Playbills

BAT BOY:
The Musical
Story and Book by Keythe Farley and Brian Flemming
Music and Lyrics by Laurence O’Keefe

OCTOBER 16-19, 23-25, 2003 at 8PM October 26 at 3PM

STUART THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by John Emigh
Musical Direction by Andrew Hertz ‘04
Choreography by Kyle Shepard ’04
Associate Choreography by Nicole Applebaum ‘05
Set Design by Michael McGarty
Costume Design by Phillip Contic
Lighting Design by Tim Hett

CAST
(in order of appearance)

BAT BOY Lance Rubin ‘04

RICK TAYLOR John McCutcheon ‘06

RUTHIE TAYLOR Carole Ann Penney ‘07

RON TAYLOR Ross Cowan ‘07

SHERIFF Steven Levenson ‘06

MR.DILLON/DOCTOR #2 Marcus Hill ‘07

CLEM Adam Shulman ‘03

BUD/MEREDITH’S FATHER Alex Clifford ‘06

NED/YOUNG DR. PARKER Jonathan Harris ‘07

LORRAINE Allison Jill Posner ‘05

DAISY Kara Muñoz ‘06

MAGGIE Reese Smith ‘05

SHELLEY PARKER Nora Blackall ‘07

MEREDITH PARKER Caitlin Marshall ‘05

DR. THOMAS PARKER Benjamin Sugar ’03.5

DOCTOR #1/YOUNG MEREDITH Farra Ungar ‘06

MRS. TAYLOR/MEREDITH’S MOTHER Jaime Green ‘04

REV. BILLY HIGHTOWER/INSTITUTE MAN Daniel Hernandez ‘05

PAN Jed Resnick ‘06

Time: Sometime like the present
Place: Hope Falls, West Virginia

There will be one ten-minute intermission.

Produced by special arrangement with Dramatists Play Service, Inc.

Production Manager Laura E. Smith
Technical Director Tim Hett

ORCHESTRA
Andrew Hertz, conductor
Andrew Hertz ‘04 Keyboard I
Jonathan Russ ‘07 Keyboard II
Wilson Brown ‘04 Guitar
Wade German ‘07 Bass
Hadley Tassinari ‘04 Percussion

MUSICAL NUMBERS
Act I
Hold Me, Bat Boy - Company
Christian Charity - Meredith, Shelley, Sheriff
Ugly Boy - Meredith, Shelley
Whatcha Wanna Do - Shelley, Rick
A Home For You - Bat Boy, Meredith
Another Dead Cow - Ensemble
Dance With Me Darling - Meredith, Parker, Ensemble
Mrs. Taylor’s Lullaby - Rick, Mrs. Taylor, Ron, Sheriff, Doctor #1
Show You A Thing Or Two - Bat Boy, Meredith, Shelley, Parker, Ensemble
Christian Charity (Reprise) - Ensemble
A Home For You (Reprise) - Bat Boy
Parker’s Epiphany - Parker
Comfort and Joy - Company

Intermission

Act II
A Joyful Noise - Reverend Hightower
Let Me Walk Among You - Bat Boy
A Joyful Noise (Reprise) - Bat Boy, Reverend Hightower, Ensemble
All Hell Breaks Loose - Rick
Three Bedroom House - Shelley, Meredith
Children, Children - Pan, Ensemble, Shelley, Bat Boy
More Blood - Parker, Ensemble
Inside Your Heart - Shelley, Bat Boy
Apology To A Cow - Bat Boy, Ensemble
Revelations - Meredith, Parker, Young Meredith
Young Parker, Ensemble
Finale: I Imagine You’re Upset - Bat Boy, Shelley, Meredith,
Parker, Sheriff, Ensemble
Finale: Hold Me, Bat Boy - Company

Director’s Note

“The cliché is the armature of the absolute,“ Alfred Jarry.

"Stock up on canned goods, get in your homes, lock your doors, and hold your children tight," warned the Weekly World News in 1992. A mysterious, bloodthirsty bat-boy, found in a West Virginia cave, was on the loose. The story of a feral bat-child – so dangerous, so vulnerable – seemed to seize the imagination of those passing through the checkout lines of America’s supermarkets and convenience stores. To meet this demand, succeeding stories tracked him to the headquarters of Al Gore, in love-struck pursuit of Jenna Bush, through the anguish of rejection, and in the painful aftermath of an unfortunate encounter with the business end of an insecticide truck. T-shirts appeared; a record setting campaign for get-well cards was launched. And, almost a decade after the mysterious and charismatic bat-boy first burst on the scene and showed his pointy teeth, an improbable musical surfaced: celebrating and sending up the American gothic imagination, and winning major theatre awards in cities from coast to coast. It is our great pleasure to bring this work to Providence.

This production of Batboy is a bit different from most. The play is often staged with a cast of nine or ten actors; and while this economic arrangement affords chances for good humor as cast members dizzily double roles while attempting to stage a full blown musical, it has perhaps obscured some of what the authors have achieved: for if the play sometimes mocks the sentimentality and melodrama within the musical comedy tradition, it does so with a deep appreciation for the genius embedded in this form, and through loving recreation of tropes and techniques that have been central to the musical’s special role in helping to shape the American imagination. Playing with a larger cast and on a proscenium stage has hopefully allowed us to explore more fully the story’s strange appeal, as well as the considerable accomplishments of its initial collaborators and the talents of a wonderful group of students.

