Boston -Guide for the Arts-2015

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BOSTON 2015

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BOSTON 2015

It is an honor to serve as this season’s Ambassador for the Guide for the Arts. Art provides us immediate and compelling ways to explore human experience across vast boundaries of space, time, and culture. Art stimulates our senses and enriches our spirits.

Greater Boston provides one of the richest and most dynamic art environments in the world. Opportunities to see, hear, and participate in visual art, music, dance, theatre, and myriad other art forms abound and artistic quality is of the highest caliber.

The people of metro Boston support more art and cultural organizations per capita than any city in the United States, a testament to the very special character of our city and region.

PEM, where we work to create experiences of art and culture that expand and enliven people’s lives in transformative ways, joins all the art organizations in Greater Boston in inviting you to explore and discover the arts in all their forms during the coming year! Doing so will add zest, sparkle, and substance to your life!

Dan MonroeRose-Marie and Eijk van Otterloo Director and CEOPeabody Essex Museum

Ambassador to the Arts

www.GuidefortheArts.com

BOSTON10 guide for the arts 2015

Contents

Ambassador’s Note

6 Sponsors

8 Publisher’s Note

10 American Repertory Theater

14 Boston Ballet

18 Boston Lyric Opera

20 Boston Symphony Orchestra

30 Boston Philharmonic

32 deCordova Sculpture Park and Museum

38 Handel & Hayden Society

42 Harvard Art Museums

44 Huntington Theatre

48 Institute of Contemporary Art

52 Isabella Stewart Gardner Museum

54 Museum of Fine Arts

60 New Repertory Theatre

66 Peabody Essex Museum

76 Contact Information

GuidefortheArts_101x177_041214.indd 1 04.12.14 17:09


guide for the artsAn Instep Communications, LLC Publication

Founder & Group Publisher KEVIN T. WOODArt Director ROBERT ARNDTProofreading/Copy Editor FIONA STEWARTAdvertising INSTEP COMMUNICATIONS, LLCLIN CARLSON - NATIONAL ACCOUNT EXECUTIVE

guide for the arts features cultural event schedules for the Opera, Symphony, Ballet, Museums, and Performing Arts groups in Boston. The guide for the arts is produced to service the fine arts & musical communities in the Boston area and includes event schedules and important phone numbers.

We wish to thank all of our advertising sponsors and patrons, a select group that values the arts in their communities. Their support contributes greatly to the success of this 2015 edition of the guide for the arts.

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Welcome to the Boston edition of the Guide for the Arts.

The arts in Boston continue to flourish, thanks to your patronage. Without your help, the Boston area arts landscape would not be the vibrant and inspiring community that you have come to know and expect. Because of

people like you, Bostonians and visitors alike are able to enjoy a great variety of performing and visual arts. It is your generosity that has helped to build a metropolitan arts scene that is a source of civic pride envied throughout America.

Guide for the Arts has put together a unique and informative guide to the Boston arts community, and we encourage you to patronize the advertisers who have helped to make this year’s guide possible. Be sure to visit www.GuidefortheArts.com to find in-depth coverage and behind-the-scenes arts information, and to utilize our digital guides.

We hope that you enjoy this year’s Guide for the Arts. Thank you again, and we look forward to seeing you in the coming season.

Enjoy the show!

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American Repertory Theater

THE A.R.T. AT Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under her leadership, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audi-ences in transformative theatrical experiences.

JANUARY 23 – MARCH 1, 2015Loeb Drama CenterFATHER COMES HOME FROM THE WARS (PARTS 1, 2, AND 3)By SUZAN-LORI PARKSDirected by JO BONNEY

SET DURING THE Civil War, this explosively powerful new drama by Pulitzer Prize-winner Suzan-Lori Parks follows a slave, Hero, from West Texas to the Confederate battlefield. Inspired in part by the stories and scope of Greek tragedy, this trilogy examines the mess of war and the cost of freedom, and is a co-production with The Public Theater.

The Loeb’s 540-seat theater. Photo: Infinite Boston

www.GuidefortheArts.com 19

MARCH 31 – APRIL 5, 2015OBERONTHE HYPOCRITES’ MIKADODirected by SEAN GRANEY

THE CHICAGO-BASED company The Hypocrites (Pirates of Penzance) reimagines this 1885 operetta, infusing the absurdist comedy of W.S. Gilbert’s libretto with Monty Python clownish-ness, and bringing a folk/pop interpretation to Arthur Sullivan’s lovely, lilting melodies. Expect zany fun and hip tunes in this vibrant adaptation of one of Gilbert and Sullivan’s most beloved works.


The Hypocrites’ Mikado. Photo: Christine Stulik


MAY 9 – 31, 2015Loeb Drama CenterTHE LAST TWO PEOPLE ON EARTH: AN APOCALYPTIC VAUDEVILLEDirected and Choreographed by SUSAN STROMANFeaturing MANDY PATINKIN AND TAYLOR MAC

IT’S THE END of the world as we know it. A flood of biblical proportions leaves us with only two people on Earth who dis-cover their common language is song and dance. Together they chronicle the rise and fall and hopeful rise again of humankind through music that runs the gamut from Rodgers and Hammer-stein to Sondheim, and R.E.M. to Queen. An Apocalyptic Vaude-ville is presented in association with Staci Levine Groundswell Theatricals.

MAY 29 – JUNE 6, 2015CROSSINGMusic and Libretto by MATTHEW AUCOINDirected by DIANE PAULUS

INSPIRED BY THE diary Walt Whitman kept as a nurse during the Civil War, this world premiere opera by the extraor-dinary young composer Mat-thew Aucoin explores how

the individual experi-ences of soldiers are remembered and told.

As Whitman listens to wounded veterans share their memories and messages, he forges a bond with a soldier who forces him


Matthew Aucoin, composer/librettist of Crossing. Photo: Stephanie Mitchell


to examine his own role as writer and poet. This new opera, featuring the Boston-based orchestra A Far Cry, an ensemble at the forefront of a dynamic new generation in classical music is produced in association with Music Theatre Group.

TICKETS & CONTACTLoeb Drama Center 64 Brattle StreetCambridge, MA 02138

Oberon 2 Arrow StreetCambridge, MA 02138

(617) 547-8300 (Box Office)(617) 495-2668 (Administrative Offices)www.americanrepertorytheater.org



BOSTON BALLET, FOUND-ED in 1963 by E. Virginia Williams, was the first profes-sional repertory ballet com-pany in New England. Today, Boston Ballet is one of the major ballet companies in North America and among the top compa-nies in the world. Artistic Director Mikko Nissinen was selected to lead Boston Ballet in September 2001. Under his exceptional artistic direction, Boston Ballet maintains an internationally ac-claimed repertoire of classical, neo-classical and contemporary works, ranging from full-length story ballets to masterworks by George Balanchine, to new works and world premieres by some of today’s finest contemporary choreographers.

Boston Ballet in Black and White.

Photo: Gene Schiavone

Boston Ballet

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FEBRUARY 26 – MARCH 8, 2015VAL CANIPAROLI’S LADY OF THE CAMELLIAS

THE HEARTBREAKINGLY COMPELLING story of a tragic affair between a poor gentleman and a sought-after courtesan. Based on Alexandre Dumas’ 19th-century French novel, known as the inspiration for the movie Moulin Rouge and the opera La Traviata.

MARCH 19 – 29, 2015SHADES OF SOUND

THREE RIVETING WORKS featuring magnificent musicality and exhilarating choreography. Wayne McGregor’s mesmer-izing Chroma returns, along with the Company premieres of George Balanchine’s Episodes and Hans van Manen’s deliciously comic Black Cake.

APRIL 30 – MAY 10, 2015EDGE OF VISION

THIS BEAUTIFUL TRIO of contemporary dance features a world premiere by acclaimed Resident Choreographer Jorma Elo, Lila York’s Celts and Helen Pickett’s visual feast Eventide.

Boston Ballet

Lia Cirio and Lasha Khozashvili in Wayne McGregor’s Chroma. Photo: Gene Schiavone


MAY 14 – 24, 2015THRILL OF CONTACT

A STRIKING PROGRAM of precision and impressive athleti-cism, the Company performs George Balanchine’s Theme and Variations; Jerome Robbins’s The Concert; William Forsythe’s The Vertiginous Thrill of Exactitude; and a world premiere by Principal Dancer Jeffrey Cirio.

