P2 PERFORMANCES MAGAZINE

Board of Directors 2018-2019

Arnon AdarDebbie AllenWallis AnnenbergJacqueline Avant John BendheimSteve CochranSharon DavisMeraLee GoldmanBruce GoldsmithCarol GoldsmithHalle HammondChad HummelCinny KennardKris Levine Mark LouchheimNigel Lythgoe OBE Linda MayDaphna NazarianMarc SelwynRon SimmsStephanie Vahn Gregory Annenberg WeingartenLuanne Wells Grant Withers

FOUNDING CHAIRMANBram Goldsmith*FOUNDING PRESIDENTPaul SelwynCHAIRMAN EMERITUSJerry Magnin PRESIDENT EMERITUSRichard RosenzweigLIFETIME TRUSTEELes BiderMax Salter*

* in memoriam

Michael Nemeroff BOARD CHAIRMAN

David C. Bohnett EXECUTIVE COMMITTEE CHAIRMAN

Lauren Leichtman EXECUTIVE VICE CHAIR

Vicki ReynoldsVICE CHAIR

Arnold RosensteinVICE CHAIR & ASSISTANT TREASURER

Richard RosenzweigVICE CHAIR

Jonathan VictorTREASURER

Ronald D. RosenSECRETARY

Susan StraussASSISTANT SECRETARY

Michael Nemeroff Board Chairman

Paul Crewes Artistic Director

Rachel Fine Executive Director & CEO

Welcome to November – the month of Thanksgiving – at The Wallis! Having just celebrated our fifth anniversary, we took a moment to catch our breath and reflect on how grateful we are for our first five seasons and set our sights on this month’s typically ambitious line-up of dance, music and theater. We are so grateful that you have chosen to spend your time with us today.

Having been on our “wish list” for years, we are grateful for the opportunity to present the daring dancer and choreographer Alonzo King with his new work Sutra. King, the son of civil rights activists Slater King and Valencia King Nelson, founded his LINES company in the Bay Area nearly four decades ago and is widely seen as a visionary of the ballet world. For Sutra, King collaborated with award-winning classical Indian instrumentalists Zakir Hussain and Sabir Khah to celebrate the long-standing continuity between transcendental Eastern thinking and Western ballet’s classical forms.

Our gratitude continues when we welcome the young cellist Alisa Weilerstein, recipient of a 2011 MacArthur “Genius” Fellowship, who takes on the daunting task of mastering all six of Bach’s solo cello suites in one evening. Weilerstein is a can’t-miss virtuosa. Equally extraordinary is Keith A. Wallace’s solo play THE BITTER GAME, a riveting and relevant investigation of race relations structured in the four quarters and overtime periods of a basketball game. It will be performed by Wallace outside on The Wallis’ Promenade Terrace. In addition, we are grateful that Wallace will contribute to our GRoW @ The Wallis program with a special workshop on storytelling for a talented group of young artists.

We are also grateful to collaborate with our remarkable community partners, the Los Angeles Museum of the Holocaust, The Dortort Center for Creativity in the Arts, UCLA Hillel and the Consulate General of Germany with a benefit staged reading of the play Kindertransport, which dramatizes the organized rescue effort of thousands of Jewish children prior to the outbreak of WWII. We are honored to be able to do our small part in celebrating the 80th anniversary of this important historical effort.

And our gratitude extends to you – our loyal audiences – including those that are young (or young at heart!). We proudly present family-friendly events throughout the season so that you can enjoy the arts with all members of your family. This month features Shadow Play, a multi-media performance for ages 2+; Story Pirates, the free outdoor musical sketch comedy geared for young audiences; and our monthly Dance Sunday with Debbie Allen and Friends with an afternoon of salsa dancing taught by Miss Allen herself – and as always, is free and open to all ages.

As we enter into the annual, autumnal season of thanks and gratitude, I personally am grateful for finding a new home here at The Wallis for the past three years – and so look forward to the many more ahead. I am grateful to be surrounded by a staff that is deeply committed to making The Wallis an important and inclusive resource for our community. I am grateful that we are able to provide a home to so many talented artists so that they can share and develop their work on our stages. And lastly, I am grateful for your continued patronage and support.

