Playbills

DANCE ENSEMBLE
FALL CONCERT

December 2-5, 1999

ASHAMU STUDIO
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

COMPANY (1991)
Choreography Julie A. Strandberg
Music by Antonio Vivaldi
Costumes by Janna Pederson
DANCERS:
Allegro: Corinna Chun and James Brown
Adagio: (In order of solos) Jordana Starr, Jamie Aaronson, James Brown, Thea Grant, Victor Holtcamp, Jessica Gaynor, Ryan Smith, Brie Spangler, Corinna Chun, Margaret Kilroy, Deborah Friedes, Rosalee Lamm Allegro: The Company
This piece is about dancers in a dance company ? from those early competitive unsure moments in class or audition; to the building of trust and friendship; through the weaving of a whole from the threads of the exquisite individuality of each member; to the exhilaration of performance when movement is tossed uncompetitively from dancer to dancer with generosity and respect. Each of the brief solos in the 2nd section is choreographed specifically on each dancer to highlight his or her uniqueness. This section always changes from cast to cast.

THE 5 ELEMENTS (FUSION KONFUSION)
Choreography by Jamal Jackson
Music: The Roots, Eric B. and Rakim, Razel, The Beatnuts, Prince Paul
DANCERS:
James Brown, Jody Green, Jamal Jackson, Daryl Springer, Sean Thomas
Special thanks to Mom and Dad for letting me stick, the dancers for putting up with me, and to those who have tried to preserve hip-hop.

WHISPER
Choreography by Jessica Gaynor
Music: "Whisper" by Nate Stumpff Ô02
DANCERS:
Jessica Gaynor, Thea Grant, Lauren Hale
Thank you Lauren and Thea for your collaboration and support.

PLANET OF THE SHAPES
Choreography by Jonathan Martin, Courtney Rowe, Ryan Smith
Music: "Planet of the Shapes", Orbital
DANCERS:
Jamie Aaronson, Jessica Fisher, Victor Holtcamp, Rainy LaVenture, Jonathan Martin, Courtney Rowe, Kerry Silva, Ryan Smith
Thanks to our dancers ? for putting up with our schedules, personalities, and choreography ? and to everyone else who made this possible.

THE PARSONS ETUDE (1999)
Choreography by David Parsons
Music by Tony Powell
DANCERS:
Thursday, December 2:
Jamie Aaronson, James Brown, Deborah Friedes
Friday, December 3:
Miriam Friedel, Thea Grant, Ryan Smith, Brie Spangler, Jordana Starr
Saturday, December 4:
Jessica Gaynor, Lauren Hale, Leta Malloy, Sara Nolan
Sunday, December 5:
Corinna Chun, Victor Holtcamp, Margaret Kilroy, Rosalee Lamm
This piece will be performed twice. The audience is invited to join in for a barefoot "Jam" the second time around.
"The Parsons Etude" can be performed as a solo, as a duet, or by a group and is one of a series of commissioned works by the American Dance Legacy Institute at Brown University to make the works of American dance masters available to dancers for on-going study and performance. Each of the dancers in the Dance Extension now "owns" this piece and can use it for auditions and performances.

I N T E R M I S S I O N THE ECCE ETUDE (1998)
Trio from ECCE HOMO (1977)
Choreography by Danny Grossman
Costumes by Ruth Andrien after an original design by Mary Kerr
Music by J.S. Bach
DANCERS:
Laura Bennett '92, Lauren Hale, Mary Reavey Gendreau*
"Ecce Homo" was inspired by the religious paintings and sculptures of Michelangelo.
This trio is one of a series of Etudes commissioned by the American Dance Legacy Institute at Brown University to make the works of American dance masters available to dancers for on-going study and performance.
*Guest artist, Mary Reavey Gendreau, is artistic director of The Loft, a dance and movement studio in East Greenwich, RI, and dances with Dance Rep Lives.

TAPPERS WANTED: All Styles Welcome
Original choreography by Gower Champion
Reconstructed and directed by Sarah Coogan, Leigh Fitzgerald, and Jessica Zenk
Music: "The Montage" and "Audition" Original recordings from "42nd Street"
DANCERS:
Jessica Zenk, Alison Friedman, Jonah Rosen, Jennifer Livaudais, Sarah Coogan, Sara Kaplan, Monica Herrera, Miriam Friedel, Erin Suzuki, Leigh Fitzgerald, Michelle Fujimoto, Camille Gerwin, Rachel Gould, Tisola Logan
Special appearances by DeeDee Ilunga, Ryan Smith, Courtney Rowe
We would like to dedicate this piece to Jessica Zenk. Jess, your creativity, patience, and captivating stage presence has inspired us both. It has been a pleasure to learn, dance, and choreograph with you. Best of luck, weÕll miss you! - Leigh & Miriam

MILLENIAL ISADORA
Choreography by Mary Paula Hunter
Music: Chopin
Musician (Saturday, December 4): Katherine Meckel
DANCER: Sara Nolan
AN KAA TA
Choreography by Jessica Gaynor and Jamal Jackson
Musicians: Amara Camara, Seydou Coulibaly, Annie Geissinger
DANCERS:
James Brown, Alison Friedman, Jessica Gaynor, Monica Herrera, Dee Dee Ilunga, Jamal Jackson, Leta Malloy, Raphael Sanchez
Special thanks to our teachers Mba and Baisa.