TICKETS & CONTACTBoston Opera House539 Washington StreetBoston, MA 02111(617) 695-6950(617) 695-6955 (Box Office)www.bostonballet.org

Boston Ballet

William Forsythe’s The Vertiginous Thrill of Exactitude. Photo: Dimo Dimov


BOSTON LYRIC OPERA is the largest opera company in all of New England. Now in its 37th season, BLO celebrates the art of the voice through its mission of building curiosity, enthusiasm, and support for opera by creating musically and theatrically compelling productions, events, and educational resources for the Boston community and beyond. Since its founding in 1976, the company has staged world premieres, U.S. premieres, co-productions, and co-com-missions of note with organizations such as The Royal Opera, Covent Garden, and Scottish Opera, and continues to be a destination for some of the leading artists, conductors, directors, and designers from around the world.

MARCH 13 – 22, 2015KÁTYA KABANOVÁMusic by LEOŠ JANÁCEKConducted by DAVID ANGUSDirected by TIM ALBERYFeaturing ELAINE ALVAREZ AND RAYMOND VERY

PERFORMED FOR THE first time in BLO’s history, Janácek’s sweeping Kátya Kabanová is a juxtaposition of extraordinary

Boston Lyric Opera

Members of the BLO Chorus in La Traviata. Photo: Eric Antoniou


beauty and fateful oppression. The opera paints a tragic portrait of provincial life in the story of a woman suffocated by her cowardly husband and tyrannical mother-in-law. Finally, she finds both liberation and tormenting guilt in the arms of another man. Janácek’s deeply moving and melodic score evokes freedom both longed for and feared.

MAY 1 – 10, 2015DON GIOVANNIMusic by WOLFGANG AMADEUS MOZARTConducted by DAVID ANGUSDirected by EMMA GRIFFIN Featuring DUNCAN ROCK AND JENNIFER JOHNSON CANO

DON GIOVANNI IS a man obsessed. Women rule his life; he desires them, he seduces them, he runs from them. In Mozart’s most celebrated drama, women lead Giovanni from the bedroom to the gates of hell. In this new BLO production, Jennifer Johnson Cano sings the role of Donna Elvira, the woman scorned who pursues Giovanni to the ends of the earth, with new sensation Duncan Rock in the title role. Vivid and transfixing, Mozart’s work is filled with exquisite music, intense drama, and comedic insights.

TICKETS & CONTACTBoston Lyric Opera11 Avenue de LafayetteBoston, MA 02111(617) 542-4912www.blo.org

Boston Lyric Opera


NOW IN ITS 134TH SEASON, the Boston Symphony Orchestra gave its inaugural con-cert in 1881, realizing the dream of its found-er, the Civil War veteran/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an inter-national standard for performances of lighter music.

Boston Symphony Orchestra

Ludovic Morlot and the Boston Symphony Orchestra.

Photo: Craig T. Mathew/Mathew Imaging


JANUARY 8 – 10, 2015Boston Symphony HallANDRIS NELSONS CONDUCTS BRAHMS, HAYDN & STRAUSSGAUTIER CAPUCON, CelloBRAHMS, Variations on a Theme by HaydnHAYDN, Symphony No. 90STRAUSS, Don Quixote

JANUARY 11, 2015, 3:00 P.M.Jordan HallBOSTON SYMPHONY CHAMBER PLAYERSMYSLIVECEK, Quintet No. 2 in G for Two Clarinets, Two Horns, and BassoonFOOTE, Nocturne and Scherzo for Flute and String QuartetERIC NATHAN, New Work for Oboe, Horn, and PianoDVORÁK (ARR. INGMAN), Octet-Serenade in E for Winds, Strings, and Piano, Op. 22

JANUARY 15 – 17, 2015Boston Symphony HallANDRIS NELSON CONDUCTS MOZART AND BRUCKNERLARS VOGT, PianoMOZART, Piano Concerto No. 24 in C minor, K. 491BRUCKNER, Symphony No. 7


Lars Vogt. Photo: Felix Broede


JANUARY 22 – 24, 2015Boston Symphony HallTUGAN SOKHIEV CONDUCTS BERLIOZ, SAINT-SAËNS, AND RIMSKY-KORSAKOVJOHANNES MOSER, CelloBERLIOZ, Le Corsaire OvertureSAINT-SAËNS, Cello Concerto No. 1RIMSKY-KORSAKOV, Scheherazade

JANUARY 29 – 31, 2015Boston Symphony HallASHER FISCH CONDUCTS DORMAN, PROKOFIEV, AND SCHUMANNJULIAN RACHLIN, ViolinDORMAN, AstrolatryPROKOFIEV, Violin Concerto No. 2SCHUMANN, Symphony No. 1, “Spring”

FEBRUARY 5 – 7, 2015Boston Symphony HallYOUTH CONCERT: “KEEPING GOOD COMPANY” – MUSICAL PARTNERSHIPS OF INSPIRATION AND INNOVATION

FEBRUARY 12 – 14, 2015Boston Symphony HallVLADIMIR JUROWSKI CONDUCTS LIADOV, BIRTWISTLE, AND STRAVINSKYPIERRE-LAURENT AIMARD, PianoLIADOV, Baba-Yaga, Kikimora, From the Apocalypse, NenieBIRTWISTLE, Respons-es: Of Sweet Disorder and the Carefully CarelessSTRAVINSKY, The Firebird (Complete)


Vladimir Jurowski. Photo: Roman Gontcharov


FEBRUARY 13, 2015, 1:30 P.M.Fenway Center at Northeastern UniversityCOMMUNITY CHAMBER CONCERTTCHAIKOVSKY, Two RomancesSIBELIUS, Romance, Op. 78, No. 2MOZART, Piano Quartet No. 2 in E-flat, K. 493BRAHMS, Trio in E-flat for Horn, Violin, and Piano, Op. 40

FEBRUARY 15, 2015, 3:00 P.M.Roxbury Community CollegeCOMMUNITY CHAMBER CONCERTTCHAIKOVSKY, Two RomancesSIBELIUS, Romance, Op. 78, No. 2MOZART, Piano Quartet No. 2 in E-flat, K. 493BRAHMS, Trio in E-flat for Horn, Violin, and Piano, Op. 40

FEBRUARY 19 – 21, 2015Boston Symphony HallSTÉPHANE DENÈVE CONDUCTS STRAVINSKY, PROKOFIEV, MILHAUD, AND POULENCJAMES EHNES, ViolinSTRAVINSKY, Pulcinella SuitePROKOFIEV, Violin Concerto No. 1MILHAUD, The Creation of the WorldPOULENC, Les Biches


James Ehnes. Photo: Benjamin Ealovega


FEBRUARY 26 – 28, 2015MARCH 3, 2015Boston Symphony HallCHARLES DUTOIT CONDUCTS STRAVINSKY, DEBUSSY, AND BRAHMSJULIA FISCHER, ViolinSTRAVINSKY, Concerto in E-flat, “Dumbarton Oaks”DEBUSSY, Images for OrchestraBRAHMS, Violin Concerto

MARCH 1, 2015, 3:00 P.M.Nevins Hall, FraminghamCOMMUNITY CHAMBER CONCERTTAICHI FUKUMURA, ConductorSTRAVINSKY, L’Histoire du soldat (Complete)

MARCH 5 – 7, 2015Boston Symphony HallCHARLES DUTOIT CONDUCTS SZYMANOWSKI’S KING ROGERMARIUSZ KWIECIEN, BaritoneOLGA PASICHNYK, SopranoSZYMANOWSKI, King Roger

MARCH 6, 2015, 1:30 P.M.Fenway Center at Northeastern UniversityCOMMUNITY CHAMBER CONCERTTAICHI FUKUMURA, ConductorSTRAVINSKY, L’Histoire du soldat (Complete)

MARCH 12 – 17, 2015Boston Symphony HallCHRISTOPH VON DOHNÁNYI CONDUCTS STRAUSS AND MOZART


Charles Dutoit. Photo: Reuters


EMANUEL AX, PianoSTRAUSS, Sextet from CapriccioMOZART, Piano Concerto No. 14 in E-flat, K. 449STRAUSS, Burleske for Piano and OrchestraMOZART, Symphony No. 35, “Haffner”

MARCH 15, 2015, 3:00 P.M.Jordan HallBOSTON SYMPHONY CHAMBER PLAYERSEMANUEL AX, PianoCHRISTINE BRANDES, SopranoSCHUMANN, Fantasy Pieces for Clarinet and Piano, Op. 73SCHUMANN, Adagio and Allegro for Horn and Piano, Op. 70KURTÁG, Scenes from a Novel for Soprano and Ensemble, Op. 19KURTÁG, Wind Quintet, Op. 2SCHUMANN, Piano Quintet in E-flat, Op. 44

