezzo-Soprano) | Hai-Ting Chinn performs in a wide range of styles and venues, from Purcell to Pierrot Lunaire, Cherubino to The King & I, J.S. Bach to P.D.Q. Bach. She was featured in the revival and tour of Phillip Glass’ Einstein on the Beach, performed at venues around the world from 2011-2014. She has performed with New York City Opera, The Wooster Group, OperaOmnia, the Orpheus Chamber Orchestra, Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly Consort; and on the stages of Carnegie Hall, the Mann Center in Philadelphia, the Edinburgh Festival, the Verbier Festival, and London’s West End. She has premiered new works by Tarik O’Regan, Du Yun, Conrad Cummings, Renée Favand-See, Stefan Weisman, Yoav Gal, and Matt Schickele. Hai-Ting is an Artist in Residence at HERE theater in New York City, where she is developing Science Fair, a staged solo show of science set to music.

JON GIBSON (Woodwind) | Jon Gibson is a composer, multi-wind instrumentalist and visual artist who has been active in new music for over 40 years. He has been a member of the Glass Ensemble since it’s beginnings and has performed with Glass in other configurations including solo/duet concerts featuring the music of both Gibson and Glass. He has performed in every performance of Einstein on the Beach.

Gibson’s own output includes music for solo instruments, various ensembles, dance, music theater,

video, film and opera. He has performed and collaborated with a host of musicians, choreographers and artists, including Merce Cunningham, Nancy Topf, Nina Winthrop, Ralph Gibson, Lucinda Childs, JoAnne Akalitis, Harold Budd, David Behrman, LaMonte Young, Steve Reich, Elisabetta Vittoni and Thomas Buckner. Gibson’s music can be heard on the Tzadik, Orange Mountain Music, New Tone, Point Music, New World, Lovely Music, EarRational and Einstein Records labels.

PETER HESS (Woodwind) | Peter Hess defies musical borders and has appeared and/or recorded with Balkan Beat Box, Barbez, David Sanborn, Asphalt Orchestra, Alarm Will Sound, David Byrne, Tony Visconti, Songs:Ohia, Slavic Soul Party, Tim Berne, Jabbo Ware, Jack McDuff, Dirty Projectors, TV on the Radio, Wu Tang Clan, ICE, the Hold Steady, Son Volt, AntiSocial Music, Big Lazy, and dozens more. He is a graduate of the Oberlin Conservatory of Music. His work composing and arranging for winds and strings can be heard on over 50 recordings, HBO’s Bored to Death, PBS, and the recent feature documentary Art and Craft. He holds a deep love of the music of the Balkans, which he has researched and studied in Roma villages in southern Serbia.

RYAN KELLY (Onstage Audio Engineer) | Ryan Kelly is an audio engineer based in New York City. Originally from Olalla, WA Ryan attended Full Sail University’s Recording Arts program. His career has included live performance and studio projects with Nico Muhly, Valgeir Sigurðson and Beyoncé.

MARIE MASCARI (Soprano) | Marie Mascari has performed as Siamese Twin and Judy Garland in the Lincoln Center Festival’s American premiere of Philip Glass’ White Raven, as well as Monsters of Grace, which toured throughout the US and Europe extensively. Other Philip Glass performing tour credits include Koyaanisqatsi, Powaqqatsi, La Belle et La Bête, Shorts and Anima Mundi. Ms. Mascari delighted audiences as Valetto and Fortuna in Opera Omnia’s Coronation of Poppea, Servilia in La Clemenza di Tito and Papagena in Die Zauberflföte with Wolf Trap Opera Company, Nannetta in Falstaff, and Adele in Die Fledermaus. She performed the role of Lillian Russell in The Mother of Us All with Glimmerglass Opera, a part she also covered for New York City Opera. A Metropolitan Opera Regional finalist, Ms. Mascari received her Bachelors and Masters degrees from Indiana University for Vocal Performance.