Thank you.

Dear Friends,Rachel Fine Executive Director & CEO Paul Crewes Artistic Director

PRESENTS

NOVEMBER 1-3, 2018 Bram Goldsmith Theater

70 minutes with no intermission.

The creation of SUTRA was commissioned by World Music/CRASHarts, a not for profit presenting organization located in Cambridge, MA. The World Premiere was on April 6, 2018.

SUTRA was made possible by: Lisa and John Pritzker Family Fund, Battery Powered, National Endowment for the Arts, The Bernard Osher Foundation, and The Aaron Copland Fund for Music.

CHOREOGRAPHY BYAlonzo King

MUSIC COMPOSED AND RECORDED BYZakir Hussain and Sabir Khan

SCENIC AND LIGHTING DESIGN BYScott Bolman and David Finn

ADDITIONAL SCENIC DESIGN BYRobert Rosenwasser

COSTUME DESIGN BYRobert Rosenwasser

COMPANYBabatunjiRobb BeresfordAdji CissokoMadeline DeVriesShuaib ElhassanJames GowanIlaria GuerraMaya HarrYuJin KimAshley MayeuxMichael MontgomeryJeffrey Van Sciver

MUSICI. NaubatII. Aao ji

III. Pir, pt IIV. Ghar

V. GangorVI. MoorsingVII. Pir, pt 2

VIII. ChondkaIX. Naubat Drut

Alonzo King LINES Ballet benefits from the support of Bank of the West/BNP Paribas Foundation for the development of its projects.

PERFORMANCES MAGAZINE P5

About the ProgramAbout the Production

In India, music as well as painting and the drama is considered a divine art. Brahma, Vishnu, and Shiva — the Eternal Trinity — were the first musicians. The Divine Dancer Shiva is scripturally represented as having worked out the infinite modes of rhythm in His cosmic dance of universal creation, preservation, and dissolution, while Brahma accentuated the time-beat with the clanging cymbals, and Vishnu sounded the holy mridanga or drum. Krishna, an incarnation of Vishnu, is always shown in Hindu art with a flute, on which he plays the enrapturing song that recalls to their true home the human souls wandering in maya-delusion. Saraswati, goddess of wisdom, is symbolized as performing on thevina, mother of all stringed instruments. The Sama Veda of India contains the world’s earliest writings on musical science. The foundation stone of Hindu music is the ragas or fixed melodic scales. The six basic ragas branch out into 126 derivativeraginis (wives) and putras (sons). Each raga has a minimum of five notes: a leading note (vadi or king), a secondary note (samavadi or prime minister), helping notes (anuvadi, attendants), and a dissonant note (vivadi, the enemy). Each one of the six basic ragas has a natural correspondence with a certain hour of the day, season of the year, and a presiding deity who bestows a particular potency. Thus, (1) the Hindole Raga is heard only at dawn in the spring, to evoke the mood of universal love; (2) Deepaka Raga is played during the evening in summer, to arouse compassion; (3) Megha Raga is a melody for midday in the rainy season, to summon courage; (4) Bhairava Raga is played in the mornings of August, September, October, to achieve tranquillity; (5) Sri Raga is reserved for autumn twilights, to attain pure love; (6) Malkounsa Raga is heard at midnights in winter, for valor.