MARCH 19 – 21, 2015Boston Symphony HallCHRISTOPH VON DOHNÁNYI CONDUCTS MOZART’S LAST THREE SYMPHONIESMOZART, Symphony No. 39MOZART, Symphony No. 40MOZART, Symphony No. 41, “Jupiter”


Christoph von Dohnányi. Photo: Dan Porges


MARCH 20, 2015, 1:30 P.M.Fenway Center at Northeastern UniversityCOMMUNITY CHAMBER CONCERTMOZART, String Quintet in G minor, K. 516MOZART, String Quintet in E-flat, K. 614

MARCH 22, 2015, 3:00 P.M.Quincy High School, QuincyCOMMUNITY CHAMBER CONCERTMOZART, String Quintet in G minor, K. 516MOZART, String Quintet in E-flat, K. 614

MARCH 26 – 31, 2015Boston Symphony HallANDRIS NELSONS CONDUCTS GANDOLFINI AND MAHLEROLIVIER LATRY, OrganGANDOLFINI, New Work for Organ and OrchestraMAHLER, Symphony No. 6

MARCH 29, 2015, 3:00 P.M.Colonial Theatre, PittsfieldCOMMUNITY CHAMBER CONCERTMOZART, Quintet in E-flat for Horn and Strings, K. 407BRAHMS, String Quartet No. 2 in A minor, Op. 51, No. 2

APRIL 2 – 4, 2015Boston Symphony HallANDRIS NELSONS CON-DUCTS BEETHOVEN AND SHOSTAKOVICHCHRISTIAN TETZLAFF, ViolinBEETHOVEN, Violin ConcertoSHOSTAKOVICH, Symphony No. 10


Christian Tetzlaff. Photo: Giorgia Bertazzi


APRIL 11 – 14, 2015Boston Symphony HallANDRIS NELSONS CONDUCTS SCHULLER, MOZART, AND STRAUSSRICHARD GOODE, PianoSCHULLER, DreamscapeMOZART, Piano Concerto No. 27 in B-flat, K. 595STRAUSS, Ein Heldenleben

APRIL 23 – 28, 2015Boston Symphony HallBERNARD HAITINK CONDUCTS RAVEL AND MOZART JEAN-YVES THIBAUDET, PianoRAVEL, Mother Goose (Complete)RAVEL, Piano Concerto in GADÈS, Three Studies from CouperinMOZART, Symphony No. 36, “Linz”

APRIL 30 – MAY 2, 2015Boston Symphony HallBERNARD HAITINK CONDUCTS SCHUMANN, MOZART, AND BRAHMSMARIA JOÃO PIRES, PianoSCHUMANN, Manfred OvertureMOZART, Piano Concerto No. 23 in A, K. 488BRAHMS, Symphony No. 1


TICKETS & CONTACTBoston Symphony Orchestra301 Massachusetts AvenueBoston, MA 02115(617) 266-1492 (General)(617) 266-1200 (Tickets)www.bso.org

Bernard Haitink. Photo: Hiroyuki Ito



IN

1979, NINETY-SIX enthusiastic players, amateurs, students, and professionals and a dynamic and probing conductor named Ben-jamin Zander joined together to found the Boston Philharmonic. Today, the musicians represent the original spirited blend, and account for the passion, high level of participation, and techni-cal accomplishment for which this ensemble is celebrated. The professionals maintain the highest standard, the students keep the focus on training and education, and the gifted amateurs – including doctors, lawyers, teachers, and computer program-mers – remind everybody that music-making is an expression of enthusiasm and love. The Boston Philharmonic message rings loud and clear: music-making is a privilege and a joy, and above all, a collaborative adventure.

Boston Philharmonic

Members of the Boston Philharmonic. Photo: Andrew Hurlbut


FEBRUARY 19 – 22, 2015BPO CONCERT WITH AGA MIKOLAJ, SOPRANOJ. STRAUSS, Jr., FrühlingsstimmenR. STRAUSS, Four Last SongsMAHLER, Symphony No. 4

APRIL 16 – 19, 2015BPO CONCERT WITH JONAH ELLSWORTH, CELLOWAGNER, Overture to TannhäuserSAINT-SAËNS, Cello Concerto No. 1BERLIOZ, Symphonie Fantastique

TICKETS & CONTACTBoston Philharmonic Orchestra295 Huntington Avenue, Suite 210Boston, MA 02116(617) 236-0999www.bostonphil.org

Boston Philharmonic


ESTABLISHED IN 1950, deCordova Sculpture Park and Museum is the largest park of its kind in New England encompass-ing 30 acres, 20 miles northwest of Boston. In 2009, deCordova changed its name from deCordova Museum and Sculpture Park to deCordova Sculpture Park and Museum to emphasize its renewed focus on sculpture and to support the institution’s goal of becoming a premier Sculpture Park by 2020. Providing a con-stantly changing landscape of large-scale, outdoor, modern and contemporary sculpture and site-specific installations, the Sculp-ture Park hosts more than 60 works, the majority of which are on loan to the Museum. Inside, the Museum features a robust slate of rotating exhibitions and innovative interpretive programming.

deCordova Sculpture Park and Museum

DeWitt Godfrey, Lincoln, 2012, cor-ten steel and bolts, Lent by the artist,

Project supported in part by The Research Council at Colgate University.

Photo: Rick Mansfield

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WALDEN, REVISITEDOCTOBER 31, 2014 – APRIL 26, 2015

WALDEN, REVISITED FEATURES works by contemporary artists inspired by Walden – the pond; the book published in 1854 by natural history philosopher, social critic, and early environmental-ist Henry David Thoreau; and the connection and disconnection between the two. Today, 160 years after its first publication, Walden is firmly ensconced in the canon of great American literature. It remains the foundational text for American nature writing, and its message of living simply, economically, and intentionally has resonated throughout subsequent generations. In the wake of the Great Recession and the growing urgency of climate change, Walden emerges again as a home-grown Ameri-can handbook dedicated to self-reliance and a life lived with, not against, nature. These same topics loom large as contemporary artists rethink their relationship to society, the environment, and the role of art within culture. Walden, revisited brings fifteen artists to deCordova, the pond’s neighbor, to contemplate and review the less explored legacies of this great American memoir through and in contemporary art practices.

THE SOCIAL MEDIUMOCTOBER 31, 2014 – APRIL 19, 2015

PRESENTED AT A TIME when the compulsion to digitally docu-ment and share human activity has increased exponentially, this exhibition features works from deCordova’s permanent collection that prefigure and inform current trends in social photography, as well as recent work by contemporary artists who utilize smart-phones and social media to record the world around them. The Social Medium features work spanning from the mid-twentieth century to the present, and includes multiple photographic genres such as social documentary, street, society/celebrity, and portrait photography. The Social Medium was largely inspired by a recent gift of one of Andy Warhol’s Little Red Books, which contains a set of color Polaroids. With his camera, Warhol docu-mented the events of his life – from glamorous celebrity parties to mundane occurrences. The arrival of these photographs, which



record Warhol’s artistic and social milieu (or environment), created an opportunity to examine the work of other artists who also photograph social experience. Together, the work in this exhibition speaks to the continued rel-evance of the photographic medium’s singular power to capture and preserve personal and societal histories, and provides a selective history of the camera’s role as an extension of memory and a tool that is at once a witness to and participant in human social activity.

WALKING SCULPTURE, 1967–2015MAY 9 – SEPTEMBER 13, 2015

WALKING SCULPTURE 1967–2015 considers the history and current engagement of walking as a means for artists to question social, political, and economic hierarchies. It is an international


Greg Schigel, Late Day on Broadway, 2012, Digital photographic print.

Photo courtesy of the artist


group exhibition that features commissioned walks in deCor-dova’s Sculpture Park and in the surrounding conservation lands in Lincoln and Concord. The exhibition highlights artists who utilize walking as an autonomous form of art, as cartography, as an investigation into corporeal experience, and as social practice. Sculpture, film, video, photography, and performance converge in the exhibition to address this multi-disciplinary practice of am-bulation through the cityscape and the countryside. The exhibi-tion takes its name and inspiration from Michelangelo Pistoletto’s inspirational performance Walking Sculpture of 1967, in which he rolled a six-foot newspaper sphere through the streets of Turin, Italy. By walking and steering his sculpture through city streets and over cars, Pistoletto’s sculptural performance functioned as an act of dissonance against dominant behavioral norms, as well as the traditional methods of art-making. In the same spirit, Walking Sculpture 1967–2015 considers walking-as-art as a sub-versive response to the art market, politically contested boundar-ies, and our increasingly accelerated and digitized world.

