January 2023 @ The Wallis: Performances Magazine

PLUS: Los Angeles Chamber Orchestra: Baroque Concerti

Michael

COMING UP NEXT

FEB 2-5 Dahlak Brathwaite: Try/Step/Trip

FEB 17-18 Luminario Ballet of Los Angeles

FEB 23 Anthony McGill & The Pacifica Quartet

FEB

Honorable

CAST

JANUARY 11 - 22, 2023

Bram Goldsmith Theater

Running Time: Two hours and 50 minutes, including a 15-minute intermission.

SAM ARCHER

CAST OF CHARACTERS

LOCKWOOD / EDGAR LINTON / THE MOORS

LEAH BROTHERHEAD CATHERINE GEORGIA BRUCE

ISABELLA LINTON / LITTLE LINTON / THE MOORS

RICARDO CASTRO ROBERT / THE MOORS KATY ELLIS ZILLAH / THE MOORS

STEPHANIE ELSTOB SWING

LLOYD GORMAN

MR. EARNSHAW / THE MOORS

TJ HOLMES DR. KENNETH / THE MOORS JORDAN LAVINIERE .THE LEADER OF THE YORKSHIRE MOORS TAMA PHETHEAN

HINDLEY EARNSHAW / HARETON EARNSHAW / THE MOORS

ELEANOR SUTTON FRANCES EARNSHAW / YOUNG CATHY / THE MOORS

LIAM TAMNE

HEATHCLIFF

WELCOME FROM EMMA RICE

the laughter of my Mum and Dad and their friends outside. That time lives on for me in a fuzzy memory of happy wildness, but, as Catherine Earnshaw said, “There is no happiness.”

In the 1980s I was a gothic punk. I left school at 16, dyed my hair blue and put on black. I looked more hardcore than I felt with my spiky hair and thick make up. I chose to wear armour - all traces of my true self disguised and ignored. Smack bang in the middle of teenage anguish, the gothic aesthetic was a way of appearing tough whilst being able to display my sorrow, reveal my grief and express my rage. Of course, I had very little to be angry about having been born into a loving family, but I did have my griefs. When I was 12, I lost my best friend (and daughter of Marielaine) to leukaemia. In that chapter of illness and tragedy, I lost not just my friend, but my protective cloak of youthful invulnerability. The world was now hostile and scary; I felt I was only one trip away from disaster and intolerable loss. This time lives on for me in a fuzzy memory of tangled sorrow and fear. I was scared of death. Simple as that. Not my own, I was scared of losing those I loved.

My relationship with Wuthering Heights started in my childhood. My family were keen campers and many a wet weekend in the 1970s was spent shivering in a tent. Sometimes, these visits would be shared with our neighbours and a convoy of bashed up, smoke filled cars would set off from Nottingham and head for the hills. One such trip was to the Yorkshire Moors where it was decided that we would try and find Top Withens; the house said to have inspired Wuthering Heights. The children in the party didn’t embrace the genuinely challenging walk, but the odyssey was worth it and Wuthering Heights captured all our imaginations.

Remote, bleak, and somehow devastating, we were all struck by how small the house seemed. I hadn’t read the book at that point but my Mum and her friend Marielaine’s enthusiasm for literature was contagious. They laughed with pleasure as they recalled the book and its spooky themes. I loved to see my parents with their friends. I loved to see them spark and delight as the drudgery of parenthood and work melted away and the joys of life bubbled through. I recall vividly being inside a sleeping bag listening to

And so, it was with this internal backdrop that I strutted into sixth form and discovered Wuthering Heights for myself. Until then, I had struggled in education, slipping through lessons without anything really touching the sides. I was easily distracted, often bored and waiting for my life to begin. Then came Wuthering Heights and everything changed. There was no avoiding the intoxicating pull of this book and I loved it with a passion. My blood stirred, my mind fizzed and my energy popped. This didn’t feel like work, this felt like jumping off a craggy cliff and flying. How could I resist a world filled with ghosts, betrayals and passions? I loved its drama and its intrigue but most I loved a story that spanned not only generations but life and death. I didn’t have a literal ghost knocking at my window, but I was haunted by memories that knocked at my soul. In my teenage mind, I was Heathcliff. I was misunderstood, angry and grieving - I wanted people to feel, see and understand my pain. Emily Brontë saw me. She felt death everywhere and understood loss as sharply as I felt my own.

Life moved on, as it has a habit of doing, and Wuthering Heights, my grief and my dyed hair faded. I discovered theater, dance, Haruki

Murakami, Angela Carter, Hanif Kureishi and a life filled with more joy and love than I could have dreamt of. Catherine Earnshaw was most definitely wrong. There is happiness! Wuthering Heights was consigned to my past and I thought no more about it until a few years ago.

In 2016, I was horrified by scenes from the refugee camps at the Calais Jungle and enraged by the negotiations about how many unaccompanied children the UK was willing to take whilst not actually taking any - something triggered in my brain. Wasn’t Heathcliff an unaccompanied child? Wasn’t he found on the Liverpool docks and taken in by Earnshaw? My instincts itching, I pulled out my old copy and started to read. This time, the book fell into a very different soul. No longer intoxicated by impossible passions and unresolved griefs, I saw a story not of romance but of brutality, cruelty and revenge. This was not a gothic romance, this was a tragedy; a tragedy of what might happen if, as individuals as well as a society, we allow cruelty to take hold. “Be careful what you seed” my pen wrote, and it kept writing, giving new voice to my adult rage.

I cut Nelly Dean, took the form of a Greek tragedy, and created a chorus of The Yorkshire Moors. It is the Moors that tell the story of Wuthering Heights in my production. Singing and dancing as one, they warn us that “A scatter of yellow stars might seem to welcome hope, but the adder slides beneath.” This production is epic, the characters superhuman; Catherine, Heathcliff and Hareton the Gods of Chaos, Revenge and Hope.

As the story unfolds, The Yorkshire Moors incant:

“And what of the rage that is planted? The hate and jealousy that has slipped into our watery beds?

Oh, they grow alright. They are coming along nicely, thank you. In the warm wet earth And they grow. Be careful what you seed.”

In the last 12 months, there have been 4,896 applications from unaccompanied children claiming asylum in the UK. Who knows how many others have vanished into dark corners of Europe and the UK, lost to traffickers and abusers? And yet, we continue to quibble over how many we might choose to welcome. We question how they come to our shores. Perhaps if we chose to seed compassion and kindness, we might have a fighting chance of nurturing a future filled with hope rather than fear.

This production of Wuthering Heights is woven from the talent, passion, truth and experience of all who are contributing to the show. Rich with our humanity, it holds our own stories, our losses, hopes, fears and dreams. Made with love, this is a Revenge Tragedy for our time and one that warns how our actions today will affect the world for decades to come.

Emma Rice ARTISTIC DIRECTOR, WISE CHILDREN

SAM ARCHER (Lockwood / Edgar Linton / The Moors) Theater includes: Bagdad Cafe (Wise Children/The Old Vic); Wise Children (Old Vic/UK Tour); The Happy Prince (The Place); An Ideal Husband (Vaudeville Theatre); wonder.land (National Theatre/Théâtre du Châtelet); La bohème (Royal Albert Hall); Arthur Pita’s Metamorphosis (Joyce Theater, NY); Wind in the Willows (Linbury Studio Theatre); Chariots of Fire (Hampstead Theatre/Gielgud Theatre); Earthquakes in London (UK Tour); Oklahoma! (Chichester); Mary Poppins (UK Tour); We Will Rock You (Dominion Theatre); Oliver! (London Palladium). For Matthew Bourne’s New Adventures: Lord of the Flies; Swan Lake; Cinderella; The Car Man; Play Without Words; The Red Shoes; Edward Scissorhands; Nutcracker! Screen includes: “Humans” (Kudos/C4); “Mr. Selfridge” (ITV); Allied (Paramount Pictures); Disney’s Muppets Most Wanted; Life is a Buffet.

LEAH BROTHERHEAD (Catherine) Theater includes: Gulliver’s Travels (Unicorn Theatre); LANDS (Bush Theatre/Summer Hall Edinburgh Fringe); Two Gentlemen Of Verona (The Globe Theatre/Liverpool Everyman); Wolf Hall & Bring Up The Bodies (RSC/Aldwych Theatre/The Winter Gardens on Broadway); As You Like It (Lamb Players); Another Place (Theatre Royal Plymouth); Pride And Prejudice (Regent’s Park Open Air Theatre); Doctor Faustus (West Yorkshire Playhouse/Glasgow Citizen’s); People Like Us (Pleasance); DNA (UK Tour); The Kitchen Sink (Bush Theatre). Screen includes: “Whitstable Pearl” (AcornTV) “Hullraisers” (Channel 4) “Bridgerton” (Netflix), “Zomboat” (ITV2,HULU), “White Gold” (BBC), “Doctors” (BBC), “Vera” (ITV), “Casualty” (BBC), “Boy Meets Girl” (Tiger Aspects). RADIO: Leah is a BBC Carleton Hobbs award winner and has played numerous roles for the BBC Radio repertory company.