The play is richly referential, and you may catch reverberations from Dracula, Oklahoma, Guys and Dolls, Godspell, A Chorus Line, My Fair Lady, Sweeney Todd, Rent, Into the Woods, Beauty and the Beast, Pinocchio, Bambi, and The Lion King, as well as numerous sitcoms and teen flicks of the ‘70s, Busby Berkeley and Fred Astaire and Ginger Rogers films from an earlier age, and even Ibsen’s Ghosts and Shakespeare’s Hamlet. The list could go on – and on. While it’s fun to catch the references and laugh at clichés exposed, it is worth listening to Charles Ludlam’s cautionary note in reference to his own highly referential plays from the Theatre of the Ridiculous: parody of any depth must entangle itself with homage, and those who would create such works must understand, be able to replicate, and even reflect a love for their object of fun. Love your Batboy. JE

This production is also sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

PRODUCTION STAFF

Assistant Director - Henry “Ben” Clarendon ‘06
Stage Manager - Ariel Engelman ‘06
Assistant Stage Managers - Mirele Davis ‘07, Nandita Goel ’07
Kate Planitzer ‘06
Vocal Coach - Allison Jill Posner ’05
Assistant Technical Director - W. Keith Crowder
Assistant Technical Coordinator - Chris O’Neil
Assistant to the Set Designer - Laura Jellinek ’04
Props Mistress - Gayle MacDonald ’04
Assistant Production Manager - Dov Lebowitz-Nowak ‘04
Technical Assistants - Henry “Ben” Clarendon ‘06, Ariel Engelman ‘06,
Ilya Medvedev ’07, Mike Peart ’06, Dade Veron ’06
Ben Bright-Fishbien ‘07
Running Crew - Max Anderson, ’07, Grainne Belluomo ’07
Carla Michelle Coley ’07, Max Hoffman ’07
Danielle Kourtesis ’07, Akela Marsh ’07, Michael Obremski ’07
Elliot Quick ’07, Margaret Rolley ’06, Anne Troup ’07
Monica Willey ’07, Robert Wollach ’07, Brittain Youngblood ’07
Sound Mixers - James Egelhofer ’04, Todd Lipcon ‘07
Assistant Costume Designer - Linda Peterson
Costume Shop Manager - Linda Peterson
Costume Shop Assistants - Hilary Farrell ‘05, Emily Hunt ’04
Amanda Norman ’04, Johanna Tower ’06
Caroline Wright ‘04
Cutter/Draper - Linda Peterson
Wigmaster/Milliner/Costume Props - Henry DuBois
Makeup and Hair Design - Henry DuBois
Animal Headpieces - Amanda Norman ‘04, Sarah Parke RISD
Amanda Walker (RISD), Caroline Wright ‘04
BatBoy’s Fangs - Dr. Norman Brice Seffel, DDS
Costume Construction - TA 27
Set Crew - TA25, TA3
Sock and Buskin Publicity Liaison - Katie O’Connor ‘04
S&B Creative Advertising/Publicity Team - Jaime Green’04
Allison Posner ’05, Lance Rubin ‘04
Box Office Manager/Publicity - Karen Longest
Box Office Assistants - Ellen Darling ’04, Ryan O’Grady ’05,
Michael Perlman ‘05
Poster Designer - Amanda Cheung ‘04
Publicity Photographer - Karen Longest

ACKNOWLEDGMENTS

Gale Hertz, Trinity Rep. Co., Phil O’Hara, Caroline VanZile and the Yale Dramat, Eric Emigh, Lauren Edgar, Special Events Office,

SOCK & BUSKIN BOARD

Claire Karpen ’04 (Chair), Austin Campion ’06 (Vice-Chair), Rachel Bonds ’05 (Secretary), James Egelhofer ’04, Diana Fithian ‘04, Jaime Green ’04, Steven Levenson ’06, Katie O’Connor ’04, Allison Posner ’05, Lance Rubin ’04, Benjamin Sugar ’03.5, Adam Immerwahr (on leave)

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Body & Sole and Brown University Theatre present

FALL DANCE CONCERT 2003

November 20-23, 2003 ASHAMU STUDIO 8PM

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Thriller
Choreographed By Jennifer Burke '06
Music: “Thriller” by Michael Jackson

Dancers: Sheela K. Prasad '04, Meg Sarachan '07, Angela Sherwin '07, Ashley Schomer '07, Joel Weinberger '07, Kate Leaird '06, Anna Stern '04, Alexa Van Brunt '04, Scott Franco '04, Jennifer Burke '06, Annie Keilman '06, Camela Logan '07, Serena Hon '06

Extricate
Choreographed By Kyle Shepard '04

Dancers: Nicole Applebaum '05, Vaughn Edelson '07, Abigail Jones '05, Hilda Hei-Nam Leung '05, Claudine Lott '05, Kyle Shepard '04, Rachel Siemons '06, Sarah Sussman '06

Special thanks to Amanda Norman, Jude Sandy, and Hannah Schwadron.

