Saturday, April 22, 2006, 8 PM

Sanders TheatreHarvard University

In the Spirit of Duke

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“In the Spirit of Duke” is the culmination of a four-day residency at Harvard featuring Jon Hendricks, the 2006 Office for the Arts at Harvard Jazz Artist in Residence. Mr. Hendricks also participated in a Learning From Performers “musical conversation” on his career and creative process moderated by Harvard Bands director Tom Everett; rehearsed with the Harvard Monday Jazz Band and the Kuumba Singers of Harvard College and held informal conversations with students of both ensembles; joined graduate students of Harvard’s Department of Music as well as Prof. Ingrid Monson, department chair, for a lunch seminar; visited WGBH-FM for an interview on Steve Schwartz’s “Live From Studio Four” program; and met with Jacqueline O’Neill, Harvard University Marshal, for an official greeting bestowed upon Harvard’s special guests and visiting dignitaries.

Tonight is also a celebration of 26 years of jazz concerts in Sanders Theatre, presented by the Office for the Arts and Harvard Jazz Bands. Artists such as Benny Carter, Illinois Jacquet, Jim Hall, John Lewis, Max Roach, J.J. Johnson, Bill Evans, Randy Weston, Lester Bowie, and Hank Jones have participated. The goal is to honor artists who have made a significant contribution to jazz, provide opportunities for Harvard students to work with masters of the art form, and share the resulting music with the public.

“In the Spirit of Duke” is made possible by the Richard J. Scheuer, Jr. Fund and Peter Ivers Memorial Fund.

Office for the Arts at Harvard and Harvard University Jazz Band, Tom Everett, Director

with Kuumba Singers of Harvard College, Sheldon Reid, Director

present

In the Spirit of Duke

Featuring guest artists

Jon Hendricks and Jimmy Slyde

No Photography, Audio, or Video Recording Please

Photo: Bobby Colomby

PROGRAM

Ride On King Jesus (c.1850) ........................................................ Traditional

Take the A Train (1939) ..................................... Billy Strayhorn (1915-1967)

Nobody’s Fault But Mine ............................................................. Traditional Arranged by John Andrews Ross (b. 1940)

-Pause-

Get Me to the Church on Time (1956) ........... Frederick Lowe (1901-1988) and Alan Jay Lerner ‘40 (1918-1986)

Arranged by Andy FaberJon Hendricks, vocals

Everyday I Have the Blues (1955) ......................................... Memphis Slim (John Peter Chatman, 1915-1988)

Arranged by Ernie Wilkins

Lil’l Darlin’ (1957) .......................................................... Neal Hefti (b. 1922)

Jumpin’ at the Woodside (1938) .......................... Count Basie (1904-1984)Arranged by Buck Clayton, 1990 Visiting Artist at Harvard

Jon Hendricks and Aria Hendricks, vocals

Peter Mihelich will appear as a guest pianist on selected tunes

INTERMISSION

Excerpts from First and Second Sacred Concerts (1965-1966) Duke Ellington (1899-1974)

David Berger, Guest Conductor

Please withhold applause until the end of the program

In the Beginning, God Jon Hendricks

Will You Be There?

Ain’t But the One Steven Kyle Ridgill ’06, soloist

Heaven Paris V.L. Woods ‘06, soloist

The Shepherd Who Watched Over the Night Flock Darryl Campbell ’06, soloist

Come Sunday Jon Hendricks

David Danced Before the Lord with All His MightJimmy Slyde, tap dancer; Jon Hendricks

Reflections in DCharles Frogner ‘06, piano solo

Praise God and DancePraise God and Dance FinaleGenithia Hogges ‘01, soloist

Film Excerpts: Dizzy’s Dream Band 1982Gary Keys Productions Inc.

A Concert of Sacred Music at Grace Cathedral 1965From the Ralph J. Gleason film, this 2005 DVD celebrates the 40th anniversary of the premiere performance.

Special thanks to: Steve Schwartz, WGBH 89.7 FMIngrid Monson, Department of MusicBill Traut, Open Door ManagementNeesha Rao ’08, Kuumba SingersAlexander Gordon ‘06

Technical Crew for Tonight’s Concert: Production Supervisor: Tina BowenStage Manager: David KesslerAssistant Stage Managers: Roxanna Myrhum, Marie vonKampenLighting: Stephen BuckSound: Myrna Johnston AudioAudio Recording: Alejandro GordilloVideo Montage: LightSpeed Media, Inc.Video Projection: Harvard Media and Technology ServicesVideo Recording: Rex DeanPhotography: Joanne Ciccarello

Monday Jazz Band

Saxophones*Noah Nathan ’09, altoGordon Stewart ’06, altoJake Cohen ’09, tenorMichael Swita ’08, tenorJonathan Siegel ’08, baritone