GEORGIA BRUCE (Isabella Linton / Little Linton / The Moors) Georgia is an actor, comedian and musician. Credits include: Creating the role of Sally in the original Cast of Fisherman’s Friends, Bill in Emma Rice’s Malory Towers, the title role in ROBIN HOOD at The Watermill Theatre; BRUCE: just a pretty face (Edinburgh Fringe); Callisto: a queer epic (Arcola Theatre); ArtsLab: Comedy Troll (North Wall Arts Centre); Suddenly Last Summer (Oxford Playhouse); The Oxford Revue: Hello You (Edinburgh Fringe); Colin & Katya (North Wall Arts Centre); The Oxford Revue & Friends (Oxford Playhouse); The Changing of the Guard (O’Reilly Theatre); The Alchemist (Arcola Theatre). Film includes: Not All Men (Neuron Hub). TV includes: Sal in Russel T Davies “It’s A Sin” for Channel 4 and an episode of “Doctors” for BBC.

RICARDO CASTRO (Robert / The Moors) Ricardo trained at the Portuguese National Conservatoire and at the Associated Studios Academy of Performing Arts. Theater credits include: Come From Away, Phoenix Theatre, West End; Motown, Shaftesbury Theatre, West End and UK tour; Gobsmacked!, The Underbelly, Edinburgh Festival; Legally Blonde and Sister Act, Aberystwyth Arts Centre; FAME, Gordon Craig Theatre and European Tour; They’re Playing Our Song, Yvonne Arnaud Theatre. TV credits include, “The Chelsea Detective,” BBC; “The Man Who Fell To Earth,” Paramount; “MISFITS,” Channel 4; “Outlines of Love,” Discourse Pictures; “Humshakals,” Fox Star Studios and “NIGHTBUS” for Talent TV. Feature films include, It’s All Coming Back To Me, Sony Pictures Entertainment. Ricardo won best actor for the short film Outlines of Love at the Monaco International Film Festival.

KATY ELLIS (Zillah / The Moors) Theater Includes: Never Tickle a Tiger, The Pesky Rat (Chichester Festival Theatre), Malory Towers (Wise Children/Theatre by the Lake), The Scarecrows’ Wedding (Scamp Theatre/ Leicester Square Theatre/UK Tour), Metamorphosis (Collide Theatre/Tristan Bates), Daisy Pulls It Off (Charing Cross Theatre). For Guildford School of Acting: First Lady’s Suite; A Grand Night for Singing; Daisy Pulls it Off; Henrietta.

STEPHANIE ELSTOB (Swing) Training: Central School of Ballet. Theater credits include: Mother, Dance Captain & Assistant Choreographer in Whistle Down The Wind (Watermill Theatre); Grisette in Merry Widow (London Coliseum); Swing in Kiss Me Kate (London Coliseum & Tour) Swing in The Bodyguard (International Tour); Edward Scissorhands (Matthew Bourne’s New Adventures UK Tour); AMADEUS (Chichester Festival Theatre); La Boheme (Royal Albert Hall); Stravinsky Project (Michael Clark Company); & covered and played Cinderella in Cinderella (New Wimbledon Theatre); Princess Jasmine in Aladdin, and ensemble in Snow White & Robinson Crusoe, all for Qdos. Workshops include: Machinal (The Almeida, Arthur Pita) Swing in Pleasured Progress (Royal Opera House, Will Tuckett) Jane in SHADWOTHIEF (Tom Jackson Greaves & Craig Adams.) Film Includes: Beauty and the Beast (Disney) Anna Karenina (Joe Wright) Avengers - Age Of Ultron (Marvel) Television includes; Marie Taglioni in Victoria (ITV); Veronica Synth in Humans (Channel 4). The Hour (BBC); Dancer in Pennyworth. Assistant Choreographer for Grantchester & Mr Selfridge (ITV) and The Royal Variety Performance.

LLOYD GORMAN (Mr. Earnshaw / The Moors) Lloyd trained at Rose Bruford College. Theater credits include: Whistle Down The Wind (Watermill Theatre); Once (UK Tour); One Man, Two Guvnors (New Wolsey Theatre/ Nuffield Southampton); Arthur/Merlin (Iris Theatre); The Hired Man (Queen’s Theatre Hornchurch/Hull Truck/Oldham Coliseum); The Jungle Book (Royal and Derngate Northampton/UK Tour); Worst Wedding Ever (Salisbury Playhouse/UK Tour); Sunny Afternoon (Harold Pinter Theatre, West End); Nicobobinus (Dumbwise/UK Tour); Saturday Night (Arts Theatre, West End); Our House (New Wolsey Theatre/ UK Tour); The Story Giant (Shanty Theatre Company/UK Tour); Faust (Greenwich Theatre); Anyone Can Whistle (Jermyn Street Theatre); Pinocchio (Tolmen Centre, Cornwall); The Wonderful Wizard of Oz, Sweeney Todd, Romeo and Juliet, David Copperfield, White Nights and The Nose and Harmless (Octagon Theatre, Bolton); Fewer Emergencies (Deptford Albany), Grimethorpe Race (Arcola) and Treasure Island (UK Tour).

TJ HOLMES (Dr. Kenneth / The Moors) Theater credits include: Two Gentlemen of Verona (Shakespeare’s Globe and Liverpool Everyman & Playhouse); La Strada and Cinderella (Sally Cookson); The Hired Man (Queen’s Theatre Hornchurch); One Man Two Guvnors (Derby Theatre); Mother Courage (Red Ladder); The BFG (Birmingham Rep); The Jungle Book (Max Webster); The Threepenny Opera (Graeae); Spend (Watermill); As You Like It (Curve Theatre); Hansel and Gretel (Kneehigh) and Cider with Rosie (Theatre Royal, Bury St Edmunds). TV appearances include: “Doc Martin” (ITV); “A Rogue and a Patriot” (Channel 5); and “The Harry Hill Show” (Channel 4). He also works as a historical interpreter with HistoryRiot.

JORDAN LAVINIERE (The Leader of The Yorkshire Moors) Theater includes: All That (King’s Head Theatre); Everybody’s Talking About Jamie (Apollo Theatre); Hairspray (UK tour); Rent (UK tour); Bugsy Malone (Lyric Theatre, London); The Life (The English Theatre, Frankfurt); Everybody’s Talking About Jamie (Workshop); We Will Rock You (European Tour); Thriller Live (UK and European Tour); The Lion King (Young Simba, Lyceum); Whistle Down the Wind (Aldwych). Film and television includes: “X Factor” (Freemantle Media); Harry Potter and the Half Blood Prince (Warner Bros.); “Little Miss Jocelyn” (BBC); “Disney Kids Awards” (Disney). Jordan would like to thank his family and friends for their eternal love and support!

TAMA PHETHEAN (Hindley Earnshaw / Hareton Earnshaw / The Moors) Tama trained at Rose Bruford. His work includes Wuthering Heights at The National Theatre; Eastenders (BBC); The Great Duke of Florence and The False One at Shakespeare’s Globe; Night of the Living Dead for Aria Entertainment; Macbeth for Young Shakespeare Company; The Great Christmas Feast for The Lost Estate; Bells Are Ringing at the Union Theatre and ManMuck (writer and performer) for AM Media Productions.

ELEANOR SUTTON (Frances Earnshaw / Young Cathy / The Moors) Theater credits include: Lori in HUNGRY (Soho Theatre); Jane Eyre in Jane Eyre (Stephen Joseph Theatre/ New Vic); Black Love & Really Big and Really Loud (Paines Plough Roundabout); The Crucible & A Little Night Music (Storyhouse Chester); Amadeus (National Theatre); Windows (Finborough Theatre); As You Like It (UK Tour) and The Master Builder & Future Conditional (The Old Vic).

LIAM TAMNE (Heathcliff) Liam trained at Laine Theatre Arts. Theater credits include: The Prince of Egypt (Dominion Theatre); Bonnie and Clyde (Theatre Royal Drury Lane); The Light in the Piazza (Royal Festival Hall/LA Opera); Spamilton (Menier Chocolate Factory); Mack and Mabel Concert with LMTO (Hackney Empire); Working (Southwark Playhouse); The Rocky Horror Show (UK Tour); Phantom Of The Opera (Her Majesty’s Theatre); Les Misérables (The Queens Theatre); Departure Lounge (Waterloo East); HAIR (Gielgud Theatre); Hairspray (Shaftesbury Theatre); Wicked (Apollo Victoria Theatre). Screen credits include: “Doctors” (BBC). Liam was on “The Voice” Series 2 and BBC’s “Eurovision You Decide.” Awards include: Black British Theatre Awards Nominee (2021); Grammy Nominee (2020).

VINCENT DE JESUS (Percussion) is a native of San Antonio, Texas with roots in Mexico and Puerto Rico. With over 12 years of teaching experience in a variety of disciplines, including music, design thinking, math, science and creative technology, he’s passionate about serving the community as a teaching artist, musician and education consultant. He holds a Bachelor’s degree in Theological Studies and currently teaches World Percussion, 3D Modelling and Printing, Video Game Design (computer coding) and Design Thinking. As a band leader, composer and multi-percussionist, Vince is the recipient of the Berkeley Civic Arts’ Individual Artist Grant for his Bay Area Latin Soul recording project, which explores the contemporary fusion of Afro-Caribbean music and Black American music like jazz, funk and hip-hop.