TECHNICAL CREW

Producer Annamaura Silverblatt
Assistant to the Producer Victor Holtcamp
Technical Director/Lighting Designer/Board Operator Timothy D. Cryan
Box Office Manager/Publicity Karen Longest
Box Office Assistant Kevin Kramp
Poster Design Kari Molvar
Special thanks to Michelle Bach-Coulibaly, John Lucas, Karen Longest
Funded in part by the Guarnaschelli's Family Theatre Endowment and the Peter Halmos Family Fund

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Senior Director's Showcase production of
MARISOL
by José Rivera

February 23-27, 2000

LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Alex Aixalá
Set Design by Emily Jan
Lighting Design by Giselda Beaudin
Costume Design by Ken Jones
Sound Design by Sam Kusnetz
Technical Direction by Heather MacKenzie
Original Score Composed and Conducted by Sam Kusnetz

CAST (in order of appearance)

MARISOL PEREZ Megan Hart

YOUNG WOMAN Emily D. Young

MAN WITH GOLF CLUB Kevin Messman

ANGEL Jen Percival

JUNE Miriam Silverman

MAN WITH ICE CREAM Kevin Messman

LENNY Paul Grellong

WOMAN WITH FURS Tara Summers

MAN WITH SCAR TISSUE Mac Vaughey

VOICE #1/SUBWAY ANNOUNCER/HOMELESS PERSON Kevin Messman

VOICE#2/RADIO ANNOUNCER/HOMELESS PERSON Emily D. Young

VOICE#3/HOMELESS PERSON MacVaughey

ORCHESTRA

Laura Wood Vocals
Alicia Wolcott Flute, Vocals
Stephen Canon Bass, Clarinet, Tenor Saxophone
Rebecca White Trumpet, Vocals
Ben Steinfeld Bass, Electric and Acoustic Guitar
Stephanie Wang Keyboards
Sam Kusnetz Keyboard, Nylon Guitar

Time: The Present Place: New York City. Night.

There will be one ten-minute intermission.

Produced by special arrangement with Dramatists Play Service, Inc.

Sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts

i can't understand these nightmares i'm having:
men and women line the streets as statues of people lining the streets with their...fear?
"Stop that. Now tell me what happens?"
that's the wrong question. what happens you ask, as though, happening were something easily communicable. i'm one of those people. i want to escape everything normal. "why do we do this?"
because there is an artistic imperative to create.
"That's the wrong answer!"
my belief system is under attack! my taste is questioned!
i believe in one hole, communal and illogical world, i believe in the forgetfulness of mind, in the resurgence of human decency and no lines in the world to come.
"TELL THE REAL STORY!"
wellÉ(don't take this too seriously) i began the night as a spectator and became implicated before i knew, a woman tried to warn me. a crash. spasmodic body movements. goose stepping feet. and FIRE on a massive scale. ...the world was like a labyrinth, from which it was impossible to flee, for all roads, though they pretend to lead to the north or south, actually lead to...
"The real story!"
which is of course very hard, because in the real story nothing happens.
iÕm in here she cried...iÕve lost my shoes...please let me in. its cold. my feet hurt.
HE left. But HE had never been there. (on stage). HE watched.
a door. her body lying there huddled in the corner. bloodied feet. lacerated body. alive?
"was she the womanÉi encountered in my dream. the one who served me up for their pleasure, for their mercy, for their forgivenessÉno she was clothed in magic from her fingers i emerged all covered and wetÉa shake in the foundationÉdisorderÉtill the water drained us of life and breath..."
"WHAT HAPPENS, DAMMIT!"
we are at the rim of the apocalypse...
give me your hand. open your eyes. JUMP Off...
a step backward into the beginning of the foray and slowly, a silence, darkness
and all unintelligible forms of speech begin: projected fantasies began to unreel...
what happens... i don't know. -- Alex Aixalá

PRODUCTION STAFF

Stage Manager Amy Sonnenborn
Production Managers Valerie Braman, Allison M. Geffner
Assistant Stage Managers Sean Cannella, Elizabeth Sklar
Assistant Technical Director Miriam Goldstein
Master Electrician Sarah Osten
Electricians Carrie Collier, Elizabeth Drew, Hillary Gerstein, Andrew McClain, Adam Singer, TA26
Dimmerboard Operator Isaac Robert Hurwitz
Sound Operator Eric Block
Properties Jarrett Byrnes, Naomi Kenner
Running Crew Jenny Gaskins, Joanne Hsu, Hollie Mendillo, Darius Pierce
Wardrobe Angel Covarrubias, Liddy Parlato
Costume Construction TA129
Master Painter Emily Jan
Set Crew Brendan Baran, Blodgett, Jarrett Byrnes, Pannill Camp, Sarah DiGregorio, Allison M. Geffner, Annabelle Heckler, Naomi Kenner, Sam Kusnetz, David Laibstain, Chris Lay, Ryan Maxwell, TJ Morton, Scott Richmond, Mac Vaughey, Heather Wilson, Alicia Wolcott, Paula Zaslavsky, TA26
Dramaturg Pannill Camp
Faculty Advisor John Emigh
Sock and Buskin Production Liaison Nikki Phillips
Box Office Manager/Publicity Karen Longest
Box Office Assistants Gideon Arthurs, Alexis Prussack
Poster Designer Emily Jan
Publicity Photographer Jessica Brakeley
ACKNOWLEDGMENTS

Special thanks to the countless writers, performers and artists who nurtured and inspired our creative drive, Alicia and Angel Aixala (from where I begin), Ali, Migui, Diana and Mari Aixala, Gina Hirsch, Alix Sobler, David Hamsher, David Edison, Justine Williams, David Pressman, Alison Cimmet, Joe Zarrow, Victor Holtcamp, Annie McNamara, Lucas Fleischer, Sara Ciarelli, Rebecca White, Bonnie and Emily Schiff-Glenn, Julie Cramer, Kate Weisburd, Production Workshop, Sock and Buskin, Tom from National Wrecking, John Pacheco and the Grounds crew, Phil O'Hara, Mike Tarantino, Jonathan Doughty, Amy Hofer, Emily Lindsey, Sean Cannella, Betsy More, Chelsey Austin, Brian Ferrell-Locke, Adam Lelyveld, Patrick Halliday, Brook Street Antiques & Treasures, Petals and Stems, Bill Roche, Phillip Contic, Spencer Golub, John Emigh, John Lucas, Mark Cohen, Karen Longest, Don Wilmeth, Kung Foo Chin, Dina Gjertsen, Tim Cryan, (Bogart, Borges, Foreman, and Rivera for allowing me to borrow their text), and the families who produced the most talented and inspiring group of people IÕve ever had the great fortune to work with.