André Cadere, New York City (Subway), 1975–2013, color photograph, 18.9 x 24 cm. Photo courtesy of Galerie Hervé Bize, Nancy



TICKETS & CONTACTDeCordova Museum and Sculpture Park51 Sandy Pond RoadLincoln, MA 01773(781) 259-8355www.decordova.org



FOUNDED IN BOSTON IN 1815, the Handel and Haydn Society (H+H) is considered America’s oldest continuously performing arts organization and will celebrate its Bicentennial in 2015. Its Period Instrument Orchestra and Chorus are interna-tionally recognized in the field of Historically Informed Perfor-mance, using the instruments and techniques of the composer’s time. Under Artistic Director Harry Christophers’s leadership, the mission of the Handel and Haydn Society is to enrich life and influence culture by performing Baroque and Classical music at the highest levels of artistic excellence, and by providing engag-ing, accessible, and broadly inclusive music education and train-ing activities. H+H’s Period Instrument Orchestra and Chorus present live and recorded historically informed performances of this repertoire in ways that stimulate the musical and cultural de-velopment of our Greater Boston community and contemporary audiences across the nation and beyond.

Handel & Haydn Society

Handel and Haydn Society. Photo: James Doyle



JANUARY 23 & 25, 2015HAYDN WITH AISSLINN NOSKYHARRY CHRISTOPHERS, ConductorAISSLINN NOSKY, ViolinPERIOD INSTRUMENT ORCHESTRAHAYDN, Symphony No. 7, “Le Midi”HAYDN, Violin Concerto in C majorHAYDN, Overture to Lo SpezialeHAYDN, Symphony No. 83, “La Poule”

FEBRUARY 13, 14 & 15, 2015MOZART AND BEETHOVENRICHARD EGARR, ConductorPERIOD INSTRUMENT ORCHESTRA AND CHORUSMOZART, Mass in C minor, K. 139, “Waisenhaus Mass”BEETHOVEN, Symphony No. 1

MARCH 6 & 8, 2015MENDELSSOHN ELIJAHGRANT LLEWELLYN, ConductorPERIOD INSTRUMENT ORCHESTRA AND CHORUSSARAH COBURN, SopranoANDREW KENNEDY, TenorMENDELSSOHN, Elijah

Grant Llewellyn. Photo: Michael Lutch


MARCH 27 & 29, 2015BACH ST. MATTHEW PASSIONHARRY CHRISTOPHERS, ConductorPERIOD INSTRUMENT ORCHESTRA AND CHORUSVAP YOUNG WOMEN’S AND YOUNG MEN’S CHORUSESBACH, St. Matthew Passion

MAY 1 & 3, 2015HAYDN THE CREATIONHARRY CHRISTOPHERS, ConductorPERIOD INSTRUMENT ORCHESTRA AND CHORUSSARAH TYNAN, SopranoJEREMY OVENDEN, TenorHAYDN, The Creation

JUNE 18, 2015HANDEL AND HAYDN SINGSHARRY CHRISTOPHERS, ConductorPERIOD INSTRUMENT ORCHESTRA AND CHORUSHANDEL, Coronation Anthem No. 1, “Zadok the Priest”BACH, Singet dem HerrnPÄRT, The Deer’s CryHANDEL, Overture and final choruses of Act II from JephthaPALESTRINA, Vineam meam non custodiviMACMILLAN, O Radiant DawnPALESTRINA, Pulchrae sunt genae tuaeHANDEL, Part the Third from Messiah


TICKETS & CONTACTHandel & Haydn Society300 Massachusetts AvenueBoston, MA 02115(617) 262-1815 (General)(617) 266-3605 (Tickets)

www.handelandhaydn.org


THE HARVARD ART MUSE-UMS are like a small metropolitan museum on the campus of a ma-jor university. Their internationally renowned collections number among the largest in the United States. And like the university that surrounds them, research, teaching, and learning are at their core. In partnership with Harvard faculty and staff, as well as peer institutions like the Peabody Museum of Archaeology and Ethnography, they connect encyclopedic collections to course-work and plan thoughtful installations, special exhibitions, and programs designed to engage students and visitors. They encour-age close looking and critical thinking through the examination of original works of art. Opening to the public on November 16, 2014, the Harvard Art Museums’ unique place in the museum landscape will be clear, both architecturally and programmati-cally. Whether visitors are learning about the complex relationship between painting and photography in the 19th century in the permanent collections galleries, viewing a recent gift of Japanese Edo-period painted screens in the University Galleries, or marvel-ing at an ancient Greek drinking vessel in the Art Study Center, they will experience the difference of a teaching museum that supports learning through art.

Harvard Art Museums

Renovated Harvard Art Museums designed by Renzo Piano.

Photo: Peter Vanderwarker


MARK ROTHKO’S HARVARD MURALSNOVEMBER 16, 2014 – JULY 26, 2015

THIS NEW PRESENTA-TION of Mark Rothko’s Harvard Murals features innovative, noninvasive digital projection as a conservation approach. The exhibition returns this mural series to public view and scholarship while also encouraging study and debate of the technol-ogy. Featuring 38 works from 1961–62, including the murals and many of the artist’s related studies on paper and canvas, the exhibition also ex-plores Rothko’s creative process. A sixth mural painted for the commis-sion—brought to Cam-bridge by Rothko but ultimately not installed—will be presented publicly for the first time. Many of the works on paper contain relevant sketches on their reverse, which will be displayed during the second half of the exhibition beginning in March 2015. The studies on canvas provide perspective on Rothko’s process as he worked from small to large scale.

TICKETS & CONTACTHarvard Art Museums32 Quincy StreetCambridge, MA 02138(617) 495-9400www.harvardartmuseums.org

Mark Rothko, Untitled (Study for Harvard Murals) (recto and verso) c. 1961, Dried glue along right

edge. Cut flap of paper c. 1.4 cm long at upper edge. Liquid stains on recto and verso. Harvard Art

Museums/Fogg Museum, Gift of The Mark Rothko Foundation, Inc., 1986.473. © 2009 Kate Rothko

Prizel and Christopher Rothko / Artists Rights Society (ARS), New York.

Photo: Harvard Art Museums, © President and Fellows of Harvard College

Harvard Art Museums


RECIPIENT OF THE 2013 Regional Theatre Tony Award and Bos-ton magazine’s 2013 Best of Boston award, the Huntington Theatre Company is Boston’s leading professional theatre and one of the region’s premiere cultural assets. Under the direction of Artistic Director Peter DuBois and Managing Director Michael Maso, and in residence at Boston University, the Huntington cultivates, celebrates, and champions theatre as an art form.

The Huntington brings together world-class theatre artists from Boston, Broadway, and beyond with the most promising new tal-ent to create eclectic seasons of exciting new works and classics made current. A national leader in the development of new plays, the Huntington has produced more than 100 New England, American, or world premiere to date. It supports local writers through its new playwright-in-residency and the Huntington Playwriting Fellows program, the cornerstones of its new work activities.

JANUARY 2 – FEBRUARY 1, 2015Avenue of the Arts / BU TheatreVANYA AND SONIA AND MASHA AND SPIKEBy CHRISTOPHER DURANGDirected by JESSICA STONE

Huntington Theatre

52 guide for the arts 2013 boston

Huntington Theatre Company

Since its founding in 1982, the Huntington Theatre Company has developed into Boston’s leading

theatre company. Bringing together superb local and national talent, the Huntington produces a mix of groundbreaking new works and classics made current. Led by Artistic Director Peter DuBois and Managing Director Michael Maso, the Huntington creates award-winning productions, runs nationally renowned programs in education and new play development, and serves the local theatre community through its operation of the Calderwood Pavilion at the BCA. The Huntington is in residence at Boston University.

Continuing its 30-year tradition, the Huntington will present world-class productions of new works and classics made current that are created by the best local and national talent. The varied lineup of productions include a gripping adaptation of a great American novel, an outrageous world premiere by one of Boston’s most fascinating playwrights, an acclaimed Broadway hit that tells a local story, a timeless family classic, the American premiere of an intriguing political drama, an innovative and intriguing drama, a biting new comedy, and the previously-announced visionary production of an American classic.

Avenue of the Arts /BU Theatre

Photo Credit: Paul Marotta

Avenue of the Arts / BU Theatre Photo: Paul Marotta

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IN THIS WICKEDLY wonderful Chekhovian mashup from master of comedy Christopher Durang (Betty’s Summer Vacation), Vanya and Sonia’s quiet, bucolic life is hilariously upended when their glamorous movie star sister arrives for the weekend with her brawny boy toy in tow. A Tony Award-winning Broadway sensa-tion, this rollicking and touching new comedy pays loving hom-age to Chekhov’s classic themes of loss and longing.

