performance prospectus

MARK HAImX2MAR 29 - APR 1, 2012

1Production Design: LILIENTHAL|ZAMORATechnical Director: Erik HoldenMusic: Louis Andriessen, De TijdDramaturg: Lucia Neare Performers: Sruti Desai, Beth Graczyk, Mark Haim, Jim Kent, Jürg Koch, Jody Kuehner, Hendri Walujo

2Music: Hank Williams, Sr., Trace Adkins, Toby Keith, Martina McBride, Billy Ray Cyrus, Blackhawk, Little Texas, Jack Ingram, Ernest T. GrassBackdrop: Mark FerrinPerformers: BRACE, Sruti Desai, Tova Eisner, TJ Elston, Mark Ferrin, Beth Graczyk, Jessica Jobaris, Karn Junkinsmith, Jim Kent, Jess Klein, Jürg Koch, Jody Kuehner, Jennifer Salk, Hendri Walujo

TABLE OF CONTENTS Note from OtB...................................2Program Notes.................................3Interview Excerpt..............................4Beginner’s Guide.............................5Essay...............................................6Bios.................................................9Funder Credits.................................14

A NOTE FROM OTBWhen Mark Haim premiered a 20 minute version of This Land Is Your Land at the 2010 NW New Works Festival, the only problem was the piece was too short. Watching the performers promenade to country songs in various stages of dress, holding coffee cups and guns and phones, you wanted the piece to go on all night. While Mark was receptive to the idea of continuing to develop this work, he was clear he wanted to make a new piece to serve as a bookend to the evening, something that would illustrate a completely different treatment of time and space. Thus, X2 was born.

Mark is an interesting example of how training positions an artist with a curious mind to try new things. In his interview on our website with critic Sandi Kurtz, they refer to his training as “old school.” You hear him describe his lifelong fascination with Bach, and regarding his early dance training, references to Isadora Duncan, Martha Graham and José Limón are made. Sandy seems to ask rhetorically, “What’s this guy who makes dancey dance doing in a contemporary art context?”

Maybe it’s because Mark has the form and composition thing down so tight that he doesn’t have to worry about making legible expressions. Moving bodies around the stage is old hat for him. Instead, he can put all of his energy into subverting structure and technique. It’s what confidence derived from skill can lead to: taking chances. He uses the postmodern tool box with all of its patterning and repetition and abstraction, but does so without making his practice feel like an attempt to one-up what has come before him.

Perhaps it’s this point that makes him most fascinating in a contemporary context: he likes emotionality and beauty, and is unabashedly interested in conveying the humanity of each performer onstage, so much so that it almost seems like he wants each performer to go home with an audience member, make tea and have a long conversation. Considering the dynam-ic cast involved in X2, this doesn’t sound like a bad idea.

Congratulations to Mark and his talented crew of performers and col-laborators. X2 is the right work, at the right time, in the right venue.

Lane Czaplinski & Sarah Wilke

PROGRAM NOTES FOR X2Twenty years ago, a composer friend and I took a road trip around the desert Southwest. On our sometimes interminable drives going from Point A to B, amidst magnificent landscapes, we came up with a road game, formulating rules for the creative process. The only rule I now remember is "there is never enough time, and there is always enough time."

A paradox.

One rarely thinks about time without motion. Most of our perceptions of time are marked by moving things-- the sun and the moon in the sky, the ticking of a clock, the beating of a heart, and a trip from Point A to Point B. There is no stasis or center from which time emanates. There is only the ever-lasting and instantaneously changing center of the present.

We can momentarily capture a sense of timelessness-- the past, present and future all happening at once. Time stops. The totality of time obliterates the very concept of time. But it doesn't last. Time marches on. The best we can do is trust in the paradoxical state of stillness/movement.

The famous ascetic Narada is granted any wish he desires by the God Vishnu. So, Narada asks Vishnu to show him the power of maya. Vishnu agrees and they travel together down a desert road. At some point, Vishnu is thirsty and asks Narada to get him some water. Narada walks ahead and knocks on the door of the first house he sees. A beautiful girl answers the door and upon entering, Narada forgets why he came. He is treated roy-ally and marries the girl. They have three children together. He inherits the farm. Twelve years pass. One night, a torrential rainstorm hits the village. The house collapses; the animals are all swept away. Narada tries to hold on to his wife and children in the flood but loses them all, watches them one by one being swept away by the waters. He himself slips and loses consciousness. He wakes up on a rock and weeps. Suddenly, he hears a voice saying, "Where is my water? It's been half an hour!" He turns his head and instead of the flood he sees the desert landscape. And Vishnu asks him, "Now do you understand the secret of my maya?"