SOCK & BUSKIN BOARD

Rebecca White (Chair), Alex Aixalá (Vice-Chair), Taylor White (Secretary), Harry Barandes, Pannill Camp, Julie Cramer, Sarah DiGregorio, Victor Holtcamp, Isaac Hurwitz, David Laibstain, Emily O'Dell, Nikki Phillips, Amy Sonnenborn, Michele Traub, Mac Vaughey, Ian White (on leave)

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HAPPY END
A Melodrama With Songs
Lyrics by Bertolt Brecht
Music by Kurt Weill
Original German Play by
Dorothy Lane (Elisabeth Hauptmann and Bertolt Brecht)
Book and Lyrics adapted by Michael Feingold

March 9-12, 16-18, 2000 8PM March 19, 2000 3PM

STUART THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by William O. Beeman
Musical Direction by Matthew McGarrell
Set Design by John R. Lucas
Costume Design by Phillip Contic
Lighting Design by Dina Gjertsen
Choreography by Julie A. Strandberg
Technical Direction by Dina Gjertsen

CAST
(in order of appearance)

THE PROFESSOR (Bob Marker) Noam Katz

THE REVEREND (Jimmy Dexter) Gabriel Wildau

BABY FACE (Johnny Flint) Nick Collins

SAM "MAMMY" WURLITZER Grey Sample

THE GOVERNOR (Dr. Nakamura) Paco Tolson

MIRIAM Heather Wilson

BILL CRACKER Josh Landay

THE COP Greg Machlin

THE FLY Susanna Harris

SISTER LILLIAN HOLIDAY Bonnie Schiff-Glenn

SISTER MARY Rachael Miller

SISTER JANE Kathryn Mueller

BROTHER HANNIBAL JACKSON Philip Curtis Pierce

BROTHER BEN OWENS Michael Stanton

MAJOR STONE Kelsey Merrow

ENSEMBLE Adam Lewis, Dan Flave-Novak, Courtney Naliboff,
Marisa Quintanilla, Rebecca Rockefeller, Josh Shulruff, Jeremy Smith

DANCERS Courtney Naliboff, Marisa Quintanilla, Rebecca Rockefeller, Jeremy Smith

Place: Chicago

Time: December, 1929

Act One: Bill's Beer Hall, December 22

Act Two: The Salvation Army Mission, Canal Street, December 23

Act Three, Scene 1: The Beer Hall, December 24

Act Three, Scene 2: The Mission. Later that night.

There will be two ten-minute intermissions.

Doc Crook and His Dreamland Band
Tanja Manners Piano
Trina Glidden Percussion
Peter Buchak Accordian, Trumpet, Piano
Michael Pfeffer Soprano, Alto, Baritone Saxophones
Stephen Canon Clarinet, Tenor, Baritone Saxophones
Paul Pierson Trumpet Trumpet
Matthew McGarrell Trombone

MUSICAL NUMBERS

Act I
Prologue Entire Company
"The Bilbao Song" Bill and The Gang
"Lieutenants of the Lord" Lillian and The Army
"March Ahead" The Army
"The Sailors' Tango" Lillian
Act II
"The Sailors' Tango" (Reprise) Lillian
"Brother, Give Yourself A Shove" The Army and The Fold
"Song of the Big Shot" The Governor
"DonÕt Be Afraid" Jane, The Army and The Fold
"In Our Childhood's Bright Endeavor" Hannibal
"The Liquor Dealer's Dream" Hannibal, Governor, Jane, Army, and Fold
Act III, Scene I
"The Mandalay Song" Sam and The Gang
"Surabaya Johnny" Lillian
"Song of the Big Shot" (Reprise) Bill and The Governor
"Ballad of the Lily of Hell" The Fly
Act III, Scene 2
"The Happy End" Finale - The Entire Company
"Hosannah Rockefeller"
"The Bilbao Song" (Reprise)

Produced by special arrangement with Samuel French, Inc.
and the European American Music Corporation.

Sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

The Kurt Weill Foundation for Music, Inc., is a not-for-profit, private foundation chartered to preserve and perpetuate the legacies of Kurt Weill (1900-1950) and Lotte Lenya (1898-1981). In pursuit of these goals, the Foundation maintains the Weill-Lenya Research Center to serve scholars and performers, awards grants to support excellence in research and performance, administers Weill's copyrights, and publishes (in association with European American Music Corporation) the Kurt Weill Edition. For more information on the worldwide centenary celebration of the birth of Kurt Weill (2000), contact the Foundation at (212) 505-5240, or visit its website at http://www.kwf.org.

DIRECTOR'S NOTE

In 1929 Bertolt Brecht and Kurt Weill were flush with success from their famous collaboration The Threepenny Opera when their impresario, Ernest Josef Aufricht, suggested a modern sequel to that famous work. Brecht's secretary, Elizabeth Hauptmann was prevailed on to write a tale of the "struggle between good and evil" as a book for the new work, titled with Brechtian irony: Happy End. To avoid copyright problems, Hauptmann used the pseudonym Dorothy Lane.

The romance of a Salvation Army lass and a gangster was a popular literary theme. It had been suggested earlier in George Bernard Shaw's Major Barbara. Damon Runyon published his short story "The Idyll of Miss Sarah Brown," which inspired the Frank Loesser musical Guys and Dolls several years afterward. Brecht used many of the same players he had employed in The Threepenny Opera. This included his wife, Helene Weigel, as The Fly. On opening night, September 2, 1929, Weigel caused a near-riot by allegedly reading portions of the Communist Manifesto in her final speech.