JANUARY 16 – FEBRUARY 21, 2015South End / Calderwood Pavilion at the BCATHE SECOND GIRLBy RONAN NOONEDirected by CAMPBELL SCOTT

WITH EUGENE O’NEILL’S classic Long Day’s Journey into Night as a backdrop, The Second Girl is set in the downstairs world of the Tyrone family kitchen in August 1912. Two Irish immigrant servant girls and the chauffeur search for love, success, and a sense of belonging in their new world in this lyrical and poignant world premiere by Huntington Playwriting Fellow Ronan Noone (Brendan, The Atheist) and directed by Campbell Scott (The Atheist).

MARCH 6 – APRIL 5, 2015Avenue of the Arts / BU TheatreTHE COLORED MUSEUMBy GEORGE C. WOLFEDirected by BILLY PORTER

CLIMB ABOARD FOR a madcap and stinging journey through 11 hilarious looks at African-American culture – from the depths of the Celebrity Slaveship to the spinning heights of Harlem. Tony Award winner George C. Wolfe’s landmark comedy has electrified, discomforted, and delighted audiences of all colors,

Lincoln CenterThe Huntington Theatre

Billy Porter directs George C. Wolfe’s The Colored Museum.

Photo: John Ganun


skewering stereotypes and redefining what it means to be black in contemporary America.

MARCH 27 – APRIL 26, 2015South End / Calderwood Pavilion at the BCACOME BACK, LITTLE SHEBABy WILLIAM INGEDirected by DAVID CROMER

WHEN DOC AND LOLA Delaney rent a room in their cluttered Midwestern home to Marie, a vivacious college student, her youthful energy stirs up forgotten dreams and missed opportuni-ties. Visionary director David Cromer, the creative force behind the Huntington’s acclaimed production of Our Town, returns to the Roberts Studio Theatre for this intimate and heartrending portrait of a marriage.

MAY 22 – JUNE 20, 2015South End / Calderwood Pavilion at the BCAAFTER ALL THE TERRIBLE THINGS I DOBy A. REY PAMATMATDirected by PETER DUBOIS

AN ORDINARY JOB interview at a local bookstore becomes much more as store-owner Linda and aspiring writer Daniel realize that their connections go far deeper than a shared love of literature. Together they will have to face the trauma of their past – but can they find forgiveness? Artistic Director Peter Du-Bois directs this deeply felt and intimate new play about bullying and second chances.

TICKETS & CONTACTAvenue of the Arts – BU Theature264 Huntington AvenueBoston, MA 02115(617) 266-7900 (General)(617) 266-0800 (Box Office)www.huntingtontheatre.org

The Huntington Theatre


FOUNDED IN 1936 as The Boston Museum of Modern Art, the museum was con-ceived as a laboratory where innovative approaches to art could be championed. In pursuit of this mission, in its early days, the museum established its reputation for identifying important new artists and changed its name a final time to become the Institute of Contemporary Art in 1948. For more than a half century, the ICA has presented contemporary art in all media – visual arts, film and video, performance, and literature – and created educa-tional programs that encourage an appreciation for contemporary culture. Throughout the ICA’s history it has been at the fore in identifying and supporting the most important artists of its time and bringing them to public attention.

ICA Boston interior. Photo courtesy of Diller & Scofidio

Institute of Contemporary Art


ADRIANA VAREJÃONOVEMBER 19, 2014 – APRIL 5, 2015

THE ICA PRESENTS Adriana Varejão, one of Brazil’s leading art-ists, in her first solo museum show in the United States. The exhibition spans the period from 1993 to the present and includes several series of work. Mining Brazilian culture and colonial history, Varejão’s work is rife with references to historical maps, Baroque church interiors, and Portuguese tiles. Her sauna paintings on the other hand, a series of mostly monochromatic renderings of sleek, grid-like spaces, reveal more modern cubist influences. Like her modernist forebearers, Varejão devours the rich and diverse culture of postcolonial, multicultural Brazil, churning it together with a strong art-historical sensibility to cre-ate work that is provocative, perceptive, and disarmingly visceral.

WHEN THE STARS BEGIN TO FALL: IMAGINATION AND THE AMERICAN SOUTHFEBRUARY 4 – MAY 10, 2015

WHEN THE STARS BEGIN TO FALL brings together 35 artists of different generations and working in different mediums who share an interest in the American South as both a real and fabled place. Key to the exhibition is the relationship between contemporary art, black life, and “outsider” art, a historically fraught category typically encompassing artists who have not received formal art training and who may have been marginalized in society. When the Stars Begin to Fall includes artworks by self-taught, spiritually inspired, and incarcerated artists alongside projects by prominent contemporary artists such as Kara Walker,


Ralph Lemon, Untitled, 2013–14, Archival pigment print 24 × 30 inches.

Photo courtesy of the artist/ICA Boston


Kerry James Marshall, David Hammons, and Theaster Gates. It presents diverse artworks – from drawing and painting to per-formance, sculpture, and assemblage – unified by an insistent reference to place.

SONIC ARBORETUM: SCULPTURE BY IAN SCHNELLER, SOUND BY ANDREW BIRDFEBRUARY 4 – MAY 10, 2015

SCULPTOR/INSTRUMENT-MAKER Ian Schneller and composer/violinist Andrew Bird share a fascination with sound and its interaction with the environment. Since 2010, the duo has col-laboratively produced Sonic Arboretum, an installation of colorful horn speakers made from recycled newsprint, dryer lint, baking soda, and shellac and powered by custom-made tube ampli-fiers. Through the speakers, Bird plays an original composition, layering loops of violin, guitar, and glockenspiel to generate a symphonic field.

ICA COLLECTION: IN CONTEXTONGOING

FOR EACH INSTALLATION in the Jim and Kim Pallotta Gallery, works from the ICA collection are brought into conversation with borrowed

pieces to explore particular themes and modes of art making. In October 2014, we updated the selection on view to include


Rineke Dijkstra, Eygenya, Induction Center Tel Hashomer, Israel, March 6, 2003, Eygenya, North Court Base Pikud, Tzafon, Israel, December 9, 2003, C-print, Diptych, each 49 5/8 x 42 1/8 inches, Gift of Sandra and Gerald S. Fineberg Photo courtesy of ICA Boston


recently acquired works by Gilbert and George, Leslie Hewitt, and Yasumasa Morimura. These appear alongside collection works by artists including Paul Chan, Rineke Dijkstra, and Boris Mikhailov in an exploration of two focal points: artistic engage-ment with social and political issues that lend to a contemporary reading of the effects of war and the reimagination of painting through serialization of form, the transformation of genres such as landscape, and the expansion of the medium to encompass drawing, photography, sculpture, and video.

TICKETS & CONTACTInstitute of Contemporary Art100 Northern AvenueBoston, MA 02210(617) 478-3100 (General)(617) 478-3103 (Box Office)www.icaboston.org



THE MUSEUM THAT bears her name also stands as a testament to her vision. Isabella Stewart Gardner, known also as “Mrs. Jack” in reference to her husband, John L. (“Jack”) Gardner, was one of the foremost female patrons of the arts. She was a patron and friend of leading artists and writers of her time, including John Singer Sargent, James McNeill Whistler, and Hen-ry James. She was a supporter of community social services and cultural enrichment. In 1903, she completed the construction of Fenway Court in Boston to house her collection and provide a vital place for Americans to access and enjoy important works of art. Isabella Gardner installed her collection of works in a way so as to evoke intimate responses to the art, mixing paintings, furniture, textiles, and objects from different cultures and periods among well-known European paintings and sculpture.

DONATELLO, MICHELANGELO, CELLINI: SCULPTORS’ DRAWINGS FROM RENAISSANCE ITALYOCTOBER 23, 2014 – JANUARY 19, 2015

THIS GROUNDBREAKING EXHIBITION examines the multifac-eted relationship between drawing and sculpture in Renaissance Italy. Because sculptors worked primarily from preparatory mod-

Isabella Stewart Gardner Museum

The new wing of the Isabella Stewart Gardner Museum, designed by

Renzo Piano. Photo: Matthew Reed Baker


Isabella Stewart Gardner Museum

els in wax or clay, draw-ing was not an essential part of their working practice. And yet, in his self-portrait now in the Gardner Museum’s collection, the promi-nent Florentine sculptor Baccio Bandinelli points not to his most famous public monument, but rather to a drawing of it. The surprising gesture raises many questions about when, why, and how Renaissance sculp-tors drew, and provides clues about their train-ing and their ambitions. Come and explore works by several Italian masters, many being exhibited for the first time in the United States.