SID GOLDSMITH (Guitars) Bristol based musician Sid Goldsmith is a stalwart of the English folk scene. His recordings of folk songs have been nominated for a BBC2 Folk Award and he’s performed at countless festivals and gigs and live sessions for BBC Radio 2/3. His duo “Aldridge/Goldsmith” were recently awarded the number 1 spot in Songlines top 10 climate conscious artists. As a multi-instrumentalist (Vocals, Guitar, Cittern, Concertina, Double Bass) he’s in demand and current projects include Awake Arise (a show celebrating winter traditions, featuring Lady Maisery) and Tarren (trio with Danny Pedlar and Alex Garden).

PAT MORAN (Bass Guitar & Music Director) Pat trained at California Institute of the Arts (USA), earning a performer/composer dual focus MFA. He relocated to the UK in 2015 and has worked extensively as a theater multiinstrumentalist and music director. UK theater credits include: Wuthering Heights (National Theatre/Wise Children); The Wicker Husband (Westerna/Watermill Theatre); Cinderella (Hall for Cornwall); The Lion the Witch and the Wardrobe (Bridge Theatre); Brief Encounter (Kneehigh); Hireth (Hall for Cornwall/O Region); Tristan & Yseult (Kneehigh); 946: The Amazing Story of Adolphus Tips (Kneehigh); A Midsummer Night’s Dream (Shakespeare’s Globe) and Sleeping Beauty (Bristol Old Vic). Pat served as resident composer/lyricist/musical director/ multi-instrumentalist for the San Francisco Mime Troupe from 2007 – 2013. Recent compositions include work with BBC Ideas, visual artist Adébayo Bolaji, and with the projects PM Syndicate; Unreliable Witness, and Yesterday’s Camel.

EMMA RICE (Adapter & Director) is the proud Artistic Director of her company, Wise Children, and an internationally respected theater-maker and director. For Wise Children Emma has adapted and directed the productions: Bagdad Cafe, Romantics Anonymous, Enid Blyton’s Malory Towers and Angela Carter’s Wise Children. As Artistic Director of Shakespeare’s Globe: Romantics Anonymous, Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). As joint Artistic Director of Kneehigh: The Flying Lovers of Vitebsk, Tristan & Yseult, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, The Wooden Frock, The Bacchae, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Rapunzel (in association with Battersea Arts Centre); Brief Encounter (in association with David Pugh and Dafydd Rogers Productions); Don John (in association with the RSC and Bristol Old Vic); Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages); and Steptoe and Son. Emma received the Outstanding Contribution to British Theatre award at the 2019 UK Theatre Awards, and in 2022 was named in the Sky Arts Top 50 most influential British Artists of the last 50 years.

IAN ROSS (Composer) is a Bristol based multi-instrumentalist, composer, and Head of Music for The School for Wise Children. He leads the band Eleven Magpies and is part of Benji Bowers Orchestra Collective, Terra Coda. Credits as Composer include: Wise Children, Malory Towers, Bagdad Cafe and Wuthering Heights (Wise Children); Twelfth Night (Shakespeare’s Globe); The Very Old Man with Enormous Wings, The Flying Lovers of Vitebsk (Kneehigh). Other theater for Kneehigh includes: Brief Encounter, The Red Shoes, Don John, The Wild Bride, Tristan & Yseult, Dead Dog in a Suitcase, The Flying Lovers of Vitebsk. Theater as music director includes: Girl from the North Country (Toronto 2019, Runway); Research & development with PJ Harvey (The National). Composer for film includes Weekend Retreat (O-region); The princess and Peppernose (Joe Wright and RSA).

VICKI MORTIMER (Set & Costume Design) Vicki has designed extensively for theater, opera and dance, including work for the National Theatre, Royal Shakespeare Company, The Bridge, Wise Children, Royal Opera House, Wayne McGregor, Kneehigh, Young Vic, Donmar, Almeida, Royal Court, on Broadway and internationally.

SIMON BAKER (Sound & Video Design) Wise Children, Malory Towers, Bagdad Cafe, Romantics Anonymous (Wise Children Tours); Woman in Mind (Chichester Festival Theatre); Lungs, Present Laughter, Girl from the North Country (also US Tour & West End & Broadway & Australia), Groundhog Day, A Christmas Carol (Also Broadway, Tony Award - Best Sound) (The Old Vic); The Birthday Party, The Moderate Soprano, Shakespeare in Love (West End); Matilda The Musical — Olivier Award - Best Sound (RSC/ West End/Broadway/UK Tour); Hex, Pinocchio, The Light Princess, Amen Corner (National Theatre); Standing At The Sky’s Edge, Oliver (Sheffield Crucible); Tristan & Yseult, Brief Encounter, The Red Shoes, The Wild Bride, Steptoe & Son, 946 The Amazing Story of Adolphus Tips, Rebecca, The Flying Lovers Of Vitebsk (Kneehigh). Simon is an associate of The Old Vic (London). He is also Wise Children’s Technical Director and Digital Producer.

JAI MORJARIA (Lighting Design) trained at RADA and won the 2016 Association of Lighting Designer’s ETC Award. Recent designs include The Trials (Donmar Warehouse); Chasing Hares (Young Vic); Wuthering Heights (National Theatre/Bristol Old Vic); The Accidental Death of an Anarchist, Scissors (Sheffield Theatres); Cherry Jezebel (Liverpool Everyman); House of Ife, Lava, Pawn/ Limbo (Bush Theatre); Cruise (Duchess Theatre); Big Sky, The Hoes (Hampstead Theatre); Birthmarked (Bristol Old Vic); My Son’s A Queer (But What Can You Do?) (Underbelly/Turbine Theatre. WhatsOnStage Award for Best Off West End Production); The Cherry Orchard (The Yard/HOME); Hushabye Mountain (Hope Mill); Out of the Dark (Rose Theatre Kingston); Shuck’n’Jive, Whitewash (Soho Theatre); Anansi the Spider, Aesop’s Fables (Unicorn Theatre); I’ll Take You To Mrs. Cole (Complicite); Mapping

Brent (Kiln Theatre); Glory (Duke’s Theatre/Red Ladder); Cuzco (Theatre503); Losing Venice (Orange Tree Theatre); The Sorcerer’s Apprentice (Northern Stage); A Midsummer Night’s Dream, King Lear, Lorna Doone (Exmoor National Park); A Lie of the Mind (Southwark Playhouse); 46 Beacon (Trafalgar Studios with Rick Fisher); Out There on Fried Meat Ridge Road (White Bear Theatre/ Trafalgar Studios 2); Acorn (Courtyard Theatre. Off-West End Award nomination for Best Lighting).

ETTA MURFITT (Movement Director & Choreographer) Theater as choreographer with Emma Rice and Wise Children includes: Bagdad Cafe (Old Vic); Wise Children (Old Vic/ UK Tour), Romantics Anonymous (Bristol Old Vic/The Globe); The Umbrellas of Cherbourg (Kneehigh/Curve Leicester/ West End); The Flying Lovers of Vitebsk, 946: The Amazing Story of Adolphus Tips, The Wild Bride, Midnight’s Pumpkin, Steptoe and Son (Kneehigh/UK tour); Twelfth Night, A Midsummer Night’s Dream (Shakespeare’s Globe). Etta is the Associate Artistic Director of Matthew Bourne’s New Adventures.

JOHN LEADER (Puppetry Director) Theater includes: A Monster Calls, Bagdad Cafe (The Old Vic); The Lion, the Witch and the Wardrobe (Bridge Theatre); Henry IV, Henry V, Doctor Faustus, Vivaldi’s The Four Seasons: A Reimagining (Shakespeare’s Globe); Peter Pan, War Horse (National Theatre); Chigger Foot Boys (Tara Arts); Running Wild (Regent’s Park); Romeo and Juliet (Orange Tree); Beasty Baby (Theatre Rites/ Polka); Alice’s Adventures Underground (Les Enfants Terribles). Television includes: “The Sandman,” “Doctors,” “Britannia,” and “The Girlfriend Experience.”

LAURA KEEFE (Associate Director) Theater as director includes: WildFire Road (Sheffield Theatres); The Christmas Goblin (Marlowe Theatre); One Million Tiny Plays About Britain, Robin Hood (Watermill Theatre); Parakeet (Boundless Theatre); Dennis of Penge (Albany Theatre/Ovalhouse); The Ladykillers of Humber Doucy Lane (Eastern Angles); My Beautiful Black Dog (Roundhouse/Southbank Centre). Theatre as associate director includes: Bagdad Cafe, Romantics Anonymous, Malory Towers (Wise Children). Theater as staff director includes: As You Like It (National Theatre). Theatre as assistant director includes: Brief Encounter (Westend); A Midsummer Night’s Dream (Regent’s Park); Feast (Young Vic); The Two Gentlemen of Verona, Romeo and Juliet (Shakespeare’s Globe). Laura is Wise Children’s Head of Performance and a Creative Associate at The Northwall, Oxford.

NANDI BHEBHE (Associate Choreographer) Theater includes: Bagdad Cafe (Wise Children, The Old Vic); A Monster Calls (The Old Vic); Fela! (National Theatre/ Broadway); A Season in the Congo (Young Vic); A Midsummer Night’s Dream, Twelfth Night, 946: The Amazing Story of Adolphus Tips (Shakespeare’s Globe); Boy Breaking Glass (Sadler’s Wells); The Tin Drum (Bristol Old Vic); Ubu (Shoreditch Town Hall). Film includes: Cyrano.