Please, have a drink at the bar and enjoy the evening.

Mark Haim

interview excerpt with mark haim

Sandi Kurtz: I did a bunch of work on the internet the last couple of days to do some homework, to find something to talk about with you, and the things that you find of course are always very charming and kind of random, and I wound up looking at a blog site from Cassilhaus?

Mark Haim: Yes.

Sandi Kurtz: It was very charming. I guess it’s a private residence near ADF that hosts events for visiting artists. It looked really beauti-ful and there was this little blog post about you because you had been there recently and you were talking about this show that you were de-veloping for On the Boards. The thing I loved the best was at the very beginning of the post, because they said, “Mark Haim (rhymes with time).” And you had been talking about time, because time is a big is-sue in these pieces that you’ve made. And I was hoping you’d talk a little bit about time and how that functions with these works that you’ve made. Mark Haim: Well it’s interesting to think, as I’ve been working on all of this stuff, about time, actually. It’s bizarre that we can actually think that we’re thinking about time or working on time or not working on time because time is just always there. So it’s almost like, I think if time had a voice, he would be like, “Yeah right, you’re trying to work on me? Think about me? I’m just goin’ on anyway.” And I think because I’m in a time-based art form,whether I’m thinking about time or not, it’s already I’m involving it. But I guess focusing on it or thinking about it from a human being’s standpoint, or what does time mean? One thing that I’ve been thinking about over the past year is just how when I’m thinking about time I’m actually less happy. Or when I’m aware of time it usually means that I’m not actually as happy as I could be if I weren’t aware of it. And I think sometimes that time works best when it’s most neglected, when it’s not really being thought about, You’re just living in it. You’re just doing what you do, knowing it’s there all the time.

Listen to the entire interviewontheboards.org

beginner’s guide to mark haim

1. This is Mark Haim’s 30th year as a choreographer! In these 30 years he has travelled the world to perform, set work and study in a myriad of locations. Appropriately, for X2 he has rehearsed and done residencies from Seattle to Durham to Beijing.

2. The list of places that Mark Haim has taught or set dances on is long and prestigious. He has created work for Nederlands Das Theater, Ballet Frankfurt, Jose Limon Dance Company and Joffrey II Dancers, amongst many others. From 2002-2008 He has also taught at NYU’s Tisch School of the Arts, Hollins University, Reed College and was the UW Artist in Residence from 2002-2008.

3. The root of X2 was partially developed for the 2010 NW New Works Festival. The dance-meets-runway piece was a hit, with press praising it for its deceptive minimalism, humor and incredible 14 member cast.

4. The last time Mark Haim was seen in the Northwest Series was 2006 with The Goldberg Variations. This triumph of creativity and endurance was initially created as a solo for Mark that used the 30 variations and single aria of Bach’s work for the harpsichord. The sold-out weekend featured not just Mark, but a cherry-picked selection of Seattle dancers performing his original choreography, including Jim Kent, Sean Ryan, Amy O’Neal, Ellie Sandstrom and Tonya Lockyer.

5. Mark Haim’s uses music in a myriad of ways in his works. X2 features a classical composition called De Tijd (The Time) by Dutch composer Louis Andriessen in the first act. This is juxtaposed against a series of country music tunes that set the tone for This Land Is Your Land.

essayby Jennifer Salk, Associate Professor of Dance,University of Washington

Is it possible to frame time?

There is a game I play with my students during the first quarter of choreography class. Students move for what they think is a minute as slowly as they possibly can. They stop when they think a minute has passed. Their partners are watching the clock and observing how much time has elapsed. Then they repeat this, moving as fast as possible. Inevitably, many students move for as long as two minutes during the slow dance and for about 20 – 30 seconds during the fast one. Sensing time while moving is completely different from watching time unfold while sitting and watching. I have been thinking about this frequently while rehearsing for and watching Mark Haim’s choreography.

When I was 17 I went to see Eiko and Koma. I did not know anything about them. They came to UCLA and I was a dance major and all I wanted to do was dance for Alvin Ailey. If you know me, stop laughing…I watched as two people covered in flour “vomited up” rose petals to “I am the walrus” by the Beatles, for about 70 minutes. I left furious and confused. I had no context. Fast forward to graduate school in 1993. I am 30 something. I am watching Eiko and Koma. I am mesmerized. I have trouble breathing. I hold my breath. I am completely still except for tears sort of trickling out of my eyes. Time seems to stand still and yet it might have been days that I had been watching. Wisdom and, ironically, time had created context for me.