Done Right
Choreographed By Sarah Burns '04 and Audrey McIntyre '05
"Why Don't You do Right" by Amy Irving

Performed By Members of Fusion Dance Company: Madina Agenor '05, Cheryl Allen '07, Sarah Burns '04, Jill Javier '07, Yaya Johnson '04, Lauren Linder '04, Audrey McIntyre '05, Heather McLeod '06, Laura Nave '06

Unclassical Rhythms
Choreographed and Performed By Gowri Vijayakumar '06
Music: "The Other Rhythm" by Taufiq

Valse Brillante
Choreographed By Isadora Duncan
Set by Laura Nave '06
Music: Chopin's Opus 34

Dancers: Sarah Burns '04, Wen-Chuan Dai '06, Cheryl Allen '07, Jill Javier '07

Isadora Duncan (1878-1927) was the mother of modern dance. Throughout her celebrated carrier, Duncan pushed social and cultural boundaries using her unique choreographic style as a revolutionary voice in dance history. Thanks to the Isadora Duncan Youth Ensemble and Carrie Tron, I am happy to have the knowledge and opportunity to showcase one of Isadora's original works here at Brown University.

Homosocial: Variations 1-3
Choreographed and Performed by
Peter Deffet (Rhode Island College '05), Michael Dyer (Brown '05)
Music: “Sonata in C major for Cello and Piano,
Op. 119: Andante Grave” by Prokofiev (Michael Grebanier, Cello; Janet Guggenheim, Piano; Aurora String Quartet)
and
“Head With Wings” by Morphine

One Thing For Sure . . .
Choreographed by Audrey McIntyre '05
Music: "I'll be" by Foxy Brown feat. Jay-Z
Performed By Members of Fusion Dance Company: Madina Agenor '05, Sarah Burns '04, Wen Chuan-Dai '06, Oneca Hitchman '06, Yaya Johnson '04, Adriana Lopez '04, Audrey McIntyre '05, Heather McLeod '06, Ramel Murphy '06, Christopher Yee '04

. . . I'll be good.

<Intermission>

Sweet and Sexy
Choreographed By Jennifer A. Kim '04
Music: “Like Whoa” by Mya

Dancers: Cherie Cummings '06, Becky Dumas '05, Sara Egendorf '06, Elizabeth Forsyth '06, Jennifer Kim '04, Meagan Matusz '06, Ashley Schomer '06, Lexie Stillman '05, Carolyn Taylor '06, Carol Wong '07, Courtney Wright '06

I would like to thank all of the Bruinettes (and Caroline!) for their dedication in making this dance so special. I would also like to send an endless amount love to my family and my boyfriend, Jaime, for always supporting me. Finally, I'd like to thank all of my friends at Brown who hold very special places in my heart and whom I hope to remain close to forever.

Wireless Electricity
Choreographed and Performed By Scott Franco '04
Music By: RadioLinQ

Cold Water
Choreographed By Hannah Schwadron '04.5
Music: "Cold Water" by Damien Rice and Lisa Hannigan

Dancers: Hannah Schwadron '04.5, Sasha Rubel '06, Kani Romain '04, Ariela Ronay-Jinich '06, Ruthie Streiter '03, Abigail Jones '05

It’s overwhelming and ultimately lucky to have worked with such open minds. The process has been one of continual revision and reevaluation; where are we? Why and how do we do the movement? Who’s who? The final piece, ultimately built upon these questions, hopes to expose some of the layers of feeling motivating both the choreography and the creation process. A notion of six people working together through breath and movement informs specific moments and types of togetherness. The particular richness of each dancer has offered an intriguing and intense experience in which to indulge and participate. I am so completely flattered by the commitment of everyone involved, and feel the collaboration reflects one of true, honest beauty. Thank you Ariela, Abbie, Ruthie, Kani, Sasha, Kyle and Jude!

Untold Stories
Choreographed by Heather McLeod '06
Music: “Untold Stories” by Buju Banton

Dancers: Lauren Linder '04, Sara Griffin '04, Christopher Yee '04, Oneca Hitchman '06, Heather McLeod '06, Ramel Murphy '06, Cheryl Allen '07, Alexander Leydon '07

This piece conveys two messages: in one sense it depicts poverty in Jamaica and in the other sense it represents the fact that struggle breeds hope. I would like to thank my mother, a born and bred Jamaican, as well as Professor Bogues of the Africana Studies department for helping me to discover Jamaica in its entirety.

A Lovely Sort of Lower Purpose
Choreographed By Kemen Austin '06
Music: “ Feb. 4, '99” by Mike Ladd

Dancers: Jessica Waters '04, Wen-Chuan Dai '06, Maggie Mustard '07, Victoria Fortuna '07, Kemen Austin '06

Kemen would like to thank Jessica Cook for her limitless ingenuity and her affability to the nickname “Porker.”

B-Boy Evolution
Choreographed By Ken Miki '06 and Paul Lowe '07
Music "Rock Your Body" by Justin Timberlake,
"It’s like that" by Run DMC, “Break Beats Medley” by various DJs

Dancers: Ken Miki '06, Paul Lowe '07, Jessica Pouchet '06, Evan Jaffe '06, Andy Southerland '07,Wen-Chuan Dai '06, Brian Huang '06

Producers’ Note: Body and Sole was formed two years ago to represent the diverse interests of student dancers and choreographers at Brown. It aims to provide a sense of community and cooperation among the many different dance organizations on campus. We are happy to be producing the Fall Dance Concert for the third year, and are proud to present this sampling of talented dancers and choreographers from all areas of the Brown dance community. We would like to thank Michelle Bach-Coulibaly, Laura Smith, Tim Hett, and Julie Strandberg for their support.