KEV MCCURDY (Fight Director) is an Equity registered Fight Director / choreographer, director, actor and an action performer. Kev is also co-founder and Chairman of The Academy of Performance Combat. Recent theater includes: The Colour Purple, Mary’s Seacole, The Welsh Dragon, Sister Act, Les Misérables, Rigoletto, Bajazet, Don Giovanni, Jenufa, The Barber Of Seville, The House Of Shades, Making Of A Monster (Radio 4), Troilus and Cressida, Billy Elliot, Jitney, Red Pitch, Moreno, A Midsummer Night’s Dream, Some Mothers Do ‘Ave ‘Em, Nine Night, Gunpowder, Guardians of The Galaxy. Recent TV includes: “The Pact S2” (BBC), “The A List” S2 (Netflix), “Y Golau / The Light,” and “ Pobol Y Cwm” (BBC Wales / S4C Wales).

VICTORIA BRENNAN (Lighting Programmer & Associate) has worked extensively in the industry as a designer and programmer. Her work for Wise Children includes: Malory Towers (Passenger Shed), Romantics Anonymous (Bristol Old Vic) and Bagdad Cafe (Old Vic). Lighting design credits include: A Midsummer Night’s Dream (Shakespeare’s Globe); Bristol Old Vic 250th Gala (Bristol Old Vic). Associate lighting designer credits include: The Umbrellas of Cherbourg (Kneehigh Theatre/Curve/West End); Wah! Wah! Girls (Kneehigh Theatre/Sadler’s Wells); Brief Encounter (West End); Strictly Ballroom (West End); The Book of Mormon (UK Tour); King Kong (Melbourne/Broadway). Programming credits include: Don John, The Red Shoes, Midnight’s Pumpkin, The Flying Lovers Of Vitebsk, FUP, Tristan & Yseult (Kneehigh Theatre); Imogen, Tristan & Yseult, Romeo & Juliet (Shakespeare’s Globe); & Juliet (Toronto); Mrs Doubtfire (UK).

TOM KNOWLES (Music Supervisor) is a composer, MD, orchestrator and pianist. Work as MD and orchestrator includes: Beauty and the Beast Panto (Chelmsford Civic); Robin Hood Panto (Camberley); The 12 Tenors (Monte Carlo). As Co-MD: The Crazy Coqs Presents (Brasseries Zedel). Audition pianist: Summer Holiday (UK Tour); Thoroughly Modern Millie (UK Tour); Sh*tfaced Showtime (Stockwell Playhouse). Piano playing: LMTO A Christmas Carol (Lyceum Theatre); LMTO w/Ben Forster (Theatre Royal Haymarket). Performances with Marisha Wallace: Love Supreme Yamaha Experience Lounge 2019; Yamaha @ The Waldorf, London; Kipps AMD (Trinity Laban Blackheath Halls). Composition credits: GPEC (28 Dance Exercises 2021); Signifying Nothing (SATB, Royal Albert Hall, Birmingham Symphony Hall). Other credits include: Penny Pots Sounds – Co-Founder, Elverson Studios Vocal Reels – Co-founder, Transcriber (Sony, Lydian Collective, Laszlo Project).

ANNA LEWIS (Costume Supervisor) is a Costume Supervisor and Performance Designer. She was the lead costume supervisor for we’re here because we’re here supervising over 2000 WW1 costumes. She supervised The Book of Dust and Straight Line Crazy at the Bridge Theatre. She assisted on English National Ballet’s Cinderella (Royal Albert Hall); The Snow Queen for the

Tivoli Ballet designed by Queen Margret the II, and the Tony nominated The Inheritance by Bob Crowley. As a designer her work has been nominated for Off West End Awards for Best Set and Costume and in 2016 the production Life According to Saki which she designed for Atticist won the Best of Edinburgh Award and transferred Off Broadway. She is currently designing new productions for Tara Theatre and Reading Rep.

GIUSEPPE CANNAS (Wigs, Hair & Makeup Supervisor) From Sardinia originally. A Londoner since 1994. Giuseppe trained and worked in London till 2002 when he moved to Australia. In 2003 Giuseppe became Head of Hair and Makeup for Disney’s The Lion King in Sydney Australia. Going on to work across numerous Lion King productions, EPK’s & publicity appearances across the world ending with the 2010 Singapore show. Giuseppe was Head of Wigs Hair and Makeup at the National Theatre U.K. from 20112021. He led a large team working on numerous stage productions: NT Live cinema broadcast, and still shoots for press/ digital including shoots for Vanity Fair, Vogue U.S. etc. He has presented masterclasses at the National Theatre, and for MAC cosmetics in New York, and has taught periodically at Christine Blundell Academy, and is now a Freelance Hair and Make-up designer/supervisor across theater, film and editorial in the U.K and Europe. Giuseppe has been a participant and judge at numerous IMATS conventions in U.K and U.S. and is also a member of annual wigs hair and makeup convention Opera Europa bringing together head creatives in the field from across Europe and beyond.

LIZZIE FRANKL & FAHMIDA BAKHT (Props) Based in London, Propworks are a team of experienced artisans and stylists who source and make props, style and dress sets for productions & events all over the world. They have worked with Wise Children on Wise Children (Old Vic/UK Tour) and Bagdad Cafe (Old Vic). Other recent credits include Get up Stand Up (Lyric Theatre); Singing’ in the Rain (Sadlers Wells); Cinderella, The Musical (Gillian Lynne Theatre); Joseph & The Amazing Technicolour Dreamcoat (Palladium Theatre) & Pretty Woman (Savoy Theatre).

KATE FOSTER (Company Stage Manager) is a Freelance stage manager. Starting her career in Liverpool, she has gone on to tour around the world. Credits include: Captive Queen, Love’s Labour’s Lost, Romeo and Juliet (Shakespeare’s Globe); The Misanthrope (ETT/UK Tour); Royal de Luxe’s Memories of August (Liverpool wide). For Wise Children: Wuthering Heights (UK Tour); Bagdad Cafe (Wise Children/The Old Vic); Romantics Anonymous (Bristol Old Vic); Malory Towers (UK Tour). For Kneehigh: Dead Dog in a Suitcase and Other Love Songs, UBU, Flying Lovers of Vitebsk, The Tin Drum, Tristan & Yseult and 946: The Amazing Adolfus Tips. For Liverpool Everyman & Playhouse: Our Town Needs a Nando’s; Christmas Cabaret, Spy Monkey’s Christmas Carol, The Alchemist, Streetcar Named Desire, amongst others.

ALED THOMAS (Technical Stage Manager) Theater credits include: Wuthering Heights (UK Tour); Romantics Anonymous, Wise Children (Wise Children/UK Tour); The Flying Lovers of Vitebsk, Tristan & Yseult UK, Dead Dog in a Suitcase and Other Love Songs, 946: The Amazing Story of Adolphus Tips, Steptoe & Son (Kneehigh/UK Tour/International Tour); Greek (Tongeyong International Music Festival/UK Tour); The Intelligence Park (Royal Opera House/Music Theatre Wales).

CHARLIE SMALLEY (Deputy Stage Manager) is a Freelance stage manager and props buyer for theater. Previously for Wise Children: Wuthering Heights (UK Tour); The Flying Lovers of Vitebsk, Romantics Anonymous, Malory Towers, Wise Children. Theater credits include: Disco Inferno (Cirque Bijou); Macbeth, A View from the Bridge, Waiting for Godot, The Light Princess, Hot Air (Tobacco Factory Theatres); Blue Heart, The Directors’ Festival (Orange Tree Theatre); Hamlet, All’s Well That Ends Well, The School for Scandal, The Conquering Hero (Shakespeare at the Tobacco Factory); PSYCHOPOMP (Fen Theatre); Medea (Bristol Old Vic); The Love of the Nightingale (Bristol Old Vic Young Company); The Stick House (Raucous); Intimate Apparel (Ustinov Studio).

CHARLIE SIMPSON (Head Of Sound) is a Sound Operator and Production Sound Engineer based in London. He has been working for Wise Children since its early beginnings and has been Head of Sound on their productions of Wuthering Heights, Bagdad Cafe, Romantics Anonymous, Wise Children and Malory Towers; alongside being broadcast sound operator for all of their live streams. Previously to this, Charlie was also Deputy Head of Sound for Emma Rice’s Wonder season at Shakespeare’s Globe. Other credits include 946: The Amazing Adolfus Tips, Flying Lovers of Vitebsk, Rebecca, Tristan & Yseult, UBU and Dead Dog in a Suitcase and Other Love Songs (Kneehigh); Girl From The North Country (UK & Ireland Tour); Nativity (UK Tour); Touching the Void (West End/Bristol Old Vic) and King Charles III (West End).