My friend Mark Haim has been thinking a lot about time. His upcoming concert x2 bends time in ways that I have not seen or experienced before. A while ago he mentioned that he had been listening to a composition by composer Louis Andriessen. I asked him about why he chose this piece to choreograph his new work In Time to:

I fell in love with the beginning of the piece when I first heard it in 1994. So spacious and open. I felt like it could do anything, or go anywhere. That kind of feeling is so freeing, but also so frightening, because eventually you’ve got to ‘murder’ most of your choices to make one. I felt that cruelty and my resistance to it very strongly in this process. The music is uncompromising. It picks its methods and tonalities and sticks to them for a long time. About three-quarters the way in to the music, I always wanted to turn it off. Too much, for too long.

But if you can get past that point, you surrender to the time you’re in, or experiencing, and the fun begins.

As I watched In Time, in rehearsal, I felt that familiar sensation I’d experienced on my second viewing of Eiko and Koma. I could barely breathe, and I had no idea how much time had elapsed when it was over. Unlike Eiko and Koma, Haim has an ensemble of virtuosic dancers dancing their asses off. I asked myself, how does the experience of moving a lot, as fast as I can, transfer to me sitting and watching people moving as fast and as fully as they can? What do I feel as I view this? Part of me is experiencing it viscerally because I am a dancer, but I noticed that I simply did not care about time. I was lost in the work and time was irrelevant. And yet time was one of the primary explorations for the choreographer. The result is a dance that serves as a metaphor for life: Time passing, people aging, life flying by yet, interminable sometimes. The work has several elements that I will not reveal here, that set a framework for us to experience time as viewers.

When I think about Mark’s choreography one word repeatedly surfaces - framework. In 2005 Mark made a solo for me. He gave me beautiful movement phrases to learn and put together. It was pure dance. He then said, “I would like you to retrograde the entire solo. I will see you in a month” (paraphrased from memory). In the meantime, he recorded Rachmaninoff’s Piano Prelude op. 23 no. 1 in f# minor backwards, asked the technical director for a staircase leading to nowhere, and a rope with a handle and a giant hourglass to be hanging from the rafters. He placed a microphone in the center of the stage. He had me back down the stairs, do the entire solo retrograded, say, into the mic, “I have nothing to say,” then do the entire solo forward and ascend the stairs to nowhere at the end. Brilliant. We began with a bunch of movement and ended with a powerful solo that distorted time and challenged viewers. Many said things like, “I couldn’t figure out what was going on or why the solo looked odd to me until you began the forward version. I felt this tremendous relief, and it went so much faster moving forward.” Again, time…But how Mark frames movement with lights, sets, perhaps a singular contrasting element, is one of the things that makes his work magical.

In essence, Mark has always been interested in time. He was doing highly complex mathematical accumulations and repetitions in his earliest work. But he is not like Laura Dean or Lucinda Childs. While things gradually change before the viewers’ eyes the theatrical elements in his work are ever present as is the humanity. His work often taps into our primal instincts. The framing of the solo he made

for me had a profound effect on some people. It was simultaneously disturbing and satisfying. I was struck by the same elements watching In Time. The work is about time, and there is a flood of dancing, but the framework (the sets, lights, and one particular constant element that I won’t reveal), creates a human vantage point from which to experience the work. It is profoundly human.

In the piece, there is a solo by Beth Graczyk that involves accumulation and layers of movement that gradually morph. I recognize patterns. The patterns gradually arc and change into other pattern but I am not sure when these patterns shift or how. I asked her how she experiences time within this piece. She said that inside of the solo she loses track because of the immediacy of the moment at hand, because it is a slight variation of the moment before, and the moment to follow. “The experience is incrementally short but as a viewer it is probably a wash.” She observed that Mark was constantly recalibrating the experience of time, keeping it at the forefront, often dumping beautiful material that did not sustain the theme.