INSPIRATION FOR SUTRAThe ancient rishis discovered these laws of sound alliance between nature and man. Because nature is an objectification of Aum, the Primal Sound or Vibratory Word, man can obtain control over all natural manifestations through the use of certain mantras or chants. Historical documents tell of the remarkable powers possessed by Miyan Tan Sen, sixteenth century court musician for Akbar the Great. Commanded by the Emperor to sing a night raga while the sun was overhead, Tan Sen intoned amantra which instantly caused the whole palace precincts to become enveloped in darkness. Indian music divides the octave into 22 srutis or demi-semitones. These microtonal intervals permit fine shades of musical expression unattainable by the Western chromatic scale of 12 semitones. Each one of the seven basic notes of the octave is associated in Hindu mythology with a color, and the natural cry of a bird or beast — Do with green, and the peacock; Re with red, and the skylark; Mi with golden, and the goat; Fa with yellowish white, and the heron; Sol with black, and the nightingale; La with yellow, and the horse; Si with a combination of all colors, and the elephant. Three scales — major, harmonic minor, melodic minor — are the only ones which Occidental music employs, but Indian music outlines 72 thatas or scales. The musician has a creative scope for endless improvisation around the fixed traditional melody or raga; he concentrates on the sentiment or definitive mood of the structural theme and then embroiders it to the limits of his own originality. The Hindu musician does not read set notes; he clothes anew at each playing the bare skeleton of the raga, often confining himself to a single melodic sequence, stressing by repetition all its subtle microtonal and rhythmic variations. Bach, among Western composers, had an understanding of th charm and power of repetitious

sound slightly differentiated in a hundred complex ways. Ancient Sanskrit literature describes 120 talas or time-measures. The traditional founder of Hindu music, Bharata, is said to have isolated 32 kinds of tala in the song of a lark. The origin of tala or rhythm is rooted in human movements — the double time of walking, and the triple time of respiration in sleep, when inhalation is twice the length of exhalation. India has always recognized the human voice as the most perfect instrument of sound. Hindu music therefore largely confines itself to the voice range of three octaves. For the same reason, melody (relation of successive notes) is stressed, rather than harmony (relation of simultaneous notes). The deeper aim of the early rishi-musicians was to blend the singer with the Cosmic Song which can be heard through awakening of man’s occult spinal centers. Indian music is a subjective, spiritual, and individualistic art, aiming not at symphonic brilliance but at personal harmony with the Oversoul. The Sanskrit word for musician is bhagavathar, “he who sings the praises of God.” The sankirtans or musical gatherings are an effective form of yoga or spiritual discipline, necessitating deep concentration, intense absorption in the seed thought and sound. Because man himself is an expression of the Creative Word, sound has the most potent and immediate effect on him, offering a way to remembrance of his divine origin. Excerpt from The Autobiography of a Yogi by Parmahansa Yogananda

SUTRA MEANS STRING OR THREAD; THAT WHICH SEWS AND HOLDS THINGS TOGETHER.

The word is related to two Sanskrit wordsSUCI, meaning “needle,” and SUNA meaning “woven.”

A sutra is a treatise or theorem condensed into a few words.

“Ekam sat — only One exists. In the Vedas the cosmos is said to evolve like a spider’s web out of God’s being. The Lord is the Divine Thread (Sutra) or unifying essence

running through all experiences and all expressions of life and matter.”

- Yogananda from God Talks With Arjuna

Shu

aib

Elh

asse

n |

Alo

nzo

Kin

g LI

NE

S B

alle

t |

© C

hris

Har

dy

Adj

i Cis

soko

& C

ompa

ny |

Alo

nzo

Kin

g LI

NE

S B

alle

t |

© C

hris

Har

dy

P4 PERFORMANCES MAGAZINE

PERFORMANCES MAGAZINE P7P6 PERFORMANCES MAGAZINE

About the ArtistsAbout the Artists

JAMES GOWAN, from Phoenix, AZ, began dancing at the age of 16 at Tempe Dance Academy. He graduated with a BFA in Dance from Point Park University, where he worked

under teachers and choreographers Kyle Abraham, Doug Bentz, Randy Duncan, Christopher Huggins, Keisha Lalama, Emery LeCrone, Garfield Lemonious and Peter Merz. James has danced as a company member with Texture Contemporary Ballet, River North Dance Chicago and DanceWorks Chicago. He has performed works by George Balanchine, Robert Battle, Frank Chavez, Christopher Gattelli, Dwight Rhoden, and Ashley Roland. James joined LINES Ballet in 2016.