JIMMY O’SHEA (Sound No. 2) Jimmy graduated from Rose Bruford College in 2018 after studying BA in Performance Sound. Theater includes: Robin Hood (Watermill); Wuthering Heights (UK Tour) Wise Children (Wise Children/UK Tour); The Lovely Bones (UK Tour); Romantics Anonymous (Wise Children); The Flying Lovers of Vitebsk (Bristol Old Vic/Kneehigh/Wise Children Live Stream); Lyceum Christmas Tales (Edinburgh Lyceum); Lexi (Bohemians Theatre Company); Girl From The North Country (UK Tour & Ireland)

EMMA DAVIDSON (Head of Wardrobe) Since graduating from Arts University Bournemouth with a degree in Costume with Performance Design in 2015, Emma has worked as a wardrobe assistant and manager for a variety of theater productions including: The Return to the Forbidden Planet (Eastbourne Theatres); The 39 Steps (Eastbourne Theatres) and The Braille Legacy (Charing Cross Theatre); South Pacific, The Long Son, Crazy For You (Chichester Festival Theatre); Wuthering Heights (UK Tour).

PEMBERLEY PRODUCTIONS (US Tour General Managers) Pemberley Productions is comprised of Doreen Sayegh, Tim Smith, and Annie Shea Graney. We collaborate with overseas companies and US-based productions to book and manage tours across North America as well as internationally. We work with regional theaters, universities, and performing arts centers as they build their seasons to provide projects that suit their audiences and individual considerations. We are proudly transparent, thoughtful, and dynamic. We build collectively beneficial relationships and stand behind our words and values. In 22/23, Pemberley also tours Wuthering Heights to St. Ann’s Warehouse, Berkeley Repertory Theatre, Chicago Shakespeare, and McCarter Theatre Center. In spring 2023, Pemberley tours Good Chance Theatre’s The Jungle to St. Ann’s Warehouse and Shakespeare Theatre Company. Pemberley was last at the Wallis with the National Theatre of Great Britain’s An Inspector Calls, directed by Stephen Daldry. For information on upcoming tours and projects in development, visit www.pemberleyproductions.com

NATIONAL THEATRE (Co-Producer) The National Theatre’s mission is to make world-class theater, for everyone. We create and share unforgettable stories with audiences across the UK and around the world, striving to be accessible, inclusive and sustainable. The NT empowers artists and craftspeople to make world-leading work, investing in talent and developing new productions at our New Work Department. We work with young people and teachers right across the UK, through performance, writing and technical programmes to ignite the creativity of the next generation, and we create ambitious works of participatory theater in deep partnerships that unite theaters and local organizations. nationaltheatre.org.uk

BRISTOL OLD VIC (Co-Producer) Bristol Old Vic is the longest continuously running theater in the UK and celebrated its 250th anniversary in 2016. The historic playhouse aims to inspire audiences with its own original productions, both at home and on tour, whilst nurturing the next generation of artists, whether that be through their 350-strong Young Company, their many outreach and education projects, or their trailblazing artist development programme, Bristol Ferment.

YORK THEATRE ROYAL (Co-Producer) York Theatre Royal is a brave, creative hub at the heart of the city. It is one of the region’s most successful producing theaters, welcoming over 200,000 people each year to its 275-year-old building. Known for its innovative work throughout the community, York Theatre Royal’s recent projects include: The Travelling Pantomime, a small-scale pantomime that visited 16 different neighborhoods in York; Mugabe, My Dad and Me in co-production with ETT; Around the World in 80 Days, an outdoor performance on the playing fields of York; and Love Bites, a series of 22 new ‘love letters’ by York-based artists.

US REPRESENTATION BY PEMBERLEY PRODUCTIONS. FOR MORE INFORMATION ABOUT TOURING, PLEASE CONTACT DOREEN SAYEGH AT DOREEN@PEMBERLEYPRODUCTIONS.COM.

WITH THANKS TO Robert and Olivia Temple, Faye Clements and Florence Ashman, Natasha Patel, Alan Brodie and Ginny Sennett, Lyndie Wright, Dom Lawton, Tom Breen, Graham Ironman, Kerry Jarrett, Dominique Hamilton, Carly Roberts, Simon Money, Chris Samuels, Backroom Ltd, Paul Handley, Rufus Norris, Vicky Hawkins, Kash Bennett, Tom Bird, Thom Freeth, Tom Morris and Charlotte Geeves.

ABOUT WISE CHILDREN

Created and led by Emma Rice, Wise Children launched in April 2018 and is an Arts Council England National Portfolio Organization. Based in the South West of England, we make ground-breaking work with exceptional artists, and tour across the world. In the dark days of 2020, we led the field in live streaming, becoming the first company to broadcast a fully staged production, without social distancing, from a UK theater after lockdown.

WISE CHILDREN STAFF

ARTISTIC DIRECTOR Emma Rice

EXECUTIVE PRODUCER Poppy Keeling

TECHNICAL DIRECTOR AND DIGITAL PRODUCER Simon Baker

GENERAL MANAGER Steph Curtis

EVENT AND OPERATIONS PRODUCER Jay Jones

PRODUCER Monica Bakir

ASSISTANT PRODUCER Rhys Bugler

PARTICIPATION PRODUCER Helen Comerford

ASSOCIATE DIRECTOR Laura Keefe

FUNDRAISER Helena Price

FINANCE MANAGER (INTERIM) Lucy Williams

FINANCE ASSISTANT Angela Wright

Wise Children is an Arts Council England National Portfolio Organization. This production has been made possible by the generous support of Cynthia and Ronald Beck, The Broughton Family Charitable Trust and Jon and NoraLee Sedmak.

THE SCHOOL

Alongside our shows, we run a unique professional training program, The School for Wise Children. Led by Emma, and her award-winning collaborators, the School for Wise Children offers workshops, courses and other opportunities for fearless, freethinking theater makers and emerging companies. For more information about The School and how to train with Wise Children, head to our website: www.wisechildren.co.uk

THE CLUB

The Wise Children Club is our community: a growing group of allies who support our work and share ideas and dreams. Right now, as we face uncertain and difficult times, we need the Club more than ever!

It costs £10 a year to be a member, but joining the Wise Children Club isn’t just about the money! Club members are our ambassadors - online and in person. They spread the word, bring new people to our shows, and look for opportunities for Wise Children to grow as a creative force for good!

You might also be inspired to know that everyone who works for Wise Children (from those who tread the boards to the Board itself) joins the Club and donates to the company. If you’d like to join us, you can do it at www.wisechildren.co.uk

IF ALL ELSE PERISHED

From their home in Haworth Parsonage, Emily Brontë and her sisters could look up to the wide open spaces of the moors – the inspiration for the dramatic landscape of Wuthering Heights – or they could look down, to see the churchyard full of slanting gravestones, marking the resting places of the dead, and the church itself, St Michael and All Angels. Their mother Maria, was buried there, in the family vault, as were the two elder Brontë sisters, Maria (named for her mother) and Elizabeth, who had died aged just 11 and ten respectively. Further down, below the church, lay the close streets of Haworth, where residents, like so many in the Victorian period, grappled with the daily realities of infection, dirt, disease, and death.

The Brontës’ mother had died from cancer before her younger children had time to form real memories of her. While growing up without a mother was less unusual in the early 19th century than it is today, the Brontë children would nonetheless have felt their loss. Four years after Mrs Brontë’s death, the young Maria and Elizabeth had been sent home from Cowan Bridge, the boarding school they attended with Charlotte and Emily, to die from consumption (tuberculosis).

Emily and Charlotte’s first real and memorable experience of the close and constant menace of death and disease was at the school which Charlotte, in particular, held responsible for her elder sisters’ deaths. She later remembered the school as a place where typhus fever ‘decimated’ the population regularly, and ‘consumption and scrofula in every form bad air and insufficient diet can generate, preyed on the ill-fated pupils’.

All of the sisters experienced deaths of those close to them, and all were affected by these experiences. Charlotte, in particular, spent much of her adult life anxious about her own health and that of her loved ones. She worried at various points that Emily and Anne were showing early signs of consumption and panicked, fearing Emily’s ‘rapid decline’ in 1835, and Anne’s in 1837. When her friend Mary Taylor was unwell in 1838, Charlotte was again reminded of Maria and Elizabeth – ‘my two sisters whom no

power of medicine could save’ – speculating on whether Mary’s lungs were ‘ulcerated yet’, and on what her ‘hectic fever’ might indicate. She worried for herself, too: her letters, especially those to another friend, Ellen Nussey, are also full of references to the wind and weather, and the ways in which it depressed her in body and mind. By the time Branwell and Emily died in 1848, Charlotte felt as though a threat that had lingered for years had finally become real: ‘unused any of us to the possession of robust health, we have not noticed the gradual approaches of decay’, she wrote.

Against the constant fear of consumption and the knowledge of the diseases which periodically struck the town below, the Brontës did have certain tools. Cleanliness was very much emphasised in the battle against disease in the early Victorian period, when the role of bacteria in contagion was decades away from being understood. The focus, especially in periods of epidemic disease, was placed on ‘filthy’ vapours and stagnant air –and Haworth Parsonage was kept scrupulously, immaculately, clean.

From a very early age, the Brontë children were taken on regular walks on the moors above the parsonage, and exposed to the fresh and wholesome open air that was considered essential to the maintenance of good health. They also had two medical texts on their shelves which Patrick Brontë regularly consulted when members of the family were ill: Thomas Graham’s Modern Domestic Medicine and William Buchan’s Domestic Medicine. Buchan’s work, in particular, argued that exposure to the elements was crucial to a healthy constitution, and that nothing could be more damaging to health than to stay indoors without ventilation. Patrick’s annotations can still be seen in the margins of both the copies the family-owned.