JAMIE MCELHINNEY (Sound Engineer) | New York based sound designer, system consultant, and engineer. Selected works and collaborators include: Taylor Mac’s 24-Decade History of Popular Music at St. Ann’s Warehouse, Bang on a Can Allstars, We’re Gonna Die by Young Jean Lee at Lincoln Center / London Meltdown Festival and Untitled Feminist Show at The Walker Performing Arts Center / The Public Theater, Isaac Julien’s Ten Thousand Waves exhibit at NY MoMA, ONEBEAT International Music Exchange program, Head of Audio Celebrate Brooklyn Concert Series at The Prospect Park Bandshell. Dream of the Red Chamber by Jim Findlay at Brill Building NYC, Black Mountain Songs at BAM Harvey Theater, Michael Gordon’s Timber at BAM Fisher and Lightning at our Feet at BAM Harvey, Stop the Virgins directed by Adam Rapp at St.Ann’s Warehouse / Sydney Opera House, Brooklyn Omnibus by STEW at BAM Harvey, Cynthia Hopkins Accinosco trilogy at St.Ann’s Warehouse and International Tour.

NELSON PADGETT (Keyboard) | An artist known for both his insightful musicality and charismatic performances, Nelson Padgett enjoys an important career whose activities range from solo appearances with the Houston and National Symphony Orchestras to collaborations with artists such as violinist Elmar Oliveira, the Mendelssohn String Quartet, and pianist Phillip Bush. He has performed throughout the world with the Philip Glass Ensemble since 1988. His many competition successes include the Silver Medal from the William Kapell International Competition and a Beethoven Fellowship from the American Pianists Association. His principal teachers were Leon Fleisher at the Peabody Conservatory o f Music and Clifton Matthews at the North Carolina School of the Arts. A native of North Carolina, Mr. Padgett lives in New York City.

GREGORY PURNHAGEN (Baritone) | Gregory Purnhagen enjoys an eclectic career that defines the word “cross-over.” His long association with Philip Glass includes La Belle et la Bête, Monsters of Grace, Galileo Galilei and the 1992 and the 2012 revival of Einstein on the Beach. He has sung as a soloist at Carnegie Hall, Alice Tully Hall, Weill Recital Hall and other New York venues for Musica Sacra, Voices of Ascension, Sacred Music in a Sacred Space. An award-winning cabaret artist, he has created several critically acclaimed shows, one of which moved to Off-Broadway (Babalu-cy! The Art of Desi Arnaz). His recording work includes Early Music, New Music, cast albums and guest vocals on Bjork’s CD, Medulla.

His work in contemporary opera has included projects for Nick Brooke, Yoav Gal, Fred Ho and Michael Kowalski. He is also the musical director of the New Xavier Cugat Orchestra, an ensemble that is preserving the great heritage of vintage Latin American Music.

MICK ROSSI (Keyboard) | Pianist, percussionist, and composer Mick Rossi is known for his progressive, diverse work in the New York Downtown scene and beyond, and has been described as ”an exemplar of the cross-fertilization between jazz and classical music worlds...the smile-creating mix of humor, surprise, gorgeous sounds and virtuosity…Bartokian and energetic.” (All About Jazz / NY Times). Keyboard magazine says: “Every minute of practice, every hour of concentration, brings us closer to the kind of freedom and mastery to which we all aspire - and which Mick Rossi has achieved”. A sixteen-year Philip Glass collaborator / ensemble member as pianist, percussionist and assistant conductor, and member of the Paul Simon band, Rossi has collaborated worldwide with artists as diverse as Dave Douglas, Kelly Clarkson, Leonard Cohen, Renee Fleming and Sting. He recently conducted Glass’ Book Of Longing at the Sydney Opera House, the Public Theatre’s The Bacchae and Einstein On The Beach worldwide.

He has appeared on nine Glass recordings, including Music in 12 Parts, Koyaanisqatsi Live with the NY Philharmonic and Orion. His third string quartet was recently performed at the Tribeca New Music Festival by the JACK Quartet (”Shostakovichian paranoia‘ — NY Times), and OMNI, commissioned and performed by yMusic for the Festival Of New Trumpet (F.O.N.T.). 160 is his tenth release. In addition to Innova, he has recorded for Knitting Factory, OmniTone, Orange Mountain Music, and Tzadik among many others.

His work has been featured in numerous venues, including MoMA, BAM, The Knitting Factory, The Stone, Le Poisson Rouge, Tonic, MATA, and Barbes, to name a few. In addition to being a Hermitage Fellow, he has been in residence as curator/performer at Spectrum NYC since February 2013.