TICKETS & CONTACTIsabella Stewart Gardner Museum280 The FenwayBoston, MA 02115(617) 566-1401 (General)(617) 278-5156 (Box Office)www.gardnermuseum.org

Benvenuto Cellini, Satyr, 1543–45, Bronze, 56.8 x 8.9 x 8.1 cm, J. Paul Getty Museum, Los Angeles.

Digital image courtesy of the Getty’s Open Content Program


THE ORIGINAL MFA opened its doors to the public on July 4, 1876, the nation’s centennial. Built in Copley Square, the MFA was then home to 5,600 works of art. Over the next several years, the collection and number of visitors grew exponentially, and in 1909 the Museum moved to its current home on Huntington Avenue. Today, the MFA is one of the most comprehensive art museums in the world; the collection encompasses nearly 450,000 works of art. It welcomes more than one million visitors each year to experience art from ancient Egyptian to contemporary, special exhibitions, and innovative educational programs. The Museum has undergone significant expansion and change in recent years; 2010 marked the opening of the Art of the Americas Wing, with four levels of American art from ancient to modern. In 2011, the west wing of the Museum was transformed into the Linde Family Wing for Contemporary Art, with new galleries for contemporary art, and social and learn-ing spaces. Improved and new galleries for European, Asian, and African art opened throughout 2013, with more to come.

Museum of Fine Arts

Museum of Fine Arts, Boston. Photo courtesy of Foster & Partners

Victor Issa Studioswww.VictorIssa.com • 970-227-3624

FreedomInviting us to aspire to the highest ideals and aspirations, reaching for the sky with an open heart.Edition of 12.

The Bird BathLike the mesmerizing

melody of trickling water, the spellbinding beauty of The Bird Bath soothes

and exalts its surroundings.Edition of 12.

(only one copy remaining)


GOYA: ORDER AND DISORDEROCTOBER 12, 2014 – JANUARY 19, 2015

ONE OF THE titans of European art, Francisco Goya (1746–1828) witnessed a time of revolution and sweeping change in thought and behavior. As 18th-century culture gave way to the modern era, Goya’s penetrating gaze sought new means to capture human experience, both as he observed it, and as his imagination and artistic gifts transformed it. To comprehend the artist’s boundless creativity, Goya: Order and Disorder is divided into eight major sections. These address such themes as the nurturing and abuse of children; hunting as sport and metaphor; religious devotion and superstition; equilibrium and loss of bal-ance; justice gone awry; and the symbolism of the giant. This framework enables the visitor to perceive connections across media and time that the artist himself made.

NATIONAL PRIDE (AND PREJUDICE)NOVEMBER 15, 2014 – APRIL 12, 2015

THE AMERICAN FLAG, Stonehenge, Chairman Mao Zedong: instantly recognizable, powerful symbols of the nations that produced them. But what instills pride in one citizen may be a call to protest for another, or may represent a complex combination of thoughts and feelings. The seven works in this instal-lation take a critical look at such images to spark dialogue around

Museum of Fine Arts

Jeremy Deller, Still from English Magic, 2013, Museum purchase with funds donated

by Judith and Douglas Krupp in honor of Lizbeth and George Krupp..

Courtesy the artist and Gaven Brown’s Enterprise. © Jeremy Deller


Museum of Fine Arts

provocative issues of national identity. They challenge long-held assumptions about these symbols with a combination of humor, beauty, and biting commentary, highlighting the close link be-tween politics and contemporary art. A new acquisition, Jeremy Deller’s off-the-wall video portrait of British culture English Magic (2013) is accompanied by works by Dave Cole, Burhan Dogançay, Matthew Day Jackson, Lyle Ashton Harris, Catherine Opie, and Stan Nanchez.

PLANES, TRAINS, AND AUTOMOBILES: SELECTIONS FROM THE JEAN S. AND FREDERIC A. SHARF COLLECTIONNOVEMBER 15, 2014 – MAY 10, 2015

FOR DECADES, MFA visitors who read the small print have been familiar with the names of Jean and Fred Sharf. “Gift of Jean S. and Frederic A. Sharf” has appeared at the bottom of hundreds upon hundreds of the labels next to artworks in our galleries. And what a range of works! Late 19th-century Japanese prints, Amer-ican folk art, drawings by fashion designers, jewelry, architectural renderings, and concept drawings for automobiles. Fred and Jean have never had conventional taste, and they have always followed their passion. In the process, they’ve blazed paths that many other collectors and museums have followed. Even so, one theme does run through the Sharfs’ collection: transportation. Fred, whose energy is legendary and who is always on the move, has forever been fascinated by the great speeding up of life that occurred in the middle decades of the 20th century. Planes, trains, and, most of all, automobiles, appear over and over again in the collection, as Fred has sought to capture the excitement that accompanied the simple act of getting from one place to another at mid-century.

GORDON PARKS: BACK TO FORT SCOTTJANUARY 17 – SEPTEMBER 13, 2015

GORDON PARKS, ONE of the most celebrated African American artists of his time, is the subject of this exhibition of groundbreak-ing photographs of Fort Scott, Kansas, focusing on the realities


Museum of Fine Arts

of life under segregation during the 1940s, but also relating to Parks’s own fascinating life story. In 1948, Gordon Parks (1912–2006) became the first African American photographer to be hired full time by LIFE magazine. One of the rare African American photojournalists in the field, Parks was frequently given magazine assignments involving social issues that his white colleagues were not asked to cover. In 1950, Parks returned to his hometown in Kansas to make a series of photographs meant to accompany an article that he planned to call “Back

to Fort Scott.” One of the most visually rich and captivating of all his projects, Parks’s photographs, now owned by The Gordon Parks Foundation, were slated to appear in April 1951, but the photo essay was never published. This exhibition represents a rarely seen view of everyday lives of African American citizens, years before the Civil Rights movement began in earnest.

Gordon Parks, Husband and Wife, Sunday Morning, Detroit, Michigan, 1950Courtesy of and copyright The Gordon Parks Foundation

TICKETS & CONTACTMuseum of Fine Arts, BostonAvenue of the Arts465 Huntington AvenueBoston, MA 02115(617) 267-9300 (General)(800) 440-6975 (Box Office)www.mfa.org

Museum of Fine Arts

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NOW IN ITS THIRD decade, New Rep has established itself as one of Boston’s premiere theatre companies. Celebrated for electrifying, compelling, and poignant productions, New Rep plays reflect our world and community and regularly explore ideas that have vital resonance in our lives – here and now. New Rep shows are provocative, intelligent, and entertaining. New Repertory Theatre has a commitment to bringing new works to the stage. Since 1984, New Rep has produced 63 East Coast, New England, Boston, or World Premieres, including works by Thomas Gibbons, Athol Fugard, Suzan-Lori Parks, Michael Weller, Dael Orlandersmith, J.T. Rogers, Joyce Van Dyke, Doug Wright, and Steve Yockey. New Rep is the Boston representative in the National New Play Network (NNPN), an alliance of not-for-profit professional theatres that champions the development, pro-duction, and continued life of new plays for the American theatre.

84 guide for the arts 2013 boston

Now in its third decade, New Rep has established itself as one of Boston’s premiere

theatre companies. Celebrated for electrifying, compelling, and poignant productions, New Rep plays reflect our world and community and regularly explore ideas that have vital resonance in our lives—here and now. New Rep shows are provocative, intelligent, and entertaining.

ChesapeakeBlack Box TheaterBoston Premierenovember 25–december 16, 2012A comedy by Lee BlessingDirected by Doug Lockwood

this playful and smart comedy explores the age-old questions, “What is art?”, “Who decides which art is worthy?”, and “What kind of art deserves public funding?” A liberal, provocative performance artist at odds with a conservative southern senator

The Arsenal Center for the Arts, 321 Arsenal Street,

Watertown, MA

Courtesy: New Repertory Theatre

New Repertory Theatre

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JANUARY 10 – FEBRUARY 1, 2015Black Box TheaterMUCKRACKERSBy ZAYD DOHRNDirected by BRIDGET KATHLEEN O’LEARY

A YOUNG ACTIVIST hosts a famous political journalist/hacker in her apartment. What follows is an evening full of rich debate over who has the right to information, how much the public needs to know, and the consequences of power. Dynamics shift when secrets are revealed and each discovers that there is always a price to pay for privacy. In the wake of controversy surrounding WikiLeaks and NSA whistle-blower Edward Snowden, The Boston Globe calls Muckrakers “an absorbing play that’s ripped from the headlines.”