As Haworth’s curate, Patrick Brontë baptised the babies of Haworth and held funerals for the town’s dead, but he was concerned with their bodily health as well as their spiritual purity, and his sense of responsibility for the regulation of good health applied to his parishioners as much as it did to his

JO WAUGH ON HOW DEATH AND DISEASE WERE PART OF DAILY LIFE FOR THE BRONTËS

own family. In 1849, two months after Anne’s death, Patrick petitioned for an inspector to assess the village’s high mortality and poor sanitation.

The Babbage Report of 1850 which followed this petition revealed shocking facts about the town. Multiple households shared single privies, and the over-flowing excrement ran down the streets, combining with offal from the slaughter-houses on the way. At the top of the hill on which the town lies, the graveyard with its sloping and overcrowded gravestones gave a visible clue to the contents of the ground beneath it, which was full to bursting with Haworth’s corpses. Decomposing matter trickled invisibly down from the churchyard and into the town’s water supply. Perhaps not surprisingly, life expectancy in Haworth was a mere 25.8 years compared to an average of around 42 years across England and Wales. In the light of all this, the deaths of Branwell, Emily, and Anne at 31, 30, and 29 seem less exceptional, if not less tragic, than they otherwise might.

For her part, Emily herself seems to have felt it important to manage and control her health alone. Charlotte later told her friend, the writer Elizabeth Gaskell, how Emily had once been bitten on the streets of Haworth by a dog who seemed as though it might be rabid. Rather than telling her family about the bite or any fears she had about contracting the rabies virus, Emily returned home and cauterised the wound by burning it with an iron in the parsonage kitchen, in secret. She told nobody

what had happened until the risk of rabies was past. Charlotte transformed the act into fiction in her novel Shirley, where the heroine (whom she told Gaskell was a version of Emily as she might have been if she’d enjoyed better health and finances) brands her own wound in the same way and also keeps her anxieties to herself.

Later, and to the great distress of her family, Emily refused to see a doctor even though she was palpably dying from consumption. Whether this was because she was in denial, sceptical about doctors, or constitutionally averse to fuss, we will never know. Having grown up in the parsonage, always close by death and disease, Emily must have known the nature of the illness that was killing her.

It is perhaps unsurprising that characters in Wuthering Heights fall ill with measles, colds and consumptions, and death lurks everywhere, as it did in Haworth and in the parsonage itself. Yet for good or ill, death is not final in this novel: characters leave their ghostly echoes, and their love and attachments persist long after their deaths. ‘Emily is nowhere here now’, Charlotte wrote after her sister’s burial. Her statement came from the depths of misery and mourning for the absence of Emily from this world. Perhaps, though, it also holds out the hope that although Emily is ‘nowhere here now’, some essence of her might still live on, in the memories of her Charlotte kept, and in her work.

© Jo Waugh, February 2022 Dr Jo Waugh is a Senior Lecturer in Nineteenth-Century Literature at York St John University. Her publications include an article ‘Staying Calm and Seizing the Iron: Contagion, Fermentation, and the Management of the Rabies Threat in Charlotte Brontë’s Shirley’ in Victorian Review. Her article for The Conversation, ‘How the Stigma of Contagion Keeps Alive Romantic Notions of how the Brontës Died’ was published in the Independent in 2018. Her forthcoming monograph, Brontë Contagions: Myths, Memes, and the Politics of Infection will explore the Brontës’ relationship to contagion and the metaphors it generates.

St Michael and All Angels' Church and graveyard, Haworth, West Yorkshire, England, UK, photo by parkerphotography / Alamy Stock Photo

LUMINARIO BALLET

FEB 17 - 18, 2023

Making its Wallis debut, Luminario Ballet of Los Angeles is a repertory ballet, aerial, and modern dance company founded in 2009 by Judith FLEX Helle and the Charles Evans Foundation NY. Luminario has toured globally and performed locally commissioned work with the LA Phil at Walt Disney Concert Hall and across numerous mediums such as music videos, television, film, and virtual reality.

Dance @ The Wallis is made possible in part by a grant from the National Endowment for the Arts.

PRESENTS

BAROQUE CONCERTI

PROGRAM

CORELLI

Concerto Grosso in D Major, Op.6, No.4 GEMINIANI

Concerto Grosso in D Major, Op.5, No.1 NERUDA

Concerto for Trumpet in E-flat intermission

TELEMANN

Viola Concerto in G Major HANDEL

Concerto Grosso, Op.6, No.11 in A Major

SATURDAY, JANUARY 28, 2023 AT 7:30PM

Bram Goldsmith Theater

Running Time: One hour and 26 minutes, including a 20-minute intermission.

This program is dedicated in memory of Warner W. Henry, LACO Board Director emeritus, and lover of chamber and Baroque music.

VIOLA Yura Lee TRUMPET David Washburn

JAIME MARTÍN (Music Director and Conductor) In 2022, Spanish conductor Jaime Martín takes on the position of Chief Conductor of the Melbourne Symphony Orchestra. Since 2019, Maestro Martín has been Music Director of the Los Angeles Chamber Orchestra, with his appointment now extended up to 2027, and Chief Conductor of Ireland’s RTÉ National Symphony Orchestra. He has been the Artistic Director and Principal Conductor of Gävle Symphony Orchestra since 2013, and was recently announced as the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season.

Having spent many years as a highly regarded flautist, working with the most inspiring conductors of our time, Jaime turned to conducting full-time in 2013 and has become very quickly sought after at the highest level. Recent and future engagements include return visits to the London Symphony Orchestra, National Orchestra of Spain, Sydney Symphony, Melbourne Symphony, RTVE National Symphony, Antwerp Symphony, Colorado Symphony and Gulbenkian orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra. He also makes his debut with the Netherlands Philharmonic Orchestras in the first half of 2021.

In recent years Martín has conducted an impressive list of orchestras that includes the Frankfurt Radio Symphony, Royal Liverpool Philharmonic, Royal Scottish National, Swedish Radio Symphony, Barcelona Symphony, New Zealand Symphony, Queensland Symphony, Deutsche Radio Philharmonie Saabruecken, Essen Philharmonic and Philharmonia Orchestras, the Academy of St Martin in the Fields, Saint Paul Chamber Orchestra and the Orchestre Philharmonique de Radio France. He has forged strong relationships with renowned soloists such as Anne Sophie von Otter, Joshua Bell, Pinchas Zukerman, Christian Tetzlaff and Viktoria Mullova, among many others. Martín has also commissioned multiple world and regional premieres of works by composers Ellen Reid, Andrew Norman, Missy Mazoli, Derrick Spiva, Albert Schnelzer and Juan Pablo Contreras.

Martín is recording a series for Ondine Records with the Gävle Symphony Orchestra; this includes the Brahms Serenades, Songs of Destiny, Brahms choral works with the Eric Ericson Chamber Choir, and a recording of the Brahms Piano Quartet arranged by Schoenberg, which was released in February 2019. He has also recorded Schubert Symphony No. 9 and Beethoven Symphony No. 3, Eroica, with Orquestra de Cadaqués and various discs with the Barcelona Symphony Orchestra for Tritó Records. In 2015, he recorded James Horner’s last symphonic work Collages for four horns and orchestra with the London Philharmonic Orchestra.

As a flautist, Martín was principal flute of the Royal Philharmonic Orchestra, Chamber Orchestra of Europe, English National Opera, Academy of St Martin the Fields and London Philharmonic Orchestra. Also sought-after as a soloist, he made a recording of Mozart flute concertos with Sir Neville Marriner, the premiere recording of Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge and conducted by Gianandrea Noseda, and Bach works for flute, violin, and piano with Murray Perahia and Academy of St. Martin in the Fields for Sony.

Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. Over the last five years he has brought financial stability and created a platform for some of the most exciting artists in their fields, ranging from symphony orchestras and baroque ensembles to education workshops and ballet companies. He was also a founding member of the Orquestra de Cadaqués, with whom he was associated for thirty years, and where he was Chief Conductor from 2012 to 2019. Jaime Martín is a Fellow of the Royal College of Music in London, London, where he was a flute professor. He now enjoys working with many of his former students in orchestras around the world.

YURA LEE (Viola) was the only first prize winner awarded across four categories at the 2013 ARD Competition in Germany. She has won top prizes for both violin and viola in numerous other competitions, including first prize and audience prize at the 2006 Leopold Mozart Competition (Germany), first prize at the 2010 UNISA International Competition (South Africa), first prize at the 2013 Yuri Bashmet International Competition (Russia), and top prizes in Indianapolis (USA), Hannover (Germany), Kreisler (Austria), and Paganini (Italy) Competitions.

At age 12, Yura Lee became the youngest artist ever to receive the Debut Artist of the Year prize at the “Performance Today” awards given by National Public Radio. She is also the recipient of the prestigious Avery Fisher Career Grant given by Lincoln Center in New York City. Yura Lee’s CD with Reinhard Goebel and the Bayerische Kammerphilharmonie, titled ‘Mozart in Paris’ (Oehms Classics) received the prestigious Diapason d’Or Award in France.