This Land is Your Land premiered at Northwest New Works as a 20 minute work. Everyone said, “This has to be longer.” Even Mark commented to us, the cast, “this is not finished. I feel like I am tacking on an ending.” He was right. The piece is 35 minutes now. On the surface, it consists only of walking patterns, skipping, galloping, stopping, and starting, and changing costumes a lot. But he has carefully framed the work to give viewers room to create their own narratives. There are Starbucks coffee cups, cell phones, and a host of other props. There are characters introduced that are close to Mark’s heart. He has studied them and passed them on for us to attempt to embody. All of these elements create the framework that ultimately allows people to dig in. Mostly though, the piece makes people happy…and it makes people sad. One friend who viewed the piece said she became completely attached to each of us. She couldn’t wait to see us again as we entered the space one at a time. She said, “I could watch this piece forever.” We are back stage changing costumes and counting and not aware of time passing. I recently felt like the piece was like riding a slow wave to shore. As Beth said, however, “there is an immediacy.” All we are doing back stage is trying to remain present and to transform into our new role before entering the stage space.

Mark has created two completely different dances dealing with time for this concert, both about equal in length. One is a long contemplative walk through the forest of life. The other holds a mirror up to the audience to say, “look who we all are.”

BIOSBRACE is a local fixture in Seattle (born and raised; Garfield H.S., UW alum, and MFA from Brooklyn College), performing since his youth and currently sings with Seattle Men’s Chorus. It will always be his home but he enjoys a good adventure exploring other places to live: NYC, SFO, LHR, CPT, PDX, TXL, FCO, YVR, BCN, RIO, and others. He continues to be an ever-evolving LebensKunstler. Thanks, Mark – You better work!

Sruiti Desai studied dance at the University of Washington, graduating magna cum laude with a B.A. in Psychology and minors in Dance, Latin, and Women Studies. She has worked with a number of local choreographers, including Pat Graney, Mark Haim, Kristin Hapke, Jessica Jobaris, and KT Niehoff. She also works in alcohol research at the UW. She’s thrilled to be working again with Mark and to have another chance to strut down the runway with this lovely group of people!

Tova Eisner moved to Seattle after completing a BA in dance at Scripps College, where she first worked with Mark Haim. She recently took a hiatus from dance to pursue her other passion for working with shelter animals. She is excited to be working with Mark again, and honored to be performing with such an incredible cast!

T. J. Elston is happy to be “on the boards” again. He has worked in some fashion on stage/back stage - mostly prop designing for the past 23 years in Seattle at ACT, Alice B Theatre, The Rep, Taproot, ArtsWest, to name a few, and currently with Seattle Men’s Chorus (of which he also sings- going on 24 years) & the Seattle Women’s Chorus. The only other time he was on stage at OTB besides two years ago in This land Is Your Land –the original piece X2 was birthed from, was in a “12 Min Max “ piece in 1994, Purple Pontius –almost naked (wearing a helmet wristbands, and cleats), crucified to a goal post with a smarmy nest of linebackers also clad as he, slithering around the floor below! Thank-you Mark for bringing me back to the light. Power of Fourteen ROCKS! …well at least WALKS.

Mark Ferrin is a costume and apparel designer working in Seattle. He has designed costumes for Mark Haim, Alice Gosti, Kate Wallich, and Jessica Jobaris. Mark has also stitched for Mark Zappone on productions for The Pacific Northwest Ballet, The Oregon Ballet

Theatre, and The San Francisco Ballet. Mark is looking forward to another production with Alice Gosti this Spring as well as working with fellow walker Beth Graczyk this summer. Many thanks to Mark Haim and the fab 12, errr, 13. No, 14. How many miles have we walked together now?

Beth Graczyk co-directs Salt Horse, a dance/music ensemble with Corrie Befort and Angelina Baldoz (2005 - ). She has had the pleasure of working with Mark Haim since 2009, and danced for Scott/Powell Performance from 2004-2011. She currently is collaborating with Torben Ulrich and Angelina Baldoz on a new work that will premiere at the Northwest New Works festival in 2012. Graczyk is also a Research Scientist at the University of Washington where she works on mitosis.