FEBRUARY 7 – MARCH 1, 2015Charles Mosesian TheaterKING OF THE SCHNORRERSBy ROBERT BRUSTEINMusic by HANKUS NETSKY

BASED ON A famous Israel Zangwill play, Robert Brustein’s King of the Schnorrers is a comedy with music, set on Manhattan’s Second Avenue. A wily Sephardic actor named Da Costa, now down on his luck, schnorrs (begs) Joseph E. Lapidus, a wealthy Hol-lywood producer, out of his clothes, money, groceries, and self-respect, in a hilarious sequence of con-games. With a lively klezmer score by Hankus Netsky, this comedy also features a Romeo and Juliet love story set against the background of antagonistic Jewish sects.


Robert Brustein. Photo: Bachrach Studio


MARCH 7 – 22, 2015Black Box TheaterTHE AMISH PROJECTBy JESSICA DICKEYDirected by ELAINE VAAN HOGUE

CALLED “A REMARKABLE PIECE OF WRITING” by The New York Times and “unique, uplifting, and unforgettable” by Chicago Theatre Beat, this powerful and poetic piece is inspired by the 2006 killing of five girls in a hostage-taking at an Amish school in Pennsylvania. This one-woman exploration of the Nickel Mines shooting conjures seven characters, from gunman to victims, and delves into the stories that tie these characters together, as well as the path of forgiveness and compassion forged in the wake of tragedy. “It’s my private prayer,” writer Jessica Dickey says, “that this play, should they ever know about it, would not hurt them further, but somehow honor the goodness they forged in the face of such tragedy.”

MARCH 22 – APRIL 5, 2015Black Box TheaterSTRONGER THAN THE WINDWritten and Performed by ALICE MANNING

AFTER GIVING BIRTH to her twin boys, Alice Manning finally has everything she wants. But a twist of fate and a hospital error leaves her newborn son, Aidan, fighting for his life. Through anger, humor, and tears, Alice fights to keep her family afloat in the midst of unspeakable trauma and fear. On this personal rollercoaster ride, she discovers the power of laughter and hoto choose love during even the darkest times. A true story of Alice’s


Alice Manning performs Stronger than the Wind

Photo courtesy of the artist



family struggle with ongoing medical trauma and special needs, Carl Reiner describes it as on of the handful of shows that he couldn’t stop talking about.

APRIL 5 – 19, 2015Black Box TheaterGOD BOXWritten and Performed by ANTONIA LASSARDirected by NIKKI DILORETO

WHEN HER DAUGHTER dies, Gloria Adelman discovers the unthinkable – that her daughter wasn’t a practicing Jew! Amid Buddhas and Bibles, Gloria searches for clues to her daughter’s religious beliefs in order to give her an appropriate funeral. God Box is a hilarious and poignant tale of how faith is passed on, and what happens when it isn’t. Theater in the Now calls God Box “a triumph of a solo piece. Antonia Lassar makes you smile and think about life, spirituality, and internal happiness.”

APRIL 25 – MAY 24, 2015Charles Mosesian TheaterTHE MILK TRAIN DOESN’T STOP HERE ANYMOREBy TENNESSEE WILLIAMSDirected by JIM PETOSAFeaturing OLYMPIA DUKAKIS

TENNESSEE WILLIAMS’S “SOPHISTICATED FAIRY TALE” tells the story of former showgirl Flora “Sissy” Goforth, a dying woman with a flamboyant past and a blistering tongue. Hav-ing married and buried no less than four millionaire husbands, she spends her final days writing her memoirs atop a coastal Italian villa

Olivia Dukakis stars in The Milk Train Doesn’t Stop Here Anymore.

Photo: Massachusetts Cultural Council



until she is suddenly interrupted by the arrival of a handsome young poet, curiously nicknamed “The Angel of Death,” known for wooing rich dowagers at the end of their lives.

JUNE 6 – 21, 2015BU Lane-Comley Studio 210SCENES FROM AN ADULTERYBy RONAN NOONEDirected by BRIDGET KATHLEEN O’LEARY

TONY AND GASPER are best friends. Gasper comes over for din-ner and tells Tony he saw the wife of a close friend with a strange man and it looked quite suspicious. Should they tell their close friend? Should they tell Tony’s wife? Should they tell anyone? Tony says it’s none of their business – and then all hell breaks loose. Scenes from an Adultery is a comedy of manners, miscommuni-cation, and the boundaries of true love.

TICKETS & CONTACTArsenal Center for the Arts321 Arsenal StreetWatertown, MA 02472(617) 923-8487www.newrep.org


THE ROOTS OF the Peabody Essex Museum date to the 1799 founding of the East India Marine Society, an organization of Salem captains and supercargoes who had sailed beyond either the Cape of Good Hope or Cape Horn. The society’s charter included a provision for the establishment of a “cabinet of natural and ar-tificial curiosities,” which is what we today would call a museum. Society members brought to Salem a diverse collection of objects from the northwest coast of America, Asia, Africa, Oceania, India and elsewhere. By 1825, the society moved into its own building, East India Marine Hall, which today contains the original display cases and some of the very first objects collected. Today, the mission of the Peabody Essex Museum is to celebrate outstand-ing artistic and cultural creativity by collecting, stewarding and interpreting objects of art and culture in ways that increase knowledge, enrich the spirit, engage the mind and stimulate the senses. Through its exhibitions, programs, publications, media, and related activities, PEM strives to create experiences that transform people’s lives by broadening their perspectives, at-titudes, and knowledge of themselves and the wider world.

Peabody Essex Museum

Interior of the Peabody Essex Museum.

Photo courtesy of Turner Construction


CANDICE BREITZ: THE WOODSOCTOBER 11, 2014 – MARCH 1, 2015

INTERNATIONALLY RENOWNED VIDEO artist Candice Breitz explores how we create, define, and perform identities in a world of mass media saturation. In her newest work, a trilogy called The Woods, Breitz delves into the cinematic culture of three epicenters of global filmmaking – Hollywood, Bollywood, and Nollywood – to reflect the experiences of child actors and actors who perform childhood. With each section, shot in Los Angeles (The Audition), Mumbai (The Rehearsal), and Lagos (The Interview), The Woods cleverly splices together actor interviews to examine the movie industry’s nuanced culture of aspiration and emulation.

SOMEONE ELSE’S COUNTRY: PHOTO-GRAPHS BY JO RACTLIFFEOCTOBER 11, 2014 – MARCH 15, 2015

PHOTOGRAPHER JO RACTLIFFE (b. 1961) has spent the better part of the last decade photograph-ing the effects of the prolonged civil war in Angola (1975–2002), both in the country itself and in her native South Africa. From the capital city of Luanda to the former battlefields where mines and disused military installations litter the landscape, the artist explores the poignant, humane, and occasionally surreal vestiges of violence past, and examines the lives of the people and animals who now inhabit the land. Recently the artist has


Jo Ractliffe, Roadside Stall on the Way to Viana, 2007, from the ‘Terreno Ocupado’ series.

© Jo Ractliffe. Image courtesy of Stevenson, Cape Town and

Johannesburg


been photographing in South Africa itself, where encampments and mining facilities helped sustain that country’s involvement in the war. Now largely decommissioned, these installations have become curious features of the landscape.

Someone Else’s Country brings together a selection of Ractliffe’s haunting black and white photographs inspired by the Angolan conflict. Beautiful and evocative, her work raises questions not just about the war, but also about the triumph and folly of human endeavor, showing us history on a human scale.

BRANCHING OUT: TREES AS ARTSEPTEMBER 27, 2014 – SEPTEMBER 20, 2015

THIS EXHIBITION EXPLORES the often surprising ways in which contemporary artists use trees as an inspiration as well as a me-dium for their art. Made with bark, wood, roots, seedpods, leaves and biosignals, over 30 varied works and a selection of hands-on interactive opportunities ask us to consider our relationship with trees as a vital natural force. From Diego Stocco’s music compo-sitions made with trees and leaves to Joseph Wheelwright’s figu-rative root sculptures, this exhibition celebrates the varied ways in which people are connected to and creatively inspired by trees.

RAVEN’S MANY GIFTS: NATIVE ART OF THE NORTHWEST COASTAPRIL 5, 2014 – MAY 31, 2015

EXPLORE THE LIVING relationships among humans, animals, ancestors, and supernatural beings through works of Native art from the Pacific Northwest Coast created during the past 200 years. Ceremonial regalia, trade goods, and art sold in galleries today reveal creative expressions of family, heritage, politics, and commerce in a changing world. Raven’s Many Gifts presents artworks that convey broadly shared aesthetic and cultural traditions, while emphasizing the distinctiveness of various indig-enous communities and their artists. The themes – Living Stories, Family Connections, and Market Innovations – feature objects from PEM’s renowned collection of Native American art from the



Northwest Coast. The Raven in the installation’s title is the North-west Coast culture hero who brought light to the world.