Yura Lee was nominated and represented by Carnegie Hall for its ECHO (European Concert Hall Organization) series. For this series, she gave recitals at Carnegie’s Weill Recital Hall and at nine celebrated concert halls in Europe: Wigmore Hall in London, Symphony Hall in Birmingham, Musikverein in Vienna, the Mozarteum in Salzburg, Palais des Beaux-Arts in Brussels, Concertgebouw in Amsterdam, Stockholm Konserthus, Athens Concert Hall, and Cologne Philharmonie.

As a soloist, Yura Lee has appeared with many major orchestras, including New York Philharmonic, Chicago Symphony, Baltimore Symphony, Cleveland Orchestra, Detroit Symphony, San Francisco Symphony, Los Angeles Philharmonic, Monte Carlo Philharmonic, Hong Kong Philharmonic, Tokyo Philharmonic, to name a few. She has performed with conductors Christophe Eschenbach, Lorin Maazel, Leonard Slatkin, Myung-Whun Chung, Mikhail Pletnev, among many others.

As a chamber musician, Yura Lee regularly takes part in the Marlboro Festival, Salzburg Festival, Verbier Festival, La Jolla SummerFest, Seattle Chamber Music Festival, ChamberFest Cleveland, Caramoor Festival, Kronberg Festival, Aspen Music Festival, among many others. She has collaborated with many artists including Gidon Kremer, Andras Schiff, Leonidas Kavakos, Mitsuko Uchida, Miklós Perényi, Yuri Bashmet, Menahem Pressler, and Frans Helmerson. Yura Lee is currently a member of the Chamber Music Society of Lincoln Center (New York City), and Boston Chamber Music Society.

Yura Lee studied at the Juilliard School (New York City), New England Conservatory (Boston), Salzburg Mozarteum (Austria), and Kronberg Academy (Germany). Her main teachers were Namyun Kim, Dorothy DeLay, Hyo Kang, Miriam Fried, Paul Biss, Thomas Riebl, Ana Chumachenko, and Nobuko Imai. She teaches at the Thornton School of Music, University of Southern California. For violin, Yura Lee plays a fine Giovanni Grancino violin kindly loaned to her through the Beares International Violin Society by her generous sponsors. For viola, she plays an instrument made in 2002 by Douglas Cox, who resides in Vermont. Yura Lee divides her time between Los Angeles (California) and Portland (Oregon).

DAVID WASHBURN (Trumpet) Active in the recording studios, David has numerous motion picture soundtracks to his credit. He played principal trumpet for Rogue One, American Pickle, Spiderman Far From Home, Incredibles 2, Coco, A Quiet Place, Spiderman Homecoming, War for the Planet of the Apes, xXx The Return of Xander Cage, 10 Cloverfield Lane, Independence Day – Resurgence, Godzilla, The Amazing Spiderman, Karate Kid, Avatar, The Legend of Zorro, Troy, A Beautiful Mind, Windtalkers, The Perfect Storm, Titanic and Deep Impact. He has also been a part of the John Williams Trumpet Section for over 20 years including Star Wars ,The Force Awakens, The Last Jedi and The Rise of Skywalker.

Currently, David is a member of the faculty at Biola University and Azusa Pacific University. He has held teaching positions at University of California Irvine, Chapman University, Cal State University Northridge, Cal State University Long Beach, Redlands University, Idyllwild School of the Performing Arts and the Hong Kong Academy of Performing Arts.

He received his Masters of Music, with distinction, from the New England Conservatory of Music in Boston and his Bachelor of Music from the Thornton Music School at the University of Southern California. His trumpet instructors have included Rob Roy McGregor, Robert Nagel, John Clyman and Joan LaRue. David has been a featured soloist with many different orchestras including the Los Angeles, St. Louis, Knox Galesburg, Hong Kong and California philharmonics; the Los Angeles, San Diego and South Bay chamber orchestras; the Berkeley, Burbank and Glendale symphonies; the New York String, University of California Irvine and Pasadena Pops orchestras and the New York Chamber Music Society at Lincoln Center, as well as at the Santa Fe, La Jolla, Music@Menlo chamber music Festivals and Bear’sPremiere Music Festival in Hong Kong.

David is looking forward to performing Bach’s Brandenburg Concerto # 2 this season with the Taipei Music Academic Festival and with the Beare’s Premiere Music Festival in Hong Kong, as well as with the Lincoln Center Chamber Music Society in December 2020. He will also be Performing the Hummel Trumpet Concerto with the University of Southern California Concert Band to honor Dr. Arthur Bartner’s 50th year at the University. In the Summer, David has performed with the Summerfest Chamber Music Festival in San Diego, Taipei Music Academic Festival in Taiwan, Orcas Chamber Music Festival in Orcas Island, WA, Mostly Mozart Festival in San Diego and Music @ Menlo Chamber Music Festival in Menlo Park. David was also a part of the inaugural Chamber Music Festival at The Green Music Center in Sonoma performing Bach’s Brandenburg Concerto #2 in 2015. When David is not performing, his favorite pastime is boating with his children, Timothy, Samantha, Nicholas and Julia.

The Wallis @ a Glance

ADMINISTRATIVE OFFICES

Monday–Friday 10am–6pm @ 310.246.3800 9390 N. Santa Monica Boulevard Beverly Hills, CA 90210 TheWallis.org

TICKET SERVICES

Monday–Friday 11:30am–6:30pm @ 310.746.4000

During performance dates, Ticket Services will be open two hours before performance time and a half hour after the performance begins. Please note that Ticket Services is unable to process exchanges and future sales one hour prior to curtain time on performance dates.

SAFETY

For the wallis’ current Health & Safety protocols visit TheWallis.org/Safety ACCESS

The Wallis is committed to accommodating and ensuring a pleasant experience for all of our patrons with special needs or disabilities. Please contact Ticket Services, our House Manager or an usher to discuss your needs.

LATE SEATING

Should you arrive late for any performance or need to leave your seat during the performance, please expect to be held in the lobby until an appropriate moment or pause. To minimize any disturbance to other patrons, you may be seated in the first available locations by our staff even if different than your assigned seat locations. Please also be advised that some performances or circumstances may not allow for late seating or return seating.

LARGE PRINT PROGRAMS

The Front of House Staff is happy to provide programs with larger print to patrons upon request.

In The Bram Goldsmith Theater

TELECOIL INDUCTION SYSTEM FOR HEARING ASSISTANCE

A state of the art “hearing loop”—a thin copper wire—has been installed beneath the floor of the orchestra seating in the Bram Goldsmith Theater. For guests wearing a hearing aid with a copper telecoil wire or who have a cochlear implant, the system captures electromagnetic waves and broadcasts signals directly to your hearing aid device. For assistance, please inquire with Patron Services.

Gifted by Virginia and Frank Maas.

QUIET ROOM

The Lynn and Les Bider Family Foundation Quiet Room is available during the performance for patrons who wish or need to step away for a moment. You can still see and hear the performance in progress, but we can’t hear you.

THE WALLIS PRESENTS

SANTA CECILIA ORCHESTRA

Under the baton of Sonia Marie De Léon de Vega, journey with us as we explore music from and inspired by the Americas. The concert begins with selections from Copland’s “Rodeo” and a spirited tribute to Latin culture with music of Argentina and Mexico. This sizzling concert reveals the soul of Latino music with thrilling Latin rhythms and rich orchestration. The concert concludes with Dvořák’s epic “New World Symphony,” one of the most powerful symphonies of all, a masterpiece that embodies the American spirit. FEB 25, 2023 @ 7:30PM



PLATINUM CIRCLE

Annenberg Foundation/ Wallis Annenberg & Kris Levine

Dan Clivner

The Seattle Foundation/Katharyn A. Gerlich

The Rosalinde and Arthur Gilbert Foundation 

Bruce Goldsmith

Peggy Parker Grauman

Los Angeles County Dept. of Arts & Culture

Anahita and Jim Lovelace Meeghan and Michael Nemeroff

Arline and Buddy Pepp

Dwight Stuart Youth Fund

Vanity Fair

GRoW @ Annenberg Foundation/ Gregory Annenberg Weingarten & Family

Luanne Wells

The Ahmanson Foundation



GOLD CIRCLE

Camille and Arnon Adar

Ahsan Aijaz

Jacqueline* and Clarence Avant

Leon Lowenstein Foundation/ John M. Bendheim 

Thomas J. Blumenthal

David C. Bohnett

Colburn Foundation

Carol Goldsmith

Chad Hummel and Tara Church Stacey and Donald Kivowitz

Agnes Lew Cathy and Mark Louchheim

Peter Lowy

Nigel Lythgoe OBE

Matt Construction

Daphna Nazarian

Neiman Marcus

Linda May and Jack Suzar

The Estate of Ted and Hedy Orden Halle and Oliver Hammond

Vicki Reynolds and Murray Pepper

Mr. and Mrs. Arnold Rosenstein

Ruby Family Foundation/ Wendy and Ken Ruby

Stephanie and Howard Sherwood 

The Simms/Mann Family Foundation

Susan and Peter Strauss

Linda May and Jack Suzar

Leon and Stephanie Vahn

Jonathan A. Victor May and Richard Ziman

 SILVER CIRCLE

Anonymous

City of Beverly Hills

Lynn and Les Bider Family Foundation

Anoosheh Bostani

Capital Group Companies Charitable Foundation

Louise and Brad Edgerton Hon. MeraLee Goldman

Betty Hayman

Morris and Shîla Hazan Charitable Fund

Elisabeth and Jeffrey Lipsman

National Endowment for the Arts

Gloria and Richard Pink Koni and Geoffrey Rich

Karen Sulzberger and Eric Lax

Bob Tuttle and Maria Hummer-Tuttle Catherine and Grant Withers



DIRECTORS CIRCLE

Beverly Hills Rotary Community Foundation

Dale Cochran

Bonnie and Ronald Fein

The Feintech Family Foundation

Sonia and Robert Freedman

Helene and Louis Galen Family Foundation Kiki and David Gindler

Debra Holstein

Ronnie and Barbara Kahn David Lee Foundation Anu Leemann

Karen and Walter Loewenstern Virginia and Francis S. Maas

Michal Amir Salkin and Kenneth H. Salkin Ronald and Carole Sasiela Moshe and Helen Sassover