Mark Haim celebrates his 30th year as a choreographer. Born in New York City, Mark studied as a classical pianist at the Manhattan School of Music before beginning his formal dance studies with an honorary scholarship at The Juilliard School, where he received his BFA. He was Artistic Director of Mark Haim & Dancers from 1984-1987, and the Companhia de Danca de Lisboa from 1987-1990. Mark has created new works for many dance companies in the US, Europe and Asia, among them the Nederlands Dans Theater, Ballet Frankfurt, the Jose Limon Dance Company, the Joffrey II Dancers, the Rotterdamse Dansgroep, the Silesian Dance Theater, the Companhia de Danca de Lisboa, CoDanceCo, the TRANS Dance Co., and Ballet Pacifica. He has restaged his works on companies such as The Joffrey Ballet, the Bat-Dor Dance Company of Israel, Djazzex, and the Juilliard Dance Ensemble. Most recently, he restaged This Land Is Your Land on Yabin & Friends in Beijing, China. Since 2002, he has been guest choreographer at The Wooden Floor, an after-school organization that has promised hope and opportunity to nearly 400 low-income youth annually. He is a recipient of a NYFA Fellowship, two NEA Fellowships and grants from the NPN Suitcase Fund, ArtsLink, Inc. the Harkness Foundation, the Jerome Foundation, and the Seattle Mayor’s Office of Arts and Culture. His full evening solo project, The Goldberg Variations, has been performed at the American Dance Festival, the Danspace Project at St. Mark’s Church, The John F. Kennedy Center, On The Boards, Bumbershoot, and other venues in the U.S, Europe, and Asia. He has been on the faculty of the American Dance Festival since 1993 and has also been on the faculties of NYU Tisch School of the Arts and Hollins University.

Jessica Jobaris was born on Jersey soil, raised in sunny SoCal, and presently calls Seattle her home. Her dance career has taken her to perform/teach/study/choreograph throughout the United States and Europe. Many thanks to Mark, and the cast, for introducing a significant and relevant purpose to counting in 8’s. Visit Jessica’s work at generalmagicjjo.com.

Karn Junkinsmith, mother of Willa and Gemma, has made some experimental dance films, teaches ballet at Velocity Dance Center and is gladto be here.

From 2002-2008, he was Artist in Residence at the University of Washington and in 2009, was Visiting Associate Professor of Dance at Reed College. He received his MFA in Dance from the ADF/Hollins University MFA program.

Jim Kent was begat in the Midwest, where parental support was abundant for his musical and performance proclivities. A sudden urge to dance became apparent. He’s been movin’ and showin’ his gams in Seattle since 2002 and will perform with Dayna Hanson and company in April in LA and Austin, Olivier Wevers and Whim W’him at the Intiman in May, and as himself in Freedom Fantasia with DeLouRue Productions in July at the Triple Door.

Jess Klein was born on the beach in California and raised in windy Wyoming. She graduated from Cornish College of the Arts with a BFA in Dance after studying at Reed College. She is grateful for varied performance experiences; in the last ten years she has performed in theaters, cabarets, music venues, city streets, on sidewalks and for video and film. In addition to performing she teaches dance and yoga to inspiring youth at University Preparatory Academy.

LILIENTHAL|ZAMORA is a collaboration between artists Etta Lilienthal and Ben Zamora. The artists’ work can be seen in opera, theater, dance, installation and architecture. They have received funding from various organizations including NEA/TCG, Seattle Office of Arts and Cultural Affairs, and 4Culture. Individually, they have designed for projects internationally including Lincoln Center, The Mariinsky in Russia, Disney Concert Hall with the Los Angeles Philharmonic, the Lucerne Festival in Switzerland, the Rotterdam Philharmonic in the Netherlands, UNAM International Dance Festival

in Mexico City, the Intiman Theatre, ACT, Seattle Repertory Theatre, Portland Institute of Contemporary Art’s TBA Festival, On The Boards, SUSHI Performance and Visual Art, and The Moore Theater in Seattle. For the past few years, Ben has been collaborating with director Peter Sellars and video artist Bill Viola on The Tristan Project. Most recently Ben collaborated with artist Eleanor Antin on Before the Revolution at the Hammer Museum in Los Angeles. Etta Lilienthal was a Guest Artist with ICKAmsterdam, Emio Greco|PC for La Commedia, which premiered at Hangar Bicocca in Milan, Italy. In 2009, the duo was listed on The Stranger’s Genius Awards Shortlist.

Jürg Koch was born in Switzerland and works internationally as a performer, choreographer and dance educator while being an assistant professor in the Dance Program at the UW. Working with Candoco, integrating disabled and non-disabled performers informs his artistic and pedagogic outlook. This is Jürg’s third project with Mark Haim.

Dance artist Jody Kuehner is one half of The Cherdonna and Lou Show, performing regularly around Seattle. Jody dances for the Pat Graney Company (2008-present) and has worked with PG Company’s prison project, Keeping The Faith. From 2003-2009, she was a member of d9 Dance Collective. When Jody’s not performing or rehearsing, she is teaching at Velocity Dance Center, or working as Dayna Hanson’s administrative assistant.