TECHNICAL CREW

Faculty Advisor - Michelle Bach-Coulibaly
Production Manager - Laura E. Smith
Technical Director - Tim Hett
Stage Manager - Katie O’Connor ‘04
Lighting Designer - Dov Lebowitz-Nowak ’04
Staff Lighting Supervisor - Chris O’ Neil
Assistant Technical Coordinator - W. Keith Crowder
Run Crew - Grant Derkac ’06, Victoria Dunnan ’06,
John Magaziner ’07, Steele West ’07, Sarah Geismer ‘07
Box Office Manager/Publicity - Karen Longest
Box Office Assistants.... Ellen Darling ‘04, Ryan O’Grady ’05, Michael Perlman ‘05
Publicity Photos - Theresa Voltolato, RISD
Poster Design - Amanda Cheung ‘05

Funded in part by the Guarnaschelli’s Family Theatre Endowment
and the Vicki and Peter Halmos Family Fund for Theatre Arts

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Senior Director's Showcase production of
MACHINAL
by Sophie Treadwell

February 25-29, 2004 8PM

LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Rebecca Rouse '04

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THE MISANTHROPE
by Molière
Translated by Richard Wilbur

MARCH 11-14, 18-20, 2004 8PM MARCH 21 3PM

STUART THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Spencer Golub
Set Design by Michael McGarty
Costume Design by Phillip Contic
Lighting Design by Tim Hett

CAST
(in order of appearance)

ALCESTE - Matt Biagini ‘05

PHILINTE - Mahdi Salehi ‘04

ORONTE - Abe Smith ‘04

ACASTE - Claire Karpen ‘04

CLITANDRE - Caitlin Marshall ‘05

CÉLIMÈNE - Sharon Ambielli RU ‘05

ÉLIANTE, Célimène’s cousin - Ellen Darling ‘04

ARSINOÉ - Vanessa Gonzalez Echarte ‘04

ETIENNE - Afreen Akhter ‘06

ANNETTE - Annabel Topham ‘06

CECILE - Zoe Weingart ‘06

DU BOIS, A translator of sorts - Sargon de Jesus ‘07

Time: The early 1960s
Place: Paris

Additional text adapted from the films of Jean-Luc Godard.

There will be one ten-minute intermission.

Produced by special arrangement with Dramatists Play Services, Inc.Production

Manager - Chris O’Neil
Technical - Tim Hett

Director’s Note

“Lend yourself to others and give yourself to yourself.” Jean-Luc Godard used this quote from Montaigne as the epigraph to his French New Wave film My Life to Live (1962). The film starred his then wife Anna Karina as a young woman who drifts into a short, fatal career in prostitution so as to be able to pay the rent. Godard projected upon Karina in this story, as he did in his other cinematic masterpieces in which she appeared, all of his fantasy and angst, all of his romanticism and his misanthropy. But although the camera loved Karina, the director and his then guiding star fell out of marriage to each other. Karina became a fetish for Godard, so much so that when he made Contempt (1963), a more autobiographically obsessive love story with the very un-Karina-like Brigitte Bardot as the female lead, Godard had BB wear a wig cut and combed in the hairstyle of Karina’s in My Life to Live.
Godard loved literature and other people’s films and was not embarrassed to quote from them, depositing these quotes in surprising new contexts that provoked altogether different meanings. He said in 1962, “People in life quote as they please, so we have the right to quote as we please. Therefore, I show people quoting, merely making sure that they quote what pleases me.” Me too. I have quoted from Godard and some of his fellow film directors/cineastes. Alceste (the Misanthrope of Molière’s title) and Célimène enact an obsessive (self-)love that is exacerbated, hemmed in and defined by social and performance conventions. They have sufficient wit to inhabit such public lives but insufficient wisdom to live their lives on their own terms. You can almost hear the sound of Molière’s heart breaking, even as his performance of that heartbreak openly, achingly, solicits his audience’s laughter and applause. “It’s what old Corneille and young Molière called suspens-ion.” Godard said this too, although not about The Misanthrope.

The young men and women inhabiting the cafés of Paris in the early 1960s have not yet as a group taken to the streets to enact a sociopolitical agency. Still, there is already talk of Marx and Coca-Cola. The radical acting out of love, loss, identity and American popular culture can be seen everywhere out of the corner of one’s eye. The sounds that will soon be made audible are for now no less palpable as the sounds of silence. --Spencer Golub

This production is also sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

PRODUCTION STAFF
Stage Manager Kate Planitzer ‘06
Assistant Stage Managers Ariel Engelman ‘06, Elliot Quick ‘07
Assistant Technical Director W. Keith Crowder
Technical Assistants Ariel Engelman ‘06, Dade Veron ‘06,
Ben Bright-Fishbein ‘07, Alex Wolenski ‘05
Running Crew Sophie Waskow ‘07, Adam Delehanty ‘07
Kathryn Wallem ‘07, James Rutherford ‘07, Amanda Parker ‘07,
Beth Hoffman ‘07, Michelle Oing ‘07, Sarah Campen ‘07,
Jon Magaziner ‘07
Scenic Artists/Assistants to Michael McGarty Gayle MacDonald ‘04,
Laura Jellinek ‘04
Sound Designer Todd Lipcon ‘07
Costume Shop Managers Linda Peterson, Henry DuBois
Costume Shop Assistants Jillian Waid ‘04, Caroline Wright ‘04,
Abigail Hobbs ‘04, Emily Hunt ‘04, Johanna Tower ‘06,
Whitney Brim-Deforest ‘04
Cutter/Draper Linda Peterson
Wigmaster/Milliner/Costume Props Abigail Hobbs ‘04
Props Designer Ariel Engelman ‘06
Makeup and Hair Supervisor Henry DuBois
Makeup and Hair Assistants Abigail Hobbs ‘04, Lauren Edgar ‘04
Costume Construction TA 27
Electrics Crew TA 26
Sock and Buskin Production Liaison Diana Fithan ‘04, James Egelhofer ‘04
Box Office Assistants Ellen Darling ‘04, Ryan O’Grady ‘05
Michael Perlman ‘05
Poster Designer Amanda Cheung ‘04
Publicity Photographer Ellen Darling ‘04
Talk Back Coordinator Pannill Camp