ILARIA GUERRA was born in Torino, Italy. At the age of five, she moved to Palos Verdes Estates, California where she trained in classical ballet at Lauridsen Ballet

Center, performing with their pre-professional company, South Bay Ballet. Ilaria graduated Summa Cum Laude from the Alonzo King LINES Ballet BFA Program at Dominican University with a Bachelor of Fine Arts in Dance and a minor in Arts Management in 2013. She joined dawsondancesf under the direction of Gregory Dawson in 2013. With dawsondancesf she had the opportunity to perform in New York, Denver, Southern California, and all over the San Francisco Bay Area. In 2016, Ilaria received an Isadora Duncan Dance Award for Ensemble Performance. Ilaria joined LINES Ballet in 2018.

MAYA HARR grew up in Alexandria, Virginia where she studied ballet at The Washington School of Ballet under the tutelage of former LINES Ballet company

dancer, Kristina Windom and award-winning choreographer Mimmo Miccolis. As a student, Maya was the recipient of the Mary Day Scholarship and was selected to participate in the Kennedy Center Master Class Series. Maya spent her summers with San Francisco Ballet, PNB, Ballet West, ABT and the Kirov Academy. After graduating from high school, Maya moved to the Bay Area to attend the LINES Ballet Summer Program and began her training in the LINES Ballet Training Program. Maya joined LINES Ballet in 2016.

YUJIN KIM was born in Busan, South Korea, and studied Korean traditional dance for two years before beginning ballet lessons at age 12. She trained at the

Young Ji Kim Ballet Studio, the Peniel International

ALONZO KING LINES BALLET Thirty-five years of outstanding, multi-disciplinary collaborations for the stage place Alonzo King LINES Ballet at the forefront of artistic innovation in ballet. With each collaboration, LINES Ballet investigates deeply rooted affinities between Western and Eastern classical forms, elemental materials, the natural world, and the human spirit. At LINES Ballet, the artistic investigation is infinite and essential for it leads to what unites us as human beings: empathy, joy, and the ability to transcend.

LINES Ballet’s spring and fall home seasons and global tours share this vision of transformative, revelatory dance with 40,000+ audience members worldwide every year. The Company has been featured at venues such as the Venice Biennale, Monaco Dance Forum, Maison de la Dance de Lyon, the Edinburgh International Festival, Montpellier Danse, the Wolfsburg Festival, the Holland Dance Festival, and most recently the Théâtre National de ChailIot in Paris. LINES Ballet is proud of its continuing commitment to dance education and community — serving and impacting lives through LINES Community Programs, the LINES Ballet Training Program and Summer Program, the joint BFA Program in Dance with Dominican University of California, and the LINES Dance Center, one of the largest dance facilities on the West Coast.

ALONZO KING (Founder and Artistic Director) has been called “a visionary choreographer, whois altering the way we look and think about movement.”

King calls his works ‘thought structures’, created by the manipulation of energies that exist in matter through laws, which govern the shapes and movement directions of everything that exists. Named as a choreographer with ”astonishing originality” by the New York Times, Alonzo King LINES Ballet has been guided by his unique artistic vision since 1982. King has works in the repertories of the Royal Swedish Ballet, Frankfurt Ballet, Ballet Bejart, Les Ballets de Monte-Carlo, Joffrey Ballet, Alvin Ailey American Dance Theater, Hong Kong Ballet, San Francisco Ballet, Hubbard Street Dance Chicago and many others. He has collaborated with distinguished visual artists, musicians and composers across the globe including Pharaoh Sanders, James Campbell, Hamza El Din, Pawel Szymanski, Jason Moran, Charles Lloyd and Zakir Hussain. Renowned for his skill as a teacher, King was honored with the Lifetime Achievement Award by the Corps de Ballet International Teacher Conference in 2012. An internationally acclaimed

Arts School and the Pre-Korean National University of Arts, then attended Switzerland’s Department Tanz de Hochschule Musik und Theater on full scholarship. The winner of numerous competitions in South Korea, Kim was awarded a gold medal at the 2005 Prix de Lausanne International Ballet Competition. She has danced with Sun Hee Kim Ballet Company, National Opera Company of Korea and the Covenant Journey Musical Group. Kim joined LINES Ballet in 2011. In 2013, Kim was invited to perform at the Korea World Dance Stars Festival and selected for the cover of the dance magazine Momm.