FIGURING THE ABSTRACT IN INDIAN ARTAPRIL 5, 2014 – MAY 31, 2015

THIS INSTALLATION OF 20th-century paintings and 15th- to 19th-century sculptures explores the concept of abstraction as a vehicle for embodying form and meaning. Moving beyond culture and across time, these works consider style, structure and color, as well as the figurative, metaphorical and idealized as key facets of the abstract.

DOUBLE HAPPINESS: CELEBRATION IN CHINESE ARTAPRIL 5, 2014 – MAY 31, 2015

COME AND EXPERIENCE the liveliness of a drinking party, the opulence of a royal wedding and poetic evocation of spring on a delicate dish. With more than 30 highlights from the mu-seum’s wide-ranging Chinese collection spanning 3,000 years, this exhibition celebrates China’s artistic achievements crystallized in seasonal festivals, religious ceremonies and cel-


Artists in Jingdezhen, Jiangxi province, Bowl with dragons, phoenixes, gourds, and characters for

happiness, Qing dynasty, Guangxu period, late 1880s, Porcelain with transparent glaze and overglaze

polychrome enamels and gilding. Gift of the Conger Collection, 1991.

Photo: Walter Silver/PEM


ebrations. Discover plants and animals, myths and symbols and decipher the Chinese character for “Double Happiness.”

6:30 AM: ROBERT WEINGARTENMARCH 29, 2014 – MAY 31, 2015

IN JANUARY 2003, at 6:30 am, Robert Weingarten launched his photographic odyssey. Over the course of the year, he made daily exposures at precisely 6:30 am, maintaining an identical combination of camera, 350-millimeter lens, slow-speed film, and viewpoint overlooking Santa Monica Bay. Five of his large-scale, luminous photographs of Malibu capture what the artist calls “the fleeting nature of a particular confluence of light, and conditions that render a moment dramatic and singular.” Wein-garten’s photographs engage a long tradition of photographing in sequence, chronicling the way a scene changes from moment to moment, and day to day. The bold, immersive colors also call to mind works of American Expressionist artists, especially Mark Rothko, whose color field paintings have influenced generations of artists. Weingarten reminds us that it is not always necessary to travel to make great photographs, and that sometimes the best art is made close to home.

IN PLAIN SIGHT: DISCOVERING THE FURNITURE OF NATHANIEL GOULDNOVEMBER 15, 2014 – MARCH 29, 2015

ONCE AN OBSCURE figure in American furniture history, Na-thaniel Gould is now recognized as Salem’s premier 18th-century cabinetmaker. New scholarship, based on the recent discovery of his detailed account ledgers and daybooks, has led to the iden-tification and re-attribution of many pieces of furniture, including monumental desks and bookcases, bombé chests, and scal-loped top tea tables carved from the finest imported mahogany. Gould’s work is distinguished by its careful attention to graining, distinctive carved ball-and-claw feet, extended knee returns and superbly carved pinwheels and scallop seashells. In Plain Sight presents 20 exemplary works of Gould’s furniture alongside paintings, archival materials, decorative arts, and digital media



elements that provide insight into the makers and consumers of 18th-century American design and culture.

AUDACIOUS: THE FINE ART OF WOOD FROM THE MON-TALTO BOHLEN COLLECTIONFEBRUARY 21 – JUNE 21, 2015

RENDERED BY LATHE and carv-ing tools, common and exotic woods are transformed into nearly 100 complex sculptural forms with alluring sur-faces and textures. Massa-chusetts collectors Robert M. and Lillian Montalto Bohlen have assembled this premier collection of contemporary wood art that is international in scope and diverse in form. Experience the beauty, sensuality, and sculptural qualities of wood.

STORYTELLER: THE PHOTOGRAPHS OF DUANE MICHALSMARCH 14 – JUNE 21, 2015

ONE OF THE MOST influential photographers of the 20th cen-tury, Duane Michals (b. 1932) is credited with pioneering new ways of considering and creating photographs. Running counter to the prevailing conventions of photography, Michals began


David Ellsworth, Intersphere, 1991, from the ‘Solstice Series’, Burned ash and pigment, 14 x

16 x 9 1/2 inches. Gift of Lillian Montalto Bohlen. Photo: Dirk Bakker


working with sequences of images and multiple exposures, often overlaying hand-written messages and poems. Michals identi-fies himself a storyteller and through his work explores universal life experiences such dreams, desire, aging, and death. He has noted: “I’m not interested in what something looks like, I want to know what it feels like ... a realm beyond observation.” Organized by the Carnegie Museum of Art, this exhibition presents more than 200 works and provides a definitive retrospective of the artist’s career.

STICKWORK: PATRICK DOUGHERTYMAY 23, 2015 – MAY 28, 2017

PATRICK DOUGH-ERTY BENDS, weaves, and flexes saplings into archi-tectural sculptures that dynami-cally relate to the landscape and built environment around them. Over the last 25 years, he has created more than 200 works through-out the United States, Canada, Europe, and Asia. Constructed from saplings collected by area volunteers, the natural structure will provide dramatic counterpoint to the highly finished wood-frame Crowninshield-Bentley House that dates to the early 18th century. This is the first time PEM has commissioned an outdoor sculptural installation.


Patrick Dougherty, Summer Palace, 2009, Morris Arboretum, University of Pennsylvania,

Philadelphia, PA. Photo: Rob Cardillo


AMERICAN EPICS: THOMAS HART BENTON AND HOLLYWOODJUNE 6 – SEPTEMBER 7, 2015

THIS IS THE first major exhibition on Thomas Hart Benton (1889–1975) in more than 25 years and the first to explore important connections between Benton’s art and the movies. After working briefly in the silent film industry, Benton became acutely aware of storytelling’s shift toward motion pictures and developed a cinematic style of painting that melded European art historical traditions and modern movie production techniques. In paintings, murals, drawings, prints, and illustrated books, Benton reinvented national narratives for 20th-century America and captivated the public with his visual storytelling.

STRANDBEEST: THE DREAM MACHINES OF THEO JANSENSEPTEMBER 12 – DECEMBER 31, 2015

PEM PRES-ENTS THE first major American exhibition of Theo Jansen’s famed kinetic sculptures. Dynamic and interdisciplin-ary, Jansen’s Strandbeests (“beach animals”) blur the lines between art and science, sculpture and performance. The exhibition celebrates the thrill of the Strandbeests’ unique locomotion as well as the processes that have driven their evolutionary development on the Dutch seacoast. The kinetic sculptures are accompanied by art-ist sketches, facilitated demonstrations of the creatures’ complex ambulatory systems, a hall of “fossils” as well as photography by Lena Herzog.

Theo Jansen next to one of his Strandbeests. Photo: Roeselien Raimond



NATIVE FASHION SHOWDECEMBER 5, 2015 – MARCH 6, 2016

FROM STREET CLOTHING to haute couture, this exhibition celebrates the visual range, creative expression and political nu-ance of Native American fashion. Nearly 100 works spanning the last 50 years explore the vitality of Native fashion designers and artists from pioneering Native style-makers to today’s maverick designers who shape youth culture and beyond. Also examined is how non-Native designers adopt and translate traditional Na-tive American design motifs in their own work, including Isaac Mizrahi’s now iconic Totem Pole Dress.

TICKETS & CONTACTPeabody Essex MuseumEast India Square161 Essex StreetSalem, MA 01970(978) 745-9500www.pem.org



Contact Information

AMERICAN REPERTORY THEATER: (617) 495-2668

BOSTON BALLET: (617) 695-6950

BOSTON LYRIC OPERA: (617) 542-4912

BOSTON PHILHARMONIC: (617) 236-0999

BOSTON SYMPHONY ORCHESTRA: (617) 266-1492

DECORDOVA SCULPTURE PARK AND MUSEUM: (781) 259-8355

HANDEL&HAYDN SOCIETY: (617) 262-1815

HARVARD ART MUSEUMS: (617) 495-9400

HUNTINGTON THEATRE: (617) 266-7900

INSTITUTE OF CONTEMPORARY ART: (617) 478-3100

ISABELLA STEWART GARDNER MUSEUM: (617) 566-1401

MUSEUM OF FINE ARTS: (617) 267-9300

NEW REPERTORY THEATRE: (617) 923-8487

PEABODY ESSEX MUSEUM: (978) 745-9500

Documents

Boston -Guide for the Arts-2015