ACKNOWLEDGMENTS

Trinity Rep. Co., Jeanie Golub

SOCK & BUSKIN BOARD

Claire Karpen ‘04 (Chair), Austin Campion ‘06 (Vice-Chair), Jaime Green ‘04 (Secretary), James Egelhofer ‘04, Diana Fithian ‘04, Steven Levenson ‘06, Katie O’Connor ‘04, Allison Posner ‘05, Lance Rubin ‘04, Debbie Friedman ‘05, Caitlin Marshall ‘05, Jed Resnick ‘06, Kate Planitzer ‘06, Rachel Bonds ‘05 (on leave), Adam Immerwahr ‘05 (on leave)

Please join us for S & B's featured special event: TALKBACK
With members of the cast and production staff immediately following the second FRIDAY performance of
The Misanthrope, Friday March 15th.

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BOOK OF DAYS
by Lanford Wilson

April 15-18, 22-25, 2004 - 8PM - APRIL 25, 2001 3PM

LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Peter Sampieri

click here

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BROWN UNIVERSITY THEATRE PRESENTS

DANCE ENSEMBLE SPRING CONCERT

Produced by Julie A Strandberg
May 7,8, 9, 2004
Stuart Theatre
Catherine Bryan Dill Center for the Performinng Arts

ACT I

FOLIAGE (Premiere)
Choreography: Brian Reeder
Music: Archangelo Corelli; Concerto Grosso #1 in D Major
Costumes: Linda Peterson
Dye artist: Caroline Wright
Performed by Dance Extension: Niki Applebaum, Kemen Austin,
Nicole Corea, Jared Davis, Victoria Fortuna, Blanche Greene-Cramer,
Abigail Jones, Claudine Lott, Maggie Mustard, Jude Sandy, Caedra
Scott-Flaherty, Jessica Waters
As leaves begin to fall and seasons change so do we, losing our inhibitions and
opening ourselves to new beginnings.
- Brian Reeder
Dance Ensemble Spring Concert
May 7-9, 2004
Our gratitude is extended to Lawton Wehle Fitt for sponsoring Carolyn Dorfman
and Yin Mei as artists in residence for this season and concert. Our special
thanks go to the Creative Arts Advisory Board and to the Creative Arts Council
for their support of this season’s concert. Further thanks go to Gill Fishman
Associates and particularly their Senior Designer, Alicia Ozyjowski, for designing
a fantastic poster!

BATTLE ETUDE (2003)
Based on dances by Robert Battle
Choreography: Robert Battle
Staging: Elisa Clark
Music: Bronx Sound Machine
Battle Etude is included in The Repertory Etudes™ Collection.*
Performed by Dance Extension: Alexandra Fidler, Victoria
Fortuna, Blanche Greene-Cramer, Abigail Jones, Maggie Mustard, Jessica
Waters
NOMAD: THE RIVER (a work in progress)
Concept/Choreography: Yin Mei
Live Music: Ralph Samuelson
Recorded Music: Philip Glass, Violin Concerto II (Deutsche
Gramophone); Susan Baca, “Drumi Mobila” from Canto by Los Super
Seven (Columbia Records)
Computer Animation: Tennessee Rice Dixon
Lighting Design: Lea Shao
Performed by: Morgan Baylis, Nicole Bazelais, Alexandra Dick,
Michael Dyer, Laurel Foglia, Lynnette Freeman, Elizabeth Giancola,
Zachary Ginsberg, Isabelle Kalubi, Eileen Koven, Karola Kreitmair,
Michael Lai, Julia Liu, Liza Raynal, Sasha Rubel, Jude Sandy, Hannah
Schwadron, , Anika Schwarzwald, Alexis Scott, Kyle Shepard, Noemie
Solomon, Andre Thompson, Marian Tsongas, Alethea Vasilas and
Marilyn Maywald
I wish to express from the bottom of my heart my gratitude to the incredible group
of students I worked with in creating this piece. Their generosity of spirit, their
openness and their integrity contributed immensely to the experience of making this
work. I also wish to specially thank Professor Michelle Bach-Coulibaly, who enabled
me to come to Brown and to Professors Harold Roth and Thompson Webb III for their
generous support. In addition, my special thanks go to Professor Julie Strandberg and
to the technical/artistic staff — Chris O’Neil, Tim Hett, Phillip Contic and Linda
Peterson.
- Yin Mei

INTERMISSION

ACT II

ECCE ETUDE (1999)
Trio from Ecce Homo (Behold the Man)
(1977)
Inspired by religious paintings and
sculptures of Michelangelo
Ecce Etude is included in The
Repertory Etudes™ Collection.*
Choreography: Danny
Grossman
Rehearsal Coaches: Laura
Bennett, Mary Reavey
Gendreau
Music: J. S. Bach
Performed by
Dancing Legacy: Laura
Bennett , Jude Sandy, Kyle
Shepard