Today we see Happy End as an irreverent romp--a spicy mixture of cabaret and romance with some of the most wonderful theater music ever written. Many well-known actors have appeared in this production including Peter Lorre and Meryl Streep. In this production we have restored some of the original music and language of the prologue and finale and tried to give it both the flavor of Berlin and of Chicago. It is a fitting tribute to the genius of Kurt Weill in his anniversary year.

The overdrawn characters of this "melodrama with music" are derived from post World War I German expressionist film vocabulary. This includes The Governor, Dr. Nakamura, who is undoubtedly modeled on the well-known Fritz Lang film character, Dr. Mabuse, "king of crime", rather than on any Asian stereotype. Nevertheless, we realize that what was in 1929 merely exotic may have negative overtones today. We appologize in advance if this essential character is offensive to anyone. -- William O. Beemna

ACKNOWLEDGMENTS

Theater Chemnitz, Chemnitz, Germany , Dr. Karl-Hans Möller, Dr. Gerhard Müller, Klaus Weidner , Mark Bedrosian of Nightlife Entertainment for the use of Brother Ben's bass drum, University of Rhode Island Theater Department, Joy Emery, David Howard, John Pacheco and the Grounds crew, Phil O'Hara, Grad Center C Suites 420 & 340, Qian Yang, Isaac Hurwitz, Nikki Phillips

PRODUCTION STAFF

Stage Manager Jennifer Beckmann* Assistant Stage Managers Nicole Fischler, Cindy Poo * Assistant Technical Director Timothy D. Cryan Production Coordinator Erin Hurley Artistic Advisor James O. Barnhill Assistant Lighting Designer Brian Ferrell-Locke* Technical Assistants Lizzie Ackerly, Jody Caldwell, * Brian Ferrell-Locke, Annabelle Heckler * Running Crew Hilary Gerstein, Naomi Kenner* Costume Shop Manager Lisa Batt-Parente Costume Shop Assistants Amy Hofer, Rainy LaVenture, * Heather MacKenzie , Alicia Wolcott* Wigmaster/Milliner/Assistant Shop Manager Henry DuBois Costume Construction TA28, TA129 Assistant to the Music Director Jaemi Loeb* Musical Preparation Loren Mitchel Set Crew TA 26 Sock and Buskin Liason Becky White* Box Office Manager/Publicity Director Karen Longest Box Office Assistants Gideon Arthurs, Alexis Prussack* Poster Designer Katie MacMillan* Publicity Photographer Jessica Brakeley*

SOCK & BUSKIN BOARD
Rebecca White (Chair), Alex Aixala (Vice-Chair), Taylor White (Secretary), Harry Barandes, Panill Camp, Julie Cramer, Sarah DiGregorio, Victor Holtcamp, Isaac Hurwitz, David Laibstain, Emily O'Dell, Nikki Phillips, Amy Sonnenborn, Michele Traub, John "Mac" Vaughey, Ian White (on leave)

FOSTER HIRSCH on "The Unhappy End of HAPPY END" Thursday, March 16th Leeds Theatre 4pm
In commemoration of the 100th anniversary of Weill's birth and the 50th anniversary of his death, Hirsch, the author of an upcoming book on Weill, will talk about this prolific composer of such musicals as HAPPY END, THE THREEPENNY OPERA, LADY IN THE DARK, LOST IN THE STARS, and THE ETERNAL ROAD.

This performance is funded in part by the Kurt Weill Foundation for Music, Inc., 7 East 20th Street, New York, NY 10003

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ANGELS IN AMERICA
A Gay Fantasia on National Themes
Part One: Millennium Approaches
by Tony Kushner

April 13-16, 20-22, 2000 8pm April 23 3pm

LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Mark S. Cohen
Set and Lighting Design by Mike Brown ('94)
Costume Design by Phillip Contic
Technical Direction by Dina Gjertsen

CAST

ROY COHN Harry Kellerman

JOE PITT Gregory Howe

HARPER PITT Miriam Silverman

LOUIS IRONSON Michael Crane

PRIOR WALTER Seth Bockley

BELIZE, MR. LIES Antonio M. Cabral

HANNAH PITT Susan Deily-Swearingen

ANGEL, EMILY, SISTER ELLA CHAPTER, WOMAN IN BRONX Kari Hodges

RABBI, HENRY, MARTIN, ETHEL ROSENBERG Justine Williams

Act One: Bad News
October - November 1985

Act Two: In Vitro
December 1985 - January 1986

Act Three: Not-Yet-Conscious, Forward Dawning
January 1986

There will be two ten-minute intermissions.

I would like to dedicate this production to the fine, acute, sensitive and idealistic young men and women who have been entrusted to me as my students during the seven years I have spent teaching at Brown. My gratitude to them is as unbounded as has been their generosity to me. I hope that I have truly earned and amply rewarded their trust, respect and affection. -- Mark S. Cohen, Director

Produced through special arrangement with Broadway Play Publishing inc., 56 E 81st St., New York, NY 10028. The script of this play must be purchased through BPPI.

ANGELS IN AMERICA was first produced in New York at the Walter Kerr Theatre in April, 1993, in a production directed by George C. Wolfe.

Sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts

TONY KUSHNER ON ANGELS IN AMERICA
TK interviewed at the Royal National Theatre, London, January 24, 1992:

"I think (Angels In America) has become--and I didn't intend this when I was writing it--a play about the extent of a community's embrace...I think that one side of the question is whether or not it's possible to feel any kind of kinship or solidarity with someone like Roy Cohn, a self-hating gay person, who was one of the most hateful men that ever lived, a tremendously evil man...It's interesting to examine questions of forgiveness and communal embrace when you're dealing with someone as unacceptable as Roy was. On the other side of the equation, the question of drag and camp...The Stonewall riots happened in New York in 1969, the night that Judy Garland died, when all these drag queens refused to be arrested and taken out of a bar--the beginning of the gay liberation movement in the United States and I guess everywhere. The moment we said we're not apologizing for the sex, and we're not going to stop having it, we are involved in a very legitimate experiment, we're not going to be embarrassed or ashamed, or deprived of something we're working on, that our historical mission is to investigate--that was the first moment of real political sophistication in gay liberation since Stonewall...ACT UP (The Aids Coalition to Unleash Power) is certainly a big part of this. I'm thirty-five, there are gay men now who are fifteen years younger than me who grew up post-Stonewall all over the United States, in a world where the struggle for establishment of gay subjectivity instead of subjection was really under way. They're much less apologetic."

"(One change that is happening, completely as a consequence of the AIDS epidemic, is that it's becoming clearer and clearer to the gay and lesbian community...that there are life and death consequences of homophobia. We always knew that. There were always gay bashing and bloodshed and emotional violence, but it's not until you realize that people are simply willing to let hundreds of thousands of people die and not extend simple human compassion because of their sexual preference, that you realize how deep the hatred goes. It's become clear as a result of this, that what seemed to be a marginal issue was actually very deeply rooted in American consciousness."

"Judaism isn't what the play is about, but I'm Jewish and it took me by surprise that it wound up being all over the place...I'm very critical of Jews because I am one and, for instance, Jewish homophobia makes me angrier than Goyische homophobia. I think, good God, after what we've gone through for the last six hundred years and before...surely suffering should teach you compassion. So I've been kind of hard about it."

"(Mormonism) is an American re-working of a western tradition, the notion of an uninhabited world in which it's possible to reinvent...They're very interesting people, the ones that I've met and known personally...They're very decent, hard-working, serious, intelligent people. But they're very reactionary...That conjunction is interesting to me. Reactionaries like Roy are a lot of fun but they're as lousy as you feel the consequences of their ideology are. Mormons always seem much nicer people than what they wind up visiting on themselves and the rest of Utah...In a way, it reminds me of Judaism in that (Mormons) have an interesting ambivalence toward sensuality and the flesh. They are actually a very "touch-ey" bunch of people and yet they have a lot of strictures about physical contact and sex that are as puritanical as one can imagine. It's older and far more confusing in Judaism. There are a number of similarities."

TK on the Charlie Rose Show, WNET-TV, New York, May 10, 1993:

"Because the play is an epic and because it has a very, very broad canvas, it doesn't really give you a single point of view to take home. I think that after people have spent three and a half hours listening to gay people--various kinds of gay people--and thinking about ways in which gay issues are not marginal, but central to the American political and cultural agenda, I hope that people will come away with a sense of having been exposed to something that maybe they thought they knew, but didn't know as well as they thought they knew, or didn't know at all."

PRODUCTION STAFF

Stage Manager James Hayward
Assistant Stage Manager Jackie Feke
Assistant Technical Director Timothy D. Cryan
Technical Assistants Lizzie Ackerly, Jody Caldwell, Brian Ferrell-Locke, Annabelle Heckler
Dimmerboard Operator Liz Drew
Sound Designer Sam Kusnetz
Sound Operator Alicia Wolcott Set Construction Emily Jan, Harry Matheu, Mac Vaughey
Set Crew TA 26
Properties Kelsey Merrow
Running Crew Susanna Ciotti, Jackie Feke, Naomi Kenner
Costume Shop Managers Lisa Batt-Parente, Henry DuBois
Costume Shop Assistants Amy Hofer, Rainy LaVenture, Heather MacKenzie, Alicia Wolcott
Wardrobe Liz Raible
Costume Construction TA 28, TA 129
Millinery, Hair/wigs, Facial Hair Henry DuBois
Makeup Mark Cohen
Dramaturg Maria Goyanes
Sock and Buskin Production Liaison Amy Sonnenborn
Box Office Manager/Publicity Karen Longest
Box Office Assistants Gideon Arthurs, Alexis Prussack
Poster Designer Emily Jan
Publicity Photographer Jessica Brakeley

ACKNOWLEDGMENTS
David Savran, George Hamrah, Tim Conboy, David Love, Phil OÕHara, John Pacheco and the Grounds Crew, Emma Deily-Swearingen, Francisco The Furrier

SOCK & BUSKIN BOARD

Rebecca White (Chair), Alex Aixalá (Vice-Chair), Taylor White (Secretary), Harry Barandes, Pannill Camp, Julie Cramer, Sarah DiGregorio, Victor Holtcamp, Isaac Hurwitz, David Laibstain, Emily O'Dell, Nikki Phillips, Amy Sonnenborn, Michele Traub, Mac Vaughey, Ian White (on leave)

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SPRING DANCE CONCERT 2000
Thirty Years of Dance 1970-2000
Dedicated to James O. Barnhill and John R. Lucas
Julie A. Strandberg, Producer

opening and upward
Choreographed by Lauren Hale
Costume Design by Lisa Batt-Parente
Lighting Design by Tracy Shultz
Music composed by Nathan Stumpff
DANCERS: Leta Malloy, Jessica Gaynor, Jordana Starr, Alison Friedman, Cara Murray, Benjamin Asriel, Deb Friedes, Thea Grant, Andros Zins-Browne
The Brown University Chamber Chorus
Louis Frederick Jodry, conductor
Soprano: Kathryn Mueller, Heather Groch, Rebecca Krouner, Elsa Powel, Emily Schiff-Glenn
Alto: Sara Fontes, Laura Wood, Julia Krol, Kathleen Kew
Tenor: Spyridon Antonopoulos, Vincent Capaldi, Miguel Daal, Claiborne Walthall
Bass: David Cohen, Marc Marinaccio, Graham Siener, Nathan Stumpff
Katharine Haynes Flute
Jonne Gomes Violin I
Corey Byrnes Violin II
Anne-Marie Leuck Viola
Stephen Cha Violoncello
This piece is a collaboration between Lauren Hale and Nathan Stumpff and is based on five poems by e.e. cummings, which are on display in the lobby.
Special thanks to the Music Department, Elaine Bearer, Julie Strandberg, Annamaura Silverblatt, and all the incredible musicians and dancers who have made this piece possible.