ASHLEY MAYEUX was born in Houston, Texas. She began her dance training at the High School for Performing and Visual Arts and graduated cum laude

with a BFA from SUNY Purchase. Mayeux continued her studies at the Dance Theatre of Harlem and went on to perform in the tour of the Broadway musical Aida. She has been featured in publications including The New York Times, The Los Angeles Times, Essence Magazine, and Pointe Magazine. Mayeux danced with Complexions Contemporary Ballet from 2012 to 2016, before becoming a company member of Alvin Ailey American Dance Theatre from 2016 to 2018. She is excited to join LINES for the 2018 Season.

MICHAEL MONTGOMERY of Long Beach, CA, trained at the Orange County High School of the Arts and studied at the Alvin Ailey School in the Certificate program. In 2011

he graduated from the Alonzo King LINES Ballet BFA Program at Dominican University of California. Montgomery was awarded the American College Dance Festival Association’s best student performer award for the Southwest Region in 2008. In 2010, he joined LINES Ballet and was named a Shenson Performing Arts Fellow that same year. Montgomery was named to the list of “25 to Watch” by Dance Magazine in 2013.

JEFFREY VAN SCIVER of Los Angeles, trained at the Juilliard School and the Alonzo King LINES Ballet BFA Program at Dominican University of California.

He has danced with Southern California Ballet, Copious Dance Theater, Dawson/Wallace Dance Project, San Francisco Opera Corps de Ballet, and dawsondancesf, for which he received an Isadora Duncan Award nomination. Van Sciver is a Dizzy Feet Foundation scholarship recipient, Shenson Performing Arts Fellow, and received both the

guest ballet master, his training philosophy undergirds the educational programming at the Alonzo King LINES Dance Center of San Francisco, which includes the pre-professional Training Program, Summer Program, and BFA Program at Dominican University of California. King’s work has been recognized for its impact on the cultural fabric of the company’s home in San Francisco, as well as internationally by the dance world’s most prestigious institutions. Named Choreographer of the Year by Danza & Danza in Italy and a Master of Choreography by the Kennedy Center in 2005, King is the recipient of the NEA Choreographer’s Fellowship, the Jacob’s Pillow Creativity Award, the Irvine Fellowship in Dance, the US Artist Award in Dance, NY Bessie Award, and the National Dance Project’s Residency and Touring Awards. In 2014, King was appointed to the advisory council of the newly established Center for Ballet and the Arts at New York University; in 2015 he received the Doris Duke Artist Award in recognition of his ongoing contributions to the advancement of contemporary dance. Joining historic icons in the field, King was named one of America’s “Irreplaceable Dance Treasures” by the Dance Heritage Coalition in 2015. San Francisco Mayor Gavin Newsom presented the 2nd Annual Mayor’s Art Award to Alonzo King in October 2008. He also received the Barney Choreographic Prize from White Bird Dance in April 2013, numerous Isadora Duncan awards, the San Francisco Foundation’s 2007 Community Leadership Award, the Hero Award from Union Bank, the Lehman Award, and the Excellence Award from KGO. In October, 2012 the San Francisco Museum & Historical Society named Alonzo King a “San Francisco Treasure.” He is a former commissioner for the city and county of San Francisco, and a writer and lecturer on the art of dance; his contributions appear in the books Masters of Movement: Portraits of American Choreographers and in Dance Masters: Interviews with Legends of Dance. In 2005, he was awarded an honorary Doctorate by Dominican University of California, the Green Honors Chair Professorship from Texas Christian University as well as an honorary Doctorate from CalArts.