PORTRAIT (1996)
Choreographed by Carolyn Dorfman
Staged and coached by Wendee Rogerson
Music composed, performed and sung by Jennifer Giering
Costume Design by Russell Aubrey
Costume Reconstruction by Janna Pederson
Lighting Design by Timothy Hett
Original Lighting Design by John Evans
Performed by Dance Extension: Alexandra Fidler, Katharine
Hoagland, Abigail Jones,
Maggie Mustard, Jessica Waters
I – Ensemble
II – Alexandra Fidler
III – Katharine Hoagland, Abigail Jones, Jessica Waters
IV – Alexandra Fidler, Maggie Mustard
V – Ensemble

DAYDREAM OF THE DEER HUNTER (Premiere)
Choreography: Brian Reeder
Music: Claude Debussy; Prelude A L’Apres-Midi D’Un Faune
Performed by New Works, World Traditions:
The Deerhunter: Robert Joseph
The Faun: Jude Sandy
The Muses: Takiyah Gray, Adriana Lopez, Noemie Solomon
The Deer: Hannah Schwadron, Alethea Vasilas, Alexis Scott, Marian
Tsongas, Zachary Ginsberg, Sandra Vines, Thomas Lax
A hunter, tired from a long hike in the deep woods, settles down for an afternoon
nap. Dreaming, he confronts his own relationship with nature, sexuality, and
violence.

INTERMISSION

ACT III

TENANT OF THE STREET (1938)
Choreography: Eve Gentry
Reconstruction: Eve Gentry with Michele Larson and Mary Anne Santos
Newhall, 1993
Coach: Mary Anne Santos Newhall
Sound: Joseph Weber
Performed by Dance Extension: Claudine Lott (Friday Evening),
Niki Applebaum (Saturday Evening), Victoria Fortuna (Sunday Matinee
& Evening)

RUSH HOUR (1998)
Choreography: Robert Battle
Staging: Elisa Clark
Music: John Mackey
Costumes: Philip Contic and Linda Peterson
Performed by Dance Extension: Niki Applebaum, Nicole Corea,
Jared Davis, Katharine Hoagland, Claudine Lott, Jude Sandy, Caedra
Scott-Flaherty

SAINT JOAN’S INFIRMARY (Premiere)
Choreography: Michelle Bach-Coulibaly and members of New Works/
World Traditions
Music: Michelle Bach-Coulibaly, Tom Farrell, Seydou Coulibaly, Issa
Coulibaly and Abdoulaye Diallo
Text by: Michelle Bach-Coulibaly, Ken Atkins, Joanne Copeland
Film: Michelle Bach-Coulibaly
Costumes: Phillip Contic, Linda Peterson and Melizza Santram
Performed by New Works/ World Traditions:
(in order of appearance)
Saint Joan: Noemie Solomon
Tempest Storm: Adriana Lopez
Blaze Starr: Jude Sandy
Pena Pepper: Lynnette Freeman
Cayenne Pepper: Isabelle Kalubi
Carmencita: Alethea Vasilas
MESMER: Matthew Puntigam
Shandor Bolas: Augusto Dougal
Martsi Andres: Harper Massey
Theater as refuge… a place for rejuvenation, inspiration, divine intervention and
mystical vision.
Theater as battleground.. a mirror where we come face to face with our deepest
fears.
I wish to express my deepest gratitude to the dancers and actors who gave unselfishly
to the process of creating this piece. It is about them, and because of them, that it
exists. I wish to thank Tom Farrell for his magnificent melodies and collaborative
gifts that brought life and meaning to the text, and to Megan Frazier for helping us
bring boldness to the design. To Seydou, Issa and Ablou, of Troupe Komee Josee, I
am forever grateful for your expertise and ability to keep our souls soaring.
- Michelle Bach-Coulibaly