Trumpets*Darryl Campbell ’06Mike Corayer ’06Katie Hill ’09Scott McKinney ‘09

Trombones*Brett Wortzman ’06*Sheel Ganatra ’06Nicole Irwin ‘09Anna Rosenblum ’06

Rhythm Section*Charles Frogner ’06, pianoParker Barnes ’08, bassJeremy Lawrence ’06, drumsNeil Sawhney ’08, guitar

StaffCharles Frogner ’06, ManagerSheel Ganatra ’06, Treasurer

*Section leader

Kuumba Singers of Harvard College; Sheldon Reid, Director

AltosKia Alexander ’08 Abia LuisaAnnie Berndtson ’08 Shirù Macharia ‘08Kendra Boothe ’09 Dawn Mackey ‘09Lauren Bray ’09 Jen McDavitt ’06Ecaterina Burton ’08 Karezhe Mersha ’08Jessica Caimi ‘08 Aimee Miller ‘06Chardaie Charlemagne ’08 Katherine Miller ‘09Melissa Collins ’08 Wangui Muigai ‘09Amanda Corbett ’07 Michelle Oboite ‘08Kareine Durand ’07 Emily Owens ‘08Sara Eckhouse ’06 Kayla Piña ‘08Chiazotam Ekekezie ’08 Nan Ransohoff ‘09Nneka Eze ’07 Neesha Rao ‘08Karma Frierson ’09 Jessica Robinson ‘09Kyle Frisina ’06 Lisa Rosenfeld ‘09Mariam Fofana ‘06 Dadjie Saintus ‘08Dana Hill ‘09 Amy Schoenfeld ‘07Nickclette Nne-amaka Izuegbu ’08 Ariel Sloan ‘09Ruby Ibanga ‘09 Natia Vachan Scheivon Jarrett ‘07 Monica Thanawala ’08Gianina Jean-Baptiste ‘09 Julia Throop ‘07Effie Johnson ‘08 Tanya Thompson ‘06Annie Levenson ‘09 Jennifer Whitelock ‘09Fan Liu ’07 Monique Wilson ‘09 Tenors Oyin Aderibigbe ‘07 Naabia Ofosu-Amaah ‘07Nike Adewuyi ‘09 Morgan Pope ‘09Ben Doleac Jonathan Ringer ‘07Andrew Esensten ‘07 Jackie Robinson ‘09Megan Grannan ‘09 Michael Sabet ‘07Soliana Habte ‘08 Allan Sahagun ‘09Bethany Hucks ‘08 Joshua St. Louis ‘09Liz Jackson ‘07 Michael Vinson ‘07Ruth Lingford

Basses Amadi Anene ‘08Ayodele Buraimoh ‘08Bakang Komanyane ‘08Chiduzie Madubata ‘06Nathaniel Menifield ‘08Ofole Mgbako ‘08David Garcia ‘09Khary Francis ‘08Henry Agbo ‘09Steve Ridgill ‘06 SopranosJen Bailey Rebecca Booth-Fox Olivia Brown ‘08Julie-Ann Crommett ‘08Kate Damon Christina Elmore ‘09Liana Fixell ‘09Michelle Gaffney ‘09Diana Ghogomu ‘09Christina Gibbs ‘08Rachel Haurwitz ‘07Amy Heberle ‘09Laura Hirschberg ‘09Kirsten KastbergJen Morse ‘07Anna McCallie ‘08Chinwe Nwosu ‘08Mara PartridgeAlia Toran-Burrell ‘06Beatrice Viramontes ‘08Paris Woods ‘06Emily Wooton ‘09

Program Notes by Tom Everett

Duke Ellington and the Sacred ConcertsDuke Ellington premiered the first of his three concerts of Sacred Music on September 16, 1965 as a part of the celebration of the consecration of San Francisco’s Grace Cathedral Church. The Second Sacred Concert took place at the Cathedral Church of St. John the Divine in New York City on January 19, 1968, and the third was performed in Westminster Abbey on October 24, 1973, just a short time before Ellington’s death. The music selected for tonight’s concert has been excerpted from the First and Second Sacred Concerts.

Duke Ellington’s compositions were works in progress. When his own musicians were not personalizing, embellishing, or reshaping his melodies, Duke himself would update and rework pieces. Writer Gary Giddins rightfully refers to the First Sacred Concert’s music as “a patchwork of the new and old.” It was Ellington’s intent to reach listenersnot by bringing the church to the dance hall or Cotton Club, but by presenting the spirit of jazz and his music to the church. The result was a unique dialogue between the sacred and secular and African-American celebration of Saturday Night and Sunday Morning. In the program notes to the First Concert, Ellington declared, “Everyone prays in his own language, and there is no language that God does not understand.”

Written to open the First Sacred Concert, In The Beginning, God is based on the first four words of the Bible. Jon Hendricks was the soloist at its first performance.

Will You Be There, sung a cappella, and the gospel styled Ain’t But The One were both originally heard in Ellington’s 1963 production, My People.