BABATUNJI was born in Portland, Oregon but raised on the Big Island of Hawaii. He received his formal dance training from Center Stage Dance Studio and

the University of Hawaii in Hilo before moving to San Francisco to train at the LINES Ballet Training Program on full scholarship. Babatunji has performed works by diverse choreographers such as Sidra Bell, Amanda Miller, Gregory Dawson, and Maurya Kerr. He has performed overseas

Princess Grace and Chris Hellman awards in dance. Van Sciver has performed works by Karen McDonald, Rennie Harris, Sandrine Cassini, Sidra Bell, Gregory P. Dawson, Nina Flagg, and most recently, Jose Navas at the Springboard Danse Montreal. He joined LINES Ballet in 2013. MEREDITH WEBSTER (Ballet Master) grew up in Manitowoc, Wisconsin, studying under Jean Wolfmeyer. She worked with Sonia Dawkins and Donald Byrd in Seattle, and earned a BS in Environmental Science from the UW before moving to San Francisco to work with LINES. In her nine seasons as a dancer with the company, Webster originated many central roles and received a Princess Grace Award. In 2014 she moved into the role of Ballet Master. Since then, she performed with Ledoh/Salt Farm, worked with the Maureen Whiting Company and co-created Empress Archer, an evening-length duet produced by The Cambrians of Chicago. Webster has served as a faculty member for all of the LINES programs, and as a guest teacher around the world. She has contributed as a writer to Dance Spirit and Conversations. ZAKIR HUSSAIN (Composer and Performer) Today appreciated both in the field of percussion and in the music world at large as an international phenomenon, Zakir Hussain is one of the greatest musicians of our time. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have established him as a national treasure in his own country, India, and as one of India’s reigning cultural ambassadors. Along with his legendary father and teacher, Ustad Allarakha, he has elevated the status of his instrument both in India and around the world. His playing is marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowledge and study. Widely considered a chief architect of the contemporary world music movement, Zakir’s contribution to world music has been unique, with many historic collaborations, including Shakti, which he founded with John McLaughlin and L. Shankar, Remember Shakti, the Diga Rhythm Band, Making Music, Planet Drum with Mickey Hart, Tabla Beat Science, Sangam with Charles Lloyd and Eric Harland, and recordings and performances with artists as diverse as George Harrison, YoYo Ma, Joe Henderson, Van Morrison, Airto Moreira, Pharoah Sanders, Billy Cobham, Mark Morris, Rennie Harris, and the Kodo drummers. His music and extraordinary contribution to the music world were honored in April 2009, with four widely-heralded and sold-out concerts at Carnegie Hall’s Artist Perspective series.

in Japan and China and danced with Philein/ZiRu productions, Maurya Kerr’s tinypistol, and Dawson|Wallace Dance Project. Babatunji joined LINES Ballet in 2013.

ROBB BERESFORD was born and raised in Elmira, Ontario. He trained at Canada’s National Ballet School, is a graduate of The Quinte Ballet School

of Canada, and has taken part in Festival Dance at the Banff Centre for four summers. Beresford has danced professionally with Ballet Kelowna, Vancouver’s Joe Ink, and Ballet Victoria. He joined LINES Ballet in 2013.

ADJI CISSOKO grew up in Munich, Germany where she trained at Ballet Academy Munich. Cissoko attended the Jacqueline Kennedy Onassis School at American Ballet

Theatre in New York City on full scholarship, before joining the National Ballet of Canada in 2010. In 2012 she was awarded the Patron Award of Merit by the Patrons’ Council Committee of The National Ballet of Canada. Cissoko joined LINES Ballet in 2014.

MADELINE DEVRIES grew up in Southern California studying at the Santa Clarita Ballet Academy. She continued her training at the Pacific Northwest Ballet School

and PNBS Professional Division program on full scholarship, spending summers with the Houston Ballet, The Rock School, PNB, and National Ballet of Canada. DeVries apprenticed with the Semperoper Ballet in Dresden, Germany in 2012, and in 2013 she danced with the Seattle based contemporary companies Whim W’Him and Coriolis. DeVries joined LINES Ballet in 2014.