post (you)
Choreographed by RCJ (Jonathan Martin, Courtney Rowe, and Ryan Smith)
Costume Design by Phillip Contic
Lighting Design by David Laibstain
Music: mx1.2 [Massive Attack vs. The The] by jdmartin
"Dissolved Girl" by Massive Attack
DANCERS: Jamie Aaronson, Jocelyn Brooks, Miriam Friedel, Jonathan Martin, Wendy Rein,
Courtney Rowe, Ryan Smith, Stacey Yen
Have you ever wanted something so badly that it possessed your body?
Special thanks to Suites 310, 340, and 420, to our sexy and ferocious cast...and to the ex-lovers.

MY NAME IS PRINCE
Choreographed by Catherine Wong
Costume Design by Fusion Dance Company
Lighting Design by Timothy D. Cryan
Music by Prince
FUSION DANCE COMPANY: Hannah Awaih, Czarina Thelen, Jamal Jackson, Dee Dee Ilunga, Yolanda Covington, Daryl Springer, Catherine Wong, Allison Harris, James Brown, Monica Herrera, Beth Earl, Jody Green, Sean Thomas, Tisola Logan, Briana Masterson

AURORE BOREALE
Choreographed by Andonis Foniadakis
Staging and Costume Design by Jeffrey Edwards
Costume Reconstruction by Henry DuBois
Lighting Design by Joseph Blodgett
Music by Kasper Widig DANCERS (Members of The Dance Extension): Jessica Gaynor, Ryan Smith, Sara Nolan, Lauren Hale, Wendy Rein

S/NC
Choreographed by Leigh Fitzgerald, Miriam Friedel, Alison Friedman, Monica Herrera, and Jonah Rosen
Directed by Leigh Fitzgerald
Costume Design by Alicia Wolcott
Lighting Design by Timothy D. Cryan
Music: Drumming and Original composition by Sean Conta
DANCERS (Members of the Tap Ensemble): Sara Kaplan, Alison Friedman, Jonah Rosen, Miriam Friedel, Jennifer Livaudais, Monica Herrera, Camille Gerwin, Michelle Fujimoto, Rachel Green, Rachel Hochheiser, Bridget Picano
Inspiration for this piece was taken from TAP DOGS.
We would like to thank all of our dancers who have contributed to the evolution of the Tap Ensemble over the past four years. Your patience, inspiration, dedication, and your smiles have made our vision grow and flourish. We will miss you all!
- Miriam and Leigh

PORTRAIT (1996)
Choreographed by Carolyn Dorfman
Music composed, performed and sung by
Jennifer Giering
Costume Design by Russell Aubrey Costume Reconstruction by Janna Pederson
Lighting Design by Timothy D. Cryan
Original Lighting Design by John Evans
Rehearsal Assistant: Wendee Rogerson*
DANCERS (Members of The Dance Extension): Deb Friedes, Thea Grant, Felice Le, Cara Murray, Jordana Starr
Understudies: Corey Chun, Lee Lamm, Brie Spangler
*Wendee Rogerson is a member of the Carolyn Dorfman Dance Company.

NARCISSUS (performed Wednesday, Thursday and Friday)
Choreographed by Annamaura Silverblatt
Costume Design by Phillip Contic
Lighting Design by Timothy D. Cryan
Music composed by James Woodman
Narcissus Ryan Smith
(Member of The Dance Extension)
The Brown University Chamber Chorus
Louis Frederick Jodry, conductor
Soprano: Kathryn Mueller, Heather Groch, Rebecca Krouner, Elsa Powel, Emily Schiff-Glenn
Alto: Sara Fontes, Laura Wood, Julia Krol, Kathleen Kew
Tenor: Spyridon Antonopoulos, Vincent Capaldi, Miguel Daal, Claiborne Walthall
Bass: David Cohen, Marc Marinaccio, Graham Siener, Nathan Stumpff

ICE IMAGES (1986) (performed Saturday & Sunday matinee/evening)
Choreographed by Julie A. Strandberg
Costume Design by Debbie Mall
Lighting Design by John R. Lucas
Music composed by Tom Farrell, "Ice Images"
DANCERS: Victor Holtcamp and Jonathan Martin

A JOURNEY
Choreographed by Kate Solmssen
Costume Design by Kate Solmssen
Costume Construction by Janna Pederson
Lighting Design by John R. Lucas
Music: " Shapes and Sizes" by Joan Armatrading
"The Feeling Begins" by Peter Gabriel
"Tibi Soli" by Gregorio Allegri
Part I: Innocence Part II: Doubt Part III: Faith
DANCERS: Corrina Chun, Madeleine Kokx, Catherine Wong, Jennifer Livaudais, Brie Spangler, Deb Friedes, Larisa Bowman
Thanks to my dancers for their inspiration. Thanks to my family for their love and support. Thanks to my friends at Brown for a remarkable four years.