*ABOUT THE REPERTORY ETUDESTM COLLECTION
Conceived by curators Carolyn Adams and Julie Adams Strandberg, Repertory
EtudesTM are short dances based on signature works of American choreographers.
Repertory EtudesTM stand on their own as performance pieces and make a dynamic
contribution to any concert. These challenging studies also serve as rich tools for
improving technique and performance skills. As with the study of a detail in a
painting or a musical motif, the larger work and the choreographer are explored in
the Repertory EtudeTM through re-examination, reflection, and performance.
Biographies
Michelle Bach-Coulibaly is an educator, choreographer, and performance
artist, who teaches on the faculties of Brown University and National
Theatre Institute. As artistic director of New Works/World Traditions, she
develops site specific performance and original movement operas that
incorporate Mande performance traditions in relation to their influence
upon American culture. With her husband, Seydou Coulibaly, Ms. Bach
hosts yearly research trips to Mali, West Africa where they are building a
research and cultural exchange center, entitled Yeredon in the Bamana
village of Saffo.
Robert Battle is the artistic director of Battleworks Dance Company.
Originally from Miami, Florida, he graduated from New World School of
the Arts where he trained with Gerri Houlihan. He earned a BFA from
The Juilliard School, under the direction of Benjamin Harkarvy, where he
studied choreography with Bessie Schoenberg, Elizabeth Keen and Doris
Rudko. While at Juilliard, he received a Princess Grace Dance Scholarship
and the Martha Hill Prize. After graduation, Battle joined the Parsons Dance
Company, with whom he danced for seven years. His choreography was
performed by the Parsons Dance Company across the U.S. and
internationally. In addition, his works have been commissioned by Alvin
Ailey American Dance Theater, Ailey II, Hubbard Street 2, Dallas Black
Dance Theater, The Juilliard School, Introdans, Ruth Rosenberg Dance
Ensemble, Evolving Arts Inc., The Repertory Etudes™ Collection, Perry-
Mansfield Performing Arts School and Camp and Point Park College. In
2002, Battle established his own company, which has performed in
Germany, South America, New Orleans, St. Louis and most recently at
Jacob’s Pillow.
Carolyn Dorfman is the artistic director of the Carolyn Dorfman Dance
Company (CDDC). She is a guest artist/choreographer at major universities
in the US and is on the guest faculty at the Limón Institute in New York.
She is a leading dance artist for the New Jersey State Council on the Arts
Artist in the Schools Program, a Principal Affiliate in Arts Education for the
New Jersey Performing Arts Center and led the dance program of the
Artist/Teacher Institute for five years. Dorfman has created more than 50
works for CDDC since founding the company in 1982. CDDC, hailed for
its “elegance and power” and “technical ability, versatility and inner fire,”
presents new and repertory works by Dorfman and nationally known
choreographers and regularly commissions original scores and artistic
collaborations. Dorfman received a 2004 Fellowship from the New Jersey
State Council on the Arts and is a 2004 Lawton Wehle Fitt Artist In
Residence at Brown University.
Eve Gentry (1909-1994) had a lifelong passion for dance that guided her
from her rural California childhood to New York City where she was
thrust in the middle of the evolving modern dance movement of the
1930s. She was a member of the original Hanya Holm Company and
simultaneously a member of the militant New Dance Group, which was
dedicated to social change through dance. The events of her time drove
Gentry to promote a leftist ideology in her life and art. Tenant of the Street
was choreographed in the midst of Depression-era New York. Mary
Anne Santos Newhall is working on a Repertory Etude™ based on
Tenant of the Street, and on the legacy of the New Dance Group. Expanding
on her work with Eve Gentry, Newhall has been researching the work of
German dance pioneer Mary Wigman and her influence on American
modern dance. Newhall teaches at the University of New Mexico at
Albuquerque.
Tom Farrell (Composer - “St. Joan’s Infirmary”) is a composer,
accompanist, educator, performer and audio specialist. He is an adjunct
faculty member at Brown University and has also taught at Bennington
College, Barnard College and SUNY Purchase. He has composed music
for Terry Creach, June Finch, Betty Jones, Mickey McLaughlin, Deb Meunier,
Julie Strandberg and Martha Whitman. He is composer, musical advisor
and sound engineer for the American Dance Legacy Institute.
Danny Grossman’s world view was influenced by the social activism of his
parents. He began folk dancing in grade school and later studied modern
dance with Gloria Unti. He met Paul Taylor in 1963 and was invited to
join the company with which he toured for ten years. In 1973 he was
invited to Toronto by Toronto Dance Theatre co-founder David Earle
and joined the faculty of York University that same year. In 1975, he
formed his own company. He has created more than 30 works and has
toured Canada and more than 17 countries. In 1978 he received Canada’s
major choreographic distinction, the Jean A. Chalmers Award.
Brian Reeder was born in Sunbury Pennsylvania and began his dance
training with Marcia Dale Weary at the Central Pennsylvania Youth Ballet.
After attending American Ballet Theatre’s Summer Program (1981-82),
he studied at the School of American Ballet from 1982-86. Reeder
danced with New York City Ballet from 1986-90 and was a soloist with
William Forsythe’s Ballet Frankfurt from 1990-93 before joining American
Ballet Theatre, where he danced from 1994-2003. As a choreographer,
Reeder has created works for Midsummer Arts Festival at Chateau
du Courances, France; the Vermont Dance Festival; St. Barth’s Music
Festival and American Ballet Theatre’s Studio Company. Reeder is
currently teaching and choreographing in New York City area high
schools with the education and outreach programs of American Ballet
Theatre. He was in residence at Brown University in the fall of 2003,
teaching courses in Ballet and on the repertory of William Forsythe and
setting new works on Dance Extension and New Works, World
Traditions.
Yin Mei was born in China and started her professional career in traditional