SHUAIB ELHASSAN from Manhattan’s Lower East Side, began his formal dance training at The Ailey School under the co-direction of Tracy Inman and Melanie Person

on a full scholarship. Elhassan has also trained at intensives such as Earl Mosley’s Institute of the Arts, Jacob’s Pillow, and Complexions Contemporary Ballet. Elhassan was a member of Complexions Contemporary Ballet during their 2012-2013 season. Additionally, Elhassan has performed with Life Dance Company, Zest Collective, Dance Iquail, and the Von Howard Project. Elhassan joined LINES Ballet in 2014.

P8 PERFORMANCES MAGAZINE

About the Artists

SABIR KHAN (Composer and Performer) was born in Jodhpur, Rajasthan, and he belongs to a Sikar Gharana of music who have introduced several stalwarts to Indian classical music. He is the ninth generation of his family to take up Sarangi and is considered one of the beacons of theyounger generation and a wonderful product of talented lineage. Sabir’s great grandfather, Ustad Azim Khan, was a court musician at Sikar, Rajasthan. Sabir began learning about music when he was six years old through his grandfather, Ustad Gulab Khan, who was a great sarangi player and vocalist and, soon after, he began training with his father, world renowned sarangi player and vocalist Ustad Sultan Khan, and from his late uncle Ustad Nasir Khan.Sabir is well known today for his delicate mastery of sarangi. His technique of playing is a rare combination of sur and laya (note and rhythm). He has already remarkably learned most of his legendary father’s entire repertoire with a similar command and mastery on the instrument. Indeed a chip off the old block. Beside being a classical music artist he is equally interested in other forms of modern-day Indian music and has played with artists such as gazal maestro Ustad Gulam Ali, Talat Aziz, Asha Bhosle and recently performed on an album of the great Lata Mangeshkar. Sabir has also performed on the soundtrack to several feature films like Chameli, Rog, Dor, Anwar, Sanwariya, Chodon na yaar and Jodha Akbar, to name a few. ROBERT ROSENWASSER (Founder, Creative Director, Designer) shapes the aesthetic and artistic direction of each project at the Company, including conceptual design and production. In addition to his work with the Company, he has designed for Ballet de Monte Carlo, Ballet Bejart, the Royal Swedish Ballet, Joffrey Ballet, Frankfurt Ballet, and Alvin Ailey American Dance Theater. Rosenwasser has also collaborated with artists and poets, including Richard Tuttle, Kiki Smith, Laurie Reid, Kate Delos, Rena Rosenwasser, Mei-mei Berssenbrugge and Barbara Guest, designing fine press books. His work can be found at the New York Museum of Modern Art in the Department of Books and Illustrated Prints, at the Whitney Museum, and at the Spencer Collection of the New York Public Library. MURIEL MAFFRE (Chief Executive Officer) Born in Enghien-les Bains, France, Muriel Maffre received her ballet training from the Paris Opéra Ballet School and Paris National Conservatory of Music, from which she graduated with a Premier Prix with honors. Prior to joining San Francisco Ballet as a Principal Dancer in 1990, Muriel danced with the Hamburg Ballet and Monte- Carlo

Ballet. She retired from San Francisco Ballet with a Farewell Gala on May, 6 2007. Muriel continued her work in dance education and public humanities with institutions such as the Richmond Art Center, Stanford University, the Oakland Museum of California, the Cantor Art Center, and most recently, the Museum of Performance + Design in San Francisco. Her honors and awards include Chevalier in the Order of Arts and Letters (France, 2008), Visiting Fellow (Cornell University, 2008), Arts Honoree (French American School Soirée des Arts, 2008), Gold Medalist (Paris 1st International Ballet Competition, 2004), Isadora Duncan Awards for Outstanding Achievement in Individual Performance (1990, 2002). Muriel holds a B.A. in Performing Arts from St. Mary’s College of Moraga, California and an M.A. in Museum Studies from John F. Kennedy University, California. Muriel joined LINES Ballet in November of 2017.