PASDOWN
Choreographed by Jessica Gaynor
Costume Design by Lisa Batt-Parente
Lighting Design by Brian Ferrell-Locke
Music: "All Blues" by Miles Davis
DANCERS: Alison Friedman, Thea Grant, Felice Le, Leta Malloy, Cara Murray, Sara Nolan, Jordana Starr, Ryan Smith, Stacey Yen
Special thanks to my friends, family, and fellow dancers who have supported me through all of my dancing adventures.ODE TO AMERICAN LEGION POST #13 (1991)
Choreographed by Amy Heerema '93
Reconstructed by Laura Bennett '92
Costume Design by Debbie Mall
Lighting Design by John R. Lucas
Music: Willie Nelson, "Crazy", Hank Cochran, Harlan Howard, "I Fall To Pieces" sung by Patsy Cline
DANCERS (Members of The Dance Extension):
Jamie Aaronson, Corey Chun, Miriam Friedel, Victor Holtcamp, Lee Lamm, Felice Le, Cara Murray

DOMBA (BIG DANCE)
Choreographed by Michelle Bach-Coulibaly
Costume Design by
Lighting Design by Timothy D. Cryan
Musicians: Seydou Coulibaly, Moussa Traore, Annie Geissinger
DANCERS: (Members of NEW WORKS/WORLD TRADITIONS)
Hannah Blitzblau, Miriam Friedel, Alison Friedman, Jessica Gaynor, Lauren Hale, Dee Dee Ilunga, Jamal Jackson, Brandeis Johnson, Nicole Leach, Leta Malloy, Sara Nolan, Jordana Starr
Special thanks go out to the members of NEW WORKS who have brought so much joy and beauty to those they have touched.

This production is funded in part by the Guarnaschelli's Family Theatre Endowment, the Vicki and Peter Halmos Family Fund for Theatre Arts, and Karen Siff.

PRODUCTION STAFF

Stage Manager
Assistant Technical Director Timothy D.Cryan
Technical Assistants Jody Caldwell, Brian Ferrell-Locke, Lizzie Ackerly, Annabelle Heckler
Dimmerboard Operator Eva Fakatselis
Running Crew Costume Shop Managers LisaBatt-Parente, Henry DuBois
Costume Shop Assistants Amy Hofer, Rainy LaVenture, Heather MacKenzie, Alicia Wolcott
Costume Construction TA 28, TA 129
Sock and Buskin Production Liaisons Alex Aixala, David Laibstain
Box Office Manager/Publicity Karen Longest
Box Office Assistants Gideon Arthurs, Alexis Prussack
Poster Designer Katie MacMillan
Publicity Photographer Jessica Brakeley

The Brown Dance Ensemble is 30 years old !!!!!
In 1969 I entered a converted dance studio in a dorm lounge on the Pembroke Campus for the first time. Dance was an extracurricular activity in the women's PE Department of Pembroke College. I was greeted eagerly by a group of committed, enthusiastic young dance artists. Four of them remain in the dance field today! I knew immediately that dance should be a serious, academic pursuit at this University. I set about finding an academic home and contacted James O. Barnhill, director of the Theatre Program housed in the English Department. In February of 1970, "Sock and Buskin" presented "An Evening of Dance" at Faunce House Theatre. The costumes were done by one of the dancers. John Lucas, who will retire at the end of this season, was technical director.The program listed 7 faculty/staff.
We've come a long way. The faculty/staff of the Department of Theatre Speech and Dance numbers 32. The dance program offers over 9 courses for academic credit. The Dance Ensemble performs at least three times a year. The Dance Extension, a touring repertory company is celebrating its 20th season. There are curricular, co-curricular, and extra-curricular performing groups. Dance students are engaged in research, teaching, and public service.

The dance program grew and developed in the last third of the twentieth century. The great social change and technological innovations of the past 30 years were hardly imaginable when we carted bulky reel-to-reel tape recorders from rehearsal to rehearsal and communicated by rotary telephones and campus mail. In 1970 we could not even imagine that our process would be enhanced by video tapes, cd\roms, email, cell phones, computerized dimmerboards and mini disks. So as we look to the future we are equally unsure of what miracles of technology and social change will impact on our lives in the new millennium.

But we can confidently make one absolute prediction for the future. The process by which dances are made and shared will remain unchanged. Individuals will still come together in a common space to create work and performers and audiences will still gather in a common space to share them. This process is as old as civilization and throughout the ages it has been enhanced by whatever technology was available. But technology has neither replaced the need to make art nor the need for human contact
.
Welcome to the first Dance Ensemble Concert of the new millennium. We look forward to sharing many more with you. -- Julie A. Strandberg, Founding Director of Dance

CAROLYN DORFMAN
Carolyn Dorfman is artistic director of the Carolyn Dorfman Dance Company. Since its founding in 1982, she has guided the Company to the forefront of dance in New Jersey and the region. Her work has been presented throughout the United States by her own Company and be repertory companies and solo artists. Carolyn Dorfman is also a highly respected and gifted teacher. She has been named a Distinguished Artist by the New Jersey State Council on the Arts and is the recipient of numerous fellowships and awards. She holds a BFA in dance from the University of Michigan and an MFA in dance from New York University's Tisch School for the Arts.

ANDONIS FONIADAKIS
Andonis Foniadakis was born in Crete, Greece and didnÕt start dancing until the age of 18. Following studies at the National School of Dance in Athens, he continued his training with Maurice BZ(jartÕs Rudra School in Lausanne, Switzerland where he eventually joined the company, BZ(jart Ballet Lausanne. He was invited by BZ(jart to create his first choreographic works for the company, prior to his engagement with the Lyon Opera Ballet. In France, he has created Fila Filon and Lava Nama for this acclaimed touring company. While not dancing and choreographing in Lyon, Andonis is busy creating works for dance companies throughout Europe, such as the Copenhagen International Ballet. It is with this Danish company that he created Aurore Boreale.