Chinese dance during the Cultural Revolution. Before coming to the
United States to study modern dance on a grant from the Asian Cultural
Council, she was a member of a leading Chinese dance company. Yin
Mei now choreographs and performs her contemporary work worldwide,
having forged a dance style that employs Chinese energy direction
and spatial principles as a means of creating dance within the rubric of
modern dance theater. Her work has been presented and produced by
the Asia Society in New York and performed across the country. A
longtime practitioner and teacher of tai chi and a student of the I Ching,
Yin Mei’s research into Chinese contemplative practice was recognized
with a fellowship from the American Council of Learned Societies. She
has been a professor of dance at Queens College since 1992. Yin Mei
was visiting faculty at Brown University in the spring of 2004 and was a
Lawton Wehle Fitt Artist In Residence.
Lea Xiao (Lighting Designer for “Nomad: The River”), graduated from
Yale School of Drama. where she has done She has done design work in
New York, China, Singapore and Hong Kong. She has won 6 Chinese
National Best Lighting Awards and was a grantee of the Asian Cultural
Council.
Ralph Samuelson (Musician for “Nomad: The River”) was trained in
the classical tradition of the Kinko school of shakuhachi under Goro
Yamaguchi, Kodo Araki V, and Shudo Yamato, both in Japan and in the
graduate World Music Program at Wesleyan University. He has performed
the shakuhachi in numerous concerts of traditional and contemporary
music in North America, Asia, and Europe, and is a frequent guest lecturer
at universities and music schools. He has been presented in radio and
television broadcasts in the United States and Japan and has recorded for
Lyrichord Records, Music of the World, and CBS Masterworks. He teaches
the shakuhachi in New York, where he is also the director of the Asian
Cultural Council.
Tennessee Dixon (Digital Artist for “Nomad: The River”), coming from
a painting and book making background, began working in digital media in
’93 with her award-winning CD-ROM “ScruTiny in the Great Round.”.
Her image presentations including moving pictures, text and collage are
made to be played, responding to the keyboard or mouse, sensor devices
and performers. The multi-layered compositions incorporate live events
and triggers yet maintain a narrative structure. Dixon’s work is exhibited/
distributed through fine art and retail venues. She develops multimedia
works for commercial publication, educational programs and artists projects.
Dixon has illustrated five children’s books. She currently teaches in the
MFA Computer Art dept. at the School of Visual Arts in NY.
ABOUT THE COMPANIES…
Dance Extension
Julie Adams Strandberg, Director
Dancers: Niki Applebaum, Kemen Austin, Nicole Corea, Blanche Case
(on-leave), Jared Davis, Alexandra Fidler, Victoria Fortuna, Blanche
Greene-Cramer, Katharine Hoagland, Abigail Jones, Claudine Lott, Maggie
Mustard, Jude Sandy, Caedra Scott-Flaherty, Jessica Waters
Celebrating its 24th season, Dance Extension, a touring repertory company
in residence at Brown University, was established on the premise that the
training of dancers must include the opportunity to perform, teach, and
revisit masterworks. While the dancers in the company are encouraged
and supported to create their own work, they also have the opportunity
to work with some of our most revered choreographers and exciting
contemporary innovators. In addition, they have on-going access to an
active repertory of over 20 seminal works providing them with the
opportunity, rare in the academy, to revisit these works over time. In
2004, in addition to performing on campus, the company performed Robert
Battle’s Rush Hour at the historic 3000-seat Providence Performing Arts
Center and Jack Cole’s Happy Endings Every Time and Eve Gentry’s Tenant
of the Street at the Sharing the Legacy 2004 Conference Concert in New
York City.
Dancing Legacy
Laura Bennett, Director
Dancers: Laura Bennett, Jude Sandy, Kyle Shepard
Dancing Legacy is a network of independent performers, choreographers, and
teachers who share a commitment to both preserving and sharing the American
dance legacy. Dancing Legacy is a project of Lulu Circus, an organization whose
mission is to nurture the convergence of art, education, and community. To
that end, Dancing Legacy engages varied populations through performances,
workshops, residencies, and partnerships.
New Works, World Traditions
Michelle Bach-Coulibaly, Director
Dancers: Jude Sandy, Rob Joseph, Jenelle Phillips, Adriana
Lopez, Takiyah Gray, Alethea Vasilas, Sandra Vines,
Marian Tsongas, Zachary Ginsberg, Thomas
Lax, Alexis Scott, Hannah Schwadron, Panya
Machette, Noemi Solomon, Augusto Dougal,
Ni Kalubi, Niketa, Estelle Acquah, Leslie
Massey, Matthew Puntigam, Nicole Bazelais,
On Leave: Yara Perez, Kate Moller, Elizabeth
Ochs, Tonnia Rienne, Crystal McQueen, Sasha
Rubel, Bunmi Brown, Talisman Brolin
Through the research to performance
methodology, New Works, World Traditions,
develops new dance theater pieces rooted in Mande
dance, music, and culture. Members of the company
work with Mande artisans and scholars from Mali, West
Africa, and America. They learn dances, praise songs,
children’s stories, drumming, and mask work, and study films,
interviews and oral histories of the Bamana, Mandinka,
Minianka, Bobo, Khassonke, and Dogon people of Mali,
Guinea, and Burkina Faso. The Company performs several
times a year on campus and on tour, often in shared
programs with dancers from the cultures they are studying.
Lynnette Freeman

BROWN PRODUCTION STAFF
Production Manager - Chris O’Neil
Technical Director/Lighting Designer -Tim Hett
Stage Manager - Laura Nave
Assistant Technical Director - W. Keith Crowder
Technical Assistants - Dade Veron, Ben Bright-Fishbein,
Alex Wolenski, Ariel Engelman
Running Crew - Theatre Arts 3
Costume Design - Phillip Contic
Cutter/Draper - Linda Peterson, Francesca Romana
Costume Shop Supervisors - Linda Peterson, Henry DuBois
Costume Shop Assistants - Whitney Brim-Deforest, Abigail Hobbs,
Emily Hunt, Johanna Tower, Jillian Waid, Caroline Wright, Molly Culp
Box Office, Publicity and Marketing Director - Brian Gaston
Box Office Staff - Ellen Darling, Ryan O’Grady, Michael Perlman
Publicity Photographer-Adam Griska

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Theatre Speech and Dance