ANDREW STERMAN (Woodwind) | Andrew Sterman is a flutist, saxophonist, clarinetist and composer, whom the New York Times praised for “beautiful and sensitive playing”, first appeared in some of the best big bands around; those of Buddy Rich, Louis Bellson, Gil Evans, Toshiko Akiyoshi, and many others.

Always a fan of great jazz singers, while very young he played with many of the all time masters, including Sarah Vaughan, Frank Sinatra, Tony Bennett, Joe Williams, Mel Torme and Aretha Franklin. Audiences have heard him with jazz masters including Freddie Hubbard, Dizzy Gillespie, Fred Hersch, Rashied Ali, Wallace Roney, Roland Hanna, and Ron Carter. Sterman has been soloist with many New Music groups, including MATA, ISCM, Bang on a Can, Avian Orchestra, and the Eos Orchestra. Mr. Sterman tours and records extensively with the Philip Glass Ensemble, which he joined in 1991. He is featured on Glass’s 2003 CD, Philip Glass: Saxophone. Mr. Sterman’s new CD, Blue Canvas With Spiral, a set of intimate and original jazz pieces, is meeting critical acclaim: “A sound as pure as moonlight, a richness that turns into melodic romanticism…” Sterman has developed a deeply intuitive and effective teaching method integrating ancient breathing practices with modern woodwind techniques. He frequently gives master classes and workshops on this increasingly popular methodology, practiced by students, emerging musicians and established professionals alike. Visit andrewsterman.com.

PETER STEWART (Baritone) | Peter Stewart has toured in many productions with Philip Glass since the 1992 version of Einstein on the Beach, being featured in Monsters of Grace, White Raven, the Qatsi trilogy and many other works. He has premiered works by composers including Sir John Tavener, Gavin Bryars, Hans Werner Henze and Roberto Sierra, among others. He has recorded the baritone songs of Lee Hoiby with the composer at the piano for CRI under the title Continual Conversation with a Silent Man. He recently toured with Newband, presenting the music of Harry Partch. He has sung with Orpheus Chamber Orchestra, the Calgary Philharmonic and other orchestras in the US and Canada. Peter is also active in early music, singing regularly with Pomerium, the Waverly Consort, New York Collegium, the Philharmonia Baroque Orchestra and the Baltimore Consort. Peter is on the voice faculty of Montclair State University, and lives in New York City with Maria de Lourdes Davila and their daughter Beatriz.

DOUG WITNEY (Production Manager) | Doug Witney is Production Manager and Lighting Supervisor for the Philip Glass Ensemble and other Pomegranate Arts projects. Past positions include originating Production Director/Resident Lighting Designer for the International Festival of Arts & Ideas in New Haven, Connecticut; Production Director for Lorin Maazel’s Castleton Festival in Virginia; Production Director for Universal Musical Society in Ann Arbor, Michigan; Production Manager/Resident Lighting Designer for the SUNY Purchase Performing Arts Center in New York; and Technical Coordinator/Resident Lighting Designer at Brooklyn Academy of Music. He has designed lighting and provided various technical and tour assistance, as well as class and seminar work, for Missouri Repertory Theatre (now Kansas City Rep), Virginia Stage Company, and Dartmouth College. Doug has also coordinated production on industrial events for MasterCard, Philip Morris, Coca-Cola, American Express, Pfizer, and IBM. Doug is currently the Director of Production Services at the Center For Arts At Virginia Tech.

JIM WOODARD (Company Manager) | Jim Woodard has been coordinating the touring logistics for Philip Glass and his ensemble since 1999. Prior to working with the PGE Jim has served as a Company Manager for American regional theatres such as La Jolla Playhouse in San Diego, CA, the Alliance Theatre in Atlanta, GA and the Alaska Repertory Theatre in Anchorage, AK. For most of the 90’s Jim owned and operated a theatre in Branson, MO before coming to work for Philip Glass’ producer, Pomegranate Arts.

Starting in 2011, Jim is very proud to serve as General Manager of Philip Glass’ new Arts Festival in Big Sur, CA, The Days And Nights Festival.