THE DANCE EXTENSION
The Dance Extension, a touring repertory company, is celebrating its 20th year. The Extension was established by artistic director, Julie A. Strandberg, 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, and have dances set on them by a resident choreographer they also have the rare opportunity to work with some of our most revered choreographers and some of our most exciting contemporary innovators. The repertory includes works by Ruth Andrien, Colin Connor, Carolyn Dorfman, Eve Gentry, Danny Grossman, Donna Jewell, Donald McKayle, Anne-Alex Packard, Anna Sokolow, David Parsons, and Charles Weidman. As the official company of The American Dance Legacy Institute at Brown University, the Extension is also involved in a ground-breaking initiative to preserve master works of American dance.
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THE WORLD GOES 'ROUND
The Songs of Kander and Ebb
Music and Lyrics by John Kander and Fred Ebb
Conceived by Scott Ellis, Susan Stroman and David Thompson

Directed by Isaac Robert Hurwitz
Musical Direction by Benjamin Toth

Set and Lighting Design by Dina Gjertsen
Costume Design by Heather MacKenzie
Choreography by Sarah Coogan
Technical Direction by Dina Gjertsen

Starring

Lauren Bass

Rebecca Bellingham *

John Halmi *

Shana Rose Harvey *

Stephen Karam

Understudy: Liz Hayes

* The actor appears through the courtesy of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Act I

And The World Goes 'Round Shana
from "New York, New York"
Coffee In A Cardboard Cup Company
from "70 Girls, 70"
The Happy Time John
from "The Happy Time"
Colored Lights Rebecca
from "The Rink"
Sara Lee Stephen, Women
Aurthur In The Afternoon Lauren, John
from "The Act"
My Coloring Book Shana
I Don't Remember You John
from "The Happy Time"
Sometimes A Day Goes By Stephen
from "Woman of the Year"All That Jazz Lauren, Stephen, Company from "Chicago"
Class Shana, Rebecca
from "Chicago"
Mr. Cellophane Stephen
from "Chicago"
There Goes The Ball Game Women
from "New York, New York"
How Lucky Can You Get Rebecca, Men
from "Funny Lady"
The Rink Company
from "The Rink"

Act II

Entr'acte Band
Ring Them Bells Rebecca, Company
from "Liza With A "Z"
Kiss Of The Spider Woman John
from "Kiss Of The Spider Woman"
Only Love Shana
from "Zorba"
Marry Me Stephen
from "The Rink"
A Quiet Thing Lauren
from "Flora, The Red Menace"
When It All Comes True Lauren, Stephen
Pain Company
The Grass Is Always Greener Shana, Rebecca
from "Woman of the Year"
We Can Make It John
from "The Rink"
Maybe This Time Shana
from "Cabaret"(The Movie)
IsnÕt This Better Rebecca
from "Funny Lady"
Money, Money Company
from "Cabaret" (The Movie)
Cabaret Company
from "Cabaret"
Finale Company

ORCHESTRA

Benjamin Toth, conductor
Piano Ben Toth
Keyboards Jesse Antin
Flute Virginia Pierce
Clarinet, Alto Saxophone Daniel Restuccia
Percussion John Zox
PRODUCTION STAFF
Stage Manager Jennifer Beckmann
Assistant Stage Manager Nicole Fischler, Naomi Kenner
Production Manager Rebecca Low
Dimmerboard Operator Seth Cottrell
Sound Board Operator Eric Block
Running Crew Miriam Goldstein, Jeremy Smith
Dresser Anna Spinner
Set Construction Dina Gjertsen, Mac Vaughey
Rehearsal Pianists Emma Boroson, Peter Cabral
Vocal Coaching Charlie Alterman
Box Office Manager/Publicity Karen Longest
Box Office Assistant Alexis Prussack
Poster Designer Katie MacMillan
Publicity Photographer Jessica Brakeley

ACKNOWLEDGEMENTS

Todd Almond, Half Pint Productions, The Fine-Hurwitz clan, Pam Pion, Don Wilmeth, John Lucas, Phillip Contic, the folks at 230 Wickenden, Fred Jodry, Mark Kessler, Taylor White, Victor Holtcamp, Matthew McGarrell and the Music Department, Grad Center Suites 420 and 340, David Rivello

DIRECTOR'S NOTE

This show brings together old friends and new ones to celebrate the energy, passion, and remarkable talent I have known here at Brown. Months of planning and negotiating, several near crises, and a feverishly short rehearsal process ? a reunion like this is hard to bring about. But it has been a labor of love ? thank you to all who helped make it possible. Isaac Robert Hurwitz

THE WORLD GOES 'ROUND is presented through special arrangement with and all authorized performance materials are supplied by Music Theatre International, 421 West 54th Street, New York, NY 10019

PRODUCTION STAFF
Stage Manager James Hayward
Assistant Stage Manager Jackie Feke
Assistant Technical Director Timothy D. Cryan
Technical Assistants Lizzie Ackerly, Jody Caldwell, Brian Ferrell-Locke, Annabelle Heckler
Dimmerboard Operator Liz Drew
Sound Designer Sam Kusnetz
Sound Operator Alicia Wolcott Set Construction Emily Jan, Harry Matheu, Mac Vaughey
Set Crew TA 26
Properties Kelsey Merrow
Running Crew Susanna Ciotti, Jackie Feke, Naomi Kenner
Costume Shop Managers Lisa Batt-Parente, Henry DuBois
Costume Shop Assistants Amy Hofer, Rainy LaVenture, Heather MacKenzie, Alicia Wolcott
Wardrobe Liz Raible
Costume Construction TA 28, TA 129
Millinery, Hair/wigs, Facial Hair Henry DuBois
Makeup Mark Cohen
Dramaturg Maria Goyanes
Sock and Buskin Production Liaison Amy Sonnenborn
Box Office Manager/Publicity Karen Longest
Box Office Assistants Gideon Arthurs, Alexis Prussack
Poster Designer Emily Jan
Publicity Photographer Jessica Brakeley

SOCK & BUSKIN BOARD

Rebecca White (Chair), Alex Aixalá (Vice-Chair), Taylor White (Secretary), Harry Barandes, Pannill Camp, Julie Cramer, Sarah DiGregorio, Victor Holtcamp, Isaac Hurwitz, David Laibstain, Emily O'Dell, Nikki Phillips, Amy Sonnenborn, Michele Traub, Mac Vaughey, Ian White (on leave)