SCOTT BOLMAN (Lighting and Scenic Designer) Scott’s work has been seen in New York at the Lincoln Center Festival, Performa Festival, Brooklyn Academy of Music, FIAF, The Kitchen, Prototype Festival, The Women’s Project, Judson Church and others. Regionally, he has worked at venues that include Goodspeed Opera, Studio Theater, Playmakers Repertory Company, Trinity Repertory Theater and LA Opera/ REDcat. International work includes Failing to Levitate... (Athens and Epidaurus Festival, Athens), MIDNIGHT (Radialsystem V, Berlin), Waiting for Godot, Antigone (Benaki Museum, Athens) and Darkling (Melkweg, Amsterdam). His long history of collaborations with Robert Wilson include Der Sandmann (Düsseldorfer Schauspielhaus), Zinnias (Peak Performances), The Odyssey (National Theater of Greece) and KOOL (Guggenheim NYC). He will also be working on an upcoming Robert Wilson exhibition at the Max Ernst Museum (Brühl, Germany). Scott is a founding member of Wingspace Design Collective. DAVID FINN (Lighting and Scenic Designer) is a set and lighting designer who has worked extensively in dance, opera, and theater. He began his career as a lighting designer for the master puppeteer Burr Tillstrom and Kukla, Fran & Ollie. Finn was a resident lighting designer for Mikhail Baryshnikov’s White Oak Dance Project. Working with such choreographers as Twyla Tharp, Paul Taylor, Merce Cunningham, Sasha Waltz & Liam Scarlett, his designs have also been seen at the Royal Ballet, Paris Opera Ballet, The National Ballet of Canada, The Joffrey Ballet, American Ballet Theatre, Australian Ballet, Bayerisches Staatsballett, and Birmingham Royal Ballet. David has an extensive opera career as well, working with major houses throughout the world including the Metropolitan Opera, Paris Opera, La Scala Milan, the San Francisco Opera and the Royal Opera. In film, Finn’s work includes stage lighting for

Martin Scorsese’s The Age of Innocence, and he was producer/director of the PBS documentary The Green Monster. Finn has designed lighting for two Cirque du Soleil shows: Zed in Tokyo, and Michael Jackson ONE in Las Vegas.

PRODUCTION CREDITSSOUND DESIGN BY Philip PerkinsAUDIO ENGINEERS Neil Godbole (Engineer, Producer, Owner of Airship Laboratories) and Mujeeb DadarkarCOSTUME CONSTRUCTION BY Joan RaymondCOSTUME SHOP: Keely Weiman, Hoa Lam, Kristen Mellberg, Alea Gonzalez, Victoria Mortimer, Chanterelle Grover DYEING BY Kelly KoehnPROP COSTUMES CONSTRUCTION BY Keely Weiman and Joan RaymondSCENIC CONSTRUCTION BY Brandon Murphy and the Department of Spontaneous CombustionHEADSHOTS BY

RJ Muna and Vikki Sloviter

LINES BALLET STAFFEXECUTIVEFOUNDER AND ARTISTIC DIRECTOR

Alonzo KingFOUNDER AND CREATIVE DIRECTOR

Robert RosenwasserCHIEF EXECUTIVE OFFICER

Muriel Maffre COMPANY GENERAL MANAGER Lauren ChadwickBALLET MASTER Meredith WebsterPRODUCTION DIRECTOR James Ogden IICOMPANY STAGE MANAGER Teresa WoodLIGHTING AND PRODUCTION SUPERVISOR

Dylan PhillipsSOUND DESIGNER Philip PerkinsWARDROBE SUPERVISOR Victoria MortimerASSISTANT TO ALONZO KING Syam WaymonMEDICAL DIRECTOR Dr Sonia BellPRESS AND PUBLIC CONSULTANT

Mona Baroudi BOOKINGIMG Artists Matthew Bledsoe

310.746.4000 | TheWallis.org/Hubbard

CONNECT WITH US

“A CURE FOR THE ILLS OF THE ERA”

— The New York Times

January 10-12, 2019A new, full-length collaboration between the acclaimed Chicago companies Hubbard Street Dance Chicago and Third Coast Percussion with sensational choreography by Emma Portner and Movement Art Is, and a rousing score by Devonté Hynes.

HUBBARD STREET DANCE CHICAGO & THIRD COAST PERCUSSION