POMEGRANATE ARTS (Executive Producer) | Pomegranate Arts is an independent production company dedicated to the development of international contemporary performing arts projects. Since its inception, Pomegranate Arts has conceived, produced, or represented projects by Philip Glass, Laurie Anderson, Lucinda Childs, Batsheva Dance Company, London’s Improbable Theatre, Sankai Juku, Taylor Mac, Dan Zanes, Bassem Youssef and Goran Bregovic. Special projects include the revival of Robert Wilson, Philip Glass, and Lucinda Childs’ Olivier award-winning production of Einstein on the Beach; Dracula: The Music And Film with Philip Glass and the Kronos Quartet; the music theater work Shockheaded Peter; Brazilian vocalist Virginia Rodrigues; Drama Desk Award winning Charlie Victor Romeo; Healing The Divide, A Concert for Peace and Reconciliation, presented by Philip Glass and Richard Gere; and Hal Willner’s Came So Far For Beauty, An Evening Of Leonard Cohen Songs. Current and upcoming projects include the international tour of Available Light by John Adams, Lucinda Childs and Frank Gehry, Taylor Mac’s A 24-Decade History of Popular Music, Bassem Youssef’s The Joke Is Mightier than the Sword, and the North American tour of Sankai Juku’s Meguri.

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Paul Libin** Local One, IATSE* Arthur L. Loeb* Colleen Lynch Richard Maidman** Carol Marks & Tom Wirtshafter** Karl Marquardt Pamela Milam* Paul Z. Miles** Andrew Miltenberg*

Nobuko Narita* Warren Nicholson* Dorinda J. Oliver** Betsy & Stanley Parman** Catherine Patterson Doris & Martin Payson* Catherine Randolph* Robert Rene* Kenneth Rock & Roberta Glenn* Rita Robbins** Kathleen Rosenberg** Zita Rosenthal* Rhoda Rothkopf* Robert Safron** Roberta Schechter* Roberta Schleicher* Howard Schliff Linda Senat* Brian T. Shea** Susan & Victor Shedlin** Melanie Shorin** Connie Silver* Clarissa Singer* Shamina Singh* Robie Spector* Paige & Nevin Steinberg** Judy & Michael Steinhardt Foundation** Ruth Unger** Nancy Whitson-Rubin Christine Williams Robert F. Wright** David Zaza Zegar Family Foundation* Susan Zohn**

MAJOR GIFTS, CORPORATE, FOUNDATION & GOVERNMENT SUPPORT This program is supported, in part, by public funds from The New York City Department of Cultural Affairs in partnership with The City Council. We would like to thank the following foundations, corporations, and government institutions for their support: Achelis and Bodman Foundation

The Hearst Foundations, Inc.

The Actors Fund

Hurst Foundation

Affiliated Advisors

Hyde and Watson Foundation

Bank of America

Israel Consulate

Bruce Weber and Nan Bush Foundation

Jewish Communal Fund

Charina Endowment Fund Cohn Foundation Consolidated Edison Company of New York Jean and Louis Dreyfus Foundation Max and Victoria Dreyfus Foundation

JP Morgan Chase Jujamcyn Theaters Edythe Kenner Foundation Lewis QVC Trust Local One S&P Global Mex-Am Cultural Foundation

Ernst & Young

Morgan Stanley

Robert Evanson

Nash Family Foundation

Ford Foundation

Nederlander Organization

Dr. Charlotte K. Frank

Nelson Foundation

Garber Atlas Fries & Associates

Nesenoff & Miltenberg, LLP

Anne and Gordon Getty Foundation

New York City Department of Cultural Affairs in Partnership with the City Council

New York City Council Member, Daniel Garodnick John Gore/Key Brand Entertainment William T. Grant Foundation Harkness Foundation for Dance

New York State Council on the Arts Henry Nias Foundation Pinkerton Foundation PwC Reed Foundation

Pamela and Richard Rubinstein Foundation Rudin Foundation Shubert Foundation The Shubert Organization, Inc. John Ben Snow Memorial Trust Theatre Refreshments Ticketmaster Laurie M. Tisch Illumination Fund Joyce and George Wein Foundation, Inc. Wenner Foundation West New York Restoration Project Zegar Family Foundation Susan Zohn John Ben Snow Memorial Trust Theatre Refreshments Ticketmaster Laurie M. Tisch Illumination Fund Joyce and George Wein Foundation, Inc. Wenner Foundation West New York Restoration Project Zegar Family Foundation Susan Zohn