The free, large-scale, site-specific theatrical works of Lucia Neare have inspired thousands. A classical singer, designer, director, producer, and teacher, she is artistic director of Lucia Neare’s Theatrical Wonders. Since 2006, the company has presented numerous acclaimed large-scale works to thousands in the Puget Sound region. Recent works include Lullaby Moon, a series of large-scale performances over the Seattle area since 2008. This annual celebration of the night sky draws audiences of thousands into an evening dream revel, where celestial characters illuminate parks, public spaces, and Seattle’s abundant waters. Other Wonders include Ooo La La: A May Day Spectacular, which transformed all of downtown Seattle into a grand corridor of whimsy in 2008. Neare has received commissions and support from organizations such as 4Culture, Artist Trust, Mayor’s Office of Arts and Cultural Affairs, Seattle Art Museum, Olympic Sculpture Park, On the Boards, SAFECO, and Seattle Parks and Recreation. She received the 2008

Artist Trust/Washington State Arts Commission Fellowship; Seattle Magazine’s 2008 Spotlight Award; and the Mayor’s Office of Arts and Cultural Affairs 2007 CityArtists Award. Ms, Neare studied theater and contemporary performance at Naropa University and is a graduate of Mount Holyoke College. For more information about Lucia Neare’s work, please visit lucianeare.org.

Jennifer Salk is an associate professor in the Dance Program at UW. She recently returned from a Fulbright in Istanbul where she taught and made a new dance, and completed Eyes of the Skin, a collaborative project with media artist Maja Petric at the Henry Art Gallery. She teaches and creates dances on companies and schools around the globe. She is honored to be part of Mark’s mathematical process again and to spend time with these amazing people.

Calie Swedberg (understudy) grew up thirty miles south of Minneapolis, MN. She has been dancing since the age of three. Since graduating from Cornish with a BFA in Dance, her interest has been shifting towards the pursuit of a career in Dance Therapy. She is a core member of The New Animals, under the direction of Markeith Wiley, and is honored to have been witness to the making of X2.

Hendri Walujo is thrilled and honored to be back performing and dream walkin’ the runways again for Mark Haim. In recent years, Hendri has studied with, and performed in the works of lingo/KT Niehoff, Ellie Sandstrom, Kristin Hapke, Lucia Neare, BQDanza/Carla Barragan, among others. Much love to Mark and the fabulous cast, thanks ya’ll!!

ontheboards.org

X2 photos by Tim Summers

Seasonal support for OtB is provided by

This production is sponsored by

Andrew W. Mellon Foundation

WE WISH TO THANK: The entire staff (EVERYONE) at On The Boards for the kind of care and engagement one just doesn’t find anywhere else, the UW Dance Department for a large studio to walk in, Bob Boehler and Seattle University, Seattle Repertory Theater, Steve Coulter and ACT Theater, the American Dance Festival, FRED Wildlife Refuge, Tim Summers, Jim & Cath Slaughter, Vito and Doret Zingarelli, Robert Loomis, Kenny Wong, Marq, Lisa Kusanagi, Joyce Liao, Mark Ferrin, Jody Kuehner, Beth Graczyk, Keith Wagner, Lorraine Lau, Calie Swedberg, Peggy Piacenza, Stacy Brown, Susan & Peter Grote, Meriam Rosen, Shmootzi the Claude, David and Christa Lilienthal, Heidi Zamora, Nancy Guppy, Alejandro Zamora, LB Morse, Yabin Wang & Li Hong, John Dixon, Erik Holden, Jeff Gerson, Maia Chachava, Jeff Curtis, Cathy Ryan Ingal, Josh Windsor & Jenny Haight, Tonya Lockyer, Deborah Wolf and Roger Curtis, Carol Sanders and J. Loux, Parker Huey and Phil Grieb, and Koushik Ghosh.

A special thanks to Lane: your belief in my abilities keeps me going. And a final thanks to the whole team—Etta, Ben, Erik, Lucia, and the fourteen performers—for their dedication,

humor, generosity, and patience. I am so happy I live in this city filled with so much talent.

Mark Haim Dance and Theater is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Mark Haim Dance and Theater must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

You can also find us at Kickstarter:kickstarter.com/projects/1626172609/x2