The Selwyn/Wyatt Families

The Younes & Soraya Nazarian Family Foundation



ARTISTS CIRCLE

Laura and Harvey Alpert

Judith and Thomas Beckmen

Martha and Barry Berkett Robert and Elissa Bregman

Consulate General of Israel

Eunice David Mrs. Diane Deshong

Honorable Donna Ellman Garber Mimi Alpert Feldman

Sandra Krause and William Fitzgerald Judy O. and Robert T. Flesh

Friars Charitable Foundation

Anita Dann Friedman

Benita and Bert Ginsberg

Lou and Kelly Gonda

Vera and Paul Guerin

Bucky Hazan & Eva Aaronson Dr. Ariella D. Herman

Susan Howard

Mark and Freya Ivener

Jewish Community Foundation

Laurie and Lyn Konheim

Ronald and Stephanie Kramer

Pamela and Bob Krupka

Tamara and David Lachoff

Deborah Laub and Eddie Israel

Lawry’s The Prime Rib Barbara and Joel Marcus

Cookie Miller

Joanne Mogy

The Estate of Leah and William Molle

Ann Mulally

Lawrence Murphy

Ilene and Jeff Nathan

Suzanne Papaian

Pasadena Showcase House for the Arts

Jane Rascoff

Ron Rosen and Judi Lawenda

Barbara Ruben

Thomas Safran

Marc Selwyn Fine Arts

Joan and Paul Selwyn In memory of Gail Silver

Lisa Sockolov

Melissa Rosenberg and Lev L. Spiro Elaine and Ronald Stein

I.H. Sutnick

Elizabeth Topkis Andrea Van de Kamp Rayni Williams

 ENTHUSIAST

Robert and Jeanie Anderson Caherine Glynn Benkaim

David Brecher

Robert and Elissa Bregman

Judy Briskin

Barbara Bruser

Linda Burrow

Rosette Varda Delug

Laura Donnelly

Patricia Feldman

Diane Futterman

Howard Gleicher

Richard and Harriet Gold

Dr. Phillip Green and Dr. Neerad Varshney Marty and Eden Halfon

Carolyn and Bernard Hamilton

Bruce Heymont

Steven Jones

Deborah Bach Kallick

Sally Karbelnig

Patricia Keating and Bruce Hayes

Elodie Keene and Bruce Fortune

Joanne C. Kozberg Stewart and Grace Krakover

Susan and George Krouse

Renee Kumetz

Pearle Rae & Mark Levey

Cornelius and Andrea Littlejohn

Marlene Louchheim

Manatt Phelps & Phillips LLP

Jeannette Mandelbaum

The Marks Family Foundation

Jeanne and Leonard Marks

Frank and Virginia Maas Charles and Dori Mostov

Mahnaz and David Newman

Phylis Nicolayevsky

Lee Ramer

Herbert and Felice Reston

Dan Ricketts

Brandi Roth and Bruce Clemens

Ann Sunshine

Joel Wachs

Dr. and Mrs. Daniel Wallace

Janice and Daniel Wallace

Les Weinstein

Richard and Patricia Wilson Keenan Wolens

Hailey Yoo

Marc Zachary

Victoria Zalben

Walter Zifkin

Les Bider CO-CHAIR

Marc Zachary CO-CHAIR

Betty Hayman HONORARY CO-CHAIR

Ronald D. Rosen BOARD LIAISON TO THE AMBASSADORS

Camille Adar

Laura Alpert

Judy Beckmen

Barbara Belzberg

Dan Clivner

Eunice David DeeDee Dorskind

Jill Erman

Mimi Alpert Feldman

Judy Flesh

Sonia and Robert Freedman

Anita Dann Friedman

Donna Ellman Garber

Bruce Goldsmith

Carol Goldsmith

Laurie Gordon

Peggy Grauman

Evelyn Heyward

Laurie Konheim

Sandra Krause

Susan and Rick Kurtzman

Deborah Laub

Judi Lawenda

Ambassadors

Marlene Leitner

Kathy Liberman

Karen and Walter Loewenstern

Marlene Louchheim

Barbara Marcus

Joanne Mogy

Diane Morton Ilene Nathan Harriet Nichols

Suzanne Papaian Arline and Buddy Pepp

Sandra Karole Peters

Gail D. Peterson

Jane Rascoff

Laurie Rodsky

Barbara Ruben

Wendy and Ken Ruby

Joan Selwyn

Marc Selwyn Lee Silver

Lisa Sockolov

I. H. Sutnick

Karen Sulzberger and Eric Lax

Andrea Van de Kamp

Stephanie Vahn

Rayni Williams

May Ziman

LEARN MORE ABOUT THE WALLIS AMBASSADORS

TheWallis.org/Ambassadors

OFFICIAL HOTEL SPONSOR OF THE WALLIS

THE WALLIS IS THE PROUD RECIPIENT OF GENEROUS SUPPORT AND RECOGNITION FROM

SENIOR LEADERSHIP TEAM

Kurt J. Swanson

ACTING CHIEF OPERATING OFFICER

Christine Bernardi Weil

DIRECTOR OF DEVELOPMENT

Joel Hile

DIRECTOR OF MARKETING & COMMUNICATIONS

Erin Mahan

DIRECTOR OF HUMAN RESOURCES

Coy Middlebrook

ACTING CHIEF ARTISTIC OFFICER

Manuel Prieto

DIRECTOR OF EDUCATION

Christopher Reardon DIRECTOR OF PRODUCTION

David Truly

DIRECTOR OF SPECIAL PROJECTS

Michelle Wiesel GENERAL MANAGER

Thomas Yamamoto CHIEF FINANCIAL OFFICER

ARTISTIC

Camille Jenkins PROGRAMMING MANAGER

Meghan Ripchik ARTISTIC COORDINATOR

DEVELOPMENT

Summer Grubaugh DONOR EVENTS MANAGER

Loren Hayes

INSTITUTIONAL GIVING COORDINATOR

EDUCATION / GROW @ THE WALLIS

Debra Pasquerette

DIRECTOR OF CREATIVE AGING PROGRAMS

Rachel Kilroy

EDUCATION PROGRAM MANAGER

Victoria Kemsley

TEACHING ARTIST, CREATIVE AGING PROGRAM

Michelle Rearick GRAUMAN FELLOWSHIP ADVISOR

Annalise Englert EDUCATION INTERN

MARKETING

Chandra Jackson

ASSOCIATE DIRECTOR OF MARKETING & COMMUNICATIONS

Hannah Burnett

DIGITAL MARKETING MANAGER

Libby Huebner

Laura Stegman PUBLIC RELATIONS CONSULTANTS

PRODUCTION

Samantha Else PRODUCTION MANAGER

Ojin Kwon TECHNICAL DIRECTOR

Lauren Wemischner* LIGHTING SUPERVISOR

Sean Kozma* AUDIO VIDEO SUPERVISOR

Joseph Skowronski* LIGHTING COORDINATOR

Joyce Maddox PRODUCTION ADMINISTRATOR

Bryant Heatherly PRODUCTION COORDINATOR

FINANCE & ADMINISTRATION

Vanessa Mejia PAYROLL & ACCOUNTS PAYABLE MANAGER

Emily Bisno EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR & CEO

FACILITIES

Roland Henriquez FACILITIES MANAGER

TICKET SERVICES

Jacob Houser

ASSISTANT TICKET SERVICES MANAGER

Tori Long TICKET OPERATIONS SPECIALIST

Eric Latham

Kevin Pass

Bradley Roa SENIOR TICKET SERVICES ASSOCIATES

FRONT OF HOUSE

Bryan Puckett

AUDIENCE SERVICES MANAGER

Nick Johnson

Piatrice Shekerjian HOUSE MANAGERS

Laura Long Ann McDowell

Timm Carney GRAND HALL GREETERS

USHERS

Ruby Arreguin

Diana Borja Annabel Chick Jacqui Creekmore

Judith Halle

Ruby Layne Adam Linde Itzhak Matos

Rachael Neinast Charlie Pinel

James Poulin

Liv Robertson

Deb Steckler

WARNING: The photographic or sound recording of any performance or the possession of any device for such photographic or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be punishable by ejection and violations may render the offender liable for money damages.

The City of Beverly Hills collects both waste refuse and recyclables in the same container.

* The noted staff employed by The Wallis are members of the IATSE union.