Town Hall has played an integral part in the electrifying cultural fabric of New York City for more than 90 years. A group of Suffragists’ fight for the 19th Amendment led them to build a meeting space to educate people on the important issues of the day. During its construction, the 19th Amendment was passed, and on January 12, 1921 The Town Hall opened its doors and took on a double meaning: as a symbol of the victory sought by its founders, and as a spark for a new, more optimistic climate. In 1921, German composer Richard Strauss performed a series of concerts that cemented the Hall’s reputation as an ideal venue for musical performances. Since, Town Hall has been home to countless musical milestones: The US debuts of Strauss, and Isaac Stern; Marian Anderson’s first New York recital; in 1945, Dizzy Gillespie and Charlie Parker introduced bebop to the world; Bob Dylan’s first major concert in ‘63; and much much more.

Learn more. Visit thetownhall.org/tours

THE TOWN HALL FOUNDATION The Town Hall’s mission is to provide affordable world-class entertainment by new and established artists to a diverse audience; to inspire the youth of our community to appreciate and participate in the arts at The Town Hall and in schools through our Educational Outreach Program; and to preserve and enhance The Town Hall as a historic landmark venue for the enjoyment and cultural enrichment of generations to come.

BOARD OF TRUSTEES President Tom M. Wirtshafter

Treasurer Andrew T. Miltenberg

Vice President Alfred H. Horowitz

Secretary Phyllis Putter Barasch

Vice President Bruce S. Leffler Trustees Phyllis Putter Barasch Robert E. Evanson Anne Frank-Shapiro Alfred H. Horowitz Henry Johansson Ted Lambert Bruce S. Leffler Marvin Leffler Walter Melvin Andrew T. Miltenberg Honorable Milton Mollen Rita Robbins Nevin Steinberg Tom Wirtshafter Susan Zohn LIFE TRUSTEES Leona Chanin Eugene J.T. Flanagan Claire G. Miller Robert F. Wright

President Emeritus Marvin Leffler Advisory Council Kathleen Rosenberg, Chair Nancy Berman Shauna Denkensohn Sandy Horowitz Fern Hurst Elizabeth Iannizzi Claire Miller Zita Rosenthal Rhoda Rothkopf Arts in Education Advisory Council Dr. Charlotte K. Frank, Chair Michael Fram Dr. Sharon Dunn Gary Hecht Ernest Logan Dr. Lisa Mars Dr. Eloise Messineo Dr. Pola Rosen Leona Shapiro Manuel Urena George Young

THE TOWN HALL STAFF Executive Director Lawrence C. Zucker

Administrative Assistant Sara Minisquero

Artistic Director M.A. Papper

Administrative Assistant Britni Montalbano

Director of Administration, Subscriptions & Membership Helen Morris Arts Education Program Director Emma Klauber Design Leia-lee Doran Digital Media Manager Maya Shanker

Chief Engineer Steve Franqui

WARNING

The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside the theatre without the written permission of the management is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for monetary damages.

FIRE NOTICE

The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency please do not run, WALK TO THAT EXIT. Thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited areas during the performances and intermissions. This violates a city ordinance and is punishable by law.

-FIRE COMMISSIONER

DIRECTORY OF THEATRE SERVICES ADMINISTRATIVE OFFICES: 212.997.1003

Mon-Fri 9:30 am to 5 pm, for rental & membership info

BOX OFFICE: 212.840.2824 Mon-Sat 12 noon to 6pm. 24/7 Recording TICKETMASTER: 800.982.2787

to charge tickets by phone.online Ticketmaster.com

LOST AND FOUND: 212.997.0113 CELL PHONE POLICY

Cell phones should be silenced prior to the performance as a courtesy to the performers and audience.

Lobby Refreshment by Theatre Refreshment Company of NY

Box Office Manager Angel Rodriguez House Manager Richard Looney Technical Director Bill Dehling 123 W 43RD ST NYC | THETOWNHALL.ORG