Come Sunday following Saturday night’s dancing and celebration was part of his 1945 historic suite Black, Brown and Beige, premiered at Carnegie Hall in 1943. Duke Ellington may have arranged this lovely work for more settings than any other composition.

Heaven, The Shepherd, and Praise God and Dance were written for the Second Sacred Concert. The poignant Heaven sounds like the harmonic palette of Billy Strayhorn, Duke’s musical brother.

The Shepherd, a minor blues piece, was tailored to the unique preaching style and sound of growling trumpeter Cootie Williams. This is a classic example of how Duke wrote specifically for the individual musical personality of his musicians.

From the First Sacred Concert, and introducing the tap dancer, David Danced Before the Lord With All His Might is actually the same structure, harmony scheme, and basic melody of Come Sunday but is performed quickly. Premier jazz tap dancers are actually visual drummers.

Reflection in D, the feature for “the piano player in the band” (Duke himself) was first performed for the 1953 trio recording “Piano Reflections” for Capitol Records.

The title to the finale, Praise God and Dance, is Ellington’s reference to the common man’s “contemporary, everyday life.” Duke Ellington described his music of the Sacred Concerts as saying something in public that he had said every night in private, on his knees.

Excerpt from “Stompin’ the Blues” by Albert Murray reprinted with permission of Albert Murray (McGraw-Hill)

Along with the solemn rituals of devotion through submissive obedience there is also a fundamental requirement for the faithful to make a joyful noise unto the everlasting Glory of God. Thus there is also good-time music that has no less of a place in the regular order of devotional services than the prayers, solemn hymns and anthems, spirituals, sermons, and the Amen Corner chants and moans. Nor is it at all unusual for the hand clapping and foot shuffling plus rocking and rolling of a congregation singing chorus after (a) medium to uptempo chorus of, say, “I Couldn’t Hear Nobody Pray,” or “Just a Closer Walk with Thee,” to general paroxysms of ecstasy that exceed anything that happens in the most gut-bucket-oriented of honky-tonks. On occasion the Bacchanalian music of the Saturday Night Function becomes forthrightly orgiastic, as everybody not only knows but expects...In point of fact, traditionally the highest praise given a blues musician has been the declaration that he can make a dance hall rock and roll like a down home church during revival time. But then many of the elements of blues music seem to have been derived from the down home church in the first place.

Excerpts from Liner Notes by Jon Hendricks, Double LP “King Pleasure: The Source,” Prestige #24017 Ca. 1972, under permission by Concord Music Group, Inc.

Man must have made his first musical instruments in imitation of his own voice. The song Mother Nature sang, in the wind through the trees, in the thunder, in the sound of waves against the shore, in the sound of beast and the sound of bird, and more, was his only other choice. Was it the sound of the wind through the river reed that tempted primeval man to answer a primary need, to bind the reeds together as best he can, creating the pipes-of-Pan?

The idea that Man is an astral being created after the cosmos according to musical laws was one of Plato’s basic positions, so he allowed no one into his school who was not a musician. In the most ancient temples at Memphis and Thebes choirs of singers accompanied religious rites, and Solomon had a choir of male voices as one of his temple’s delights, together with a choir of wind instruments, a most wise choice, since they imitate the human voice. Deep down in a catacomb under Rome early Christians met secretly and in spite of qualms, read the epistles and chanted some psalms, the chanter, the one who sang the best, leading all the rest, later becoming the Cantor, while congregation joined in on “Hallelujah!” and “Amen!,” just like some other slaves I know in another land not so long ago, when the catacombs became plantation homes, hymns became Spiritual Songs, and the preacher righted all the wrongs and was the chanter, while the congregation joined in on “Hallelujah!,” and “Amen!,” just like those earlier Christians with that Cantor.

In our church the music had no hues, but outside the church the Spirituals are called the blues, and when you play ‘em through a horn jazz is born. They say it was Louis Armstrong who forgot the words to “Heebie-Jeebies” and invented scat and showed everybody where it was at. Everybody with ears had great big eyes for what Pops was doin’, and wanted to get to it and do it.

I believe that the jazz singer is a poet, first and last, possessed of a certain elasticity of mind encompassing a certain secret knowledge of a most uncommon kind from an age long past, a knowledge which finally renders those possessing it deaf, dumb and blind, a knowledge one

would most highly prize, since it lies beyond anything the five senses can cognize. But, then, poets have always been mysterious. The world laughs at them, and they are always serious.

Program Notes by David Berger, transcriber of tonight’s Ellington music

On Transcribing:Unlike European Classical Music, the jazz canon was written for specific bands to perform with little or no thought to posterity. Much was left up to the interpretation of the players both in their solos and ensemble parts. To add to the confusion, the composer, arranger and/or bandleader often altered the music in rehearsal. Only sometimes did the players bother to notate any of this on their parts. Relatively few scores or parts exist from the classic period of jazz (some players destroyed their parts once they were committed to memory to ensure their employment), and those that do exist are frightfully incomplete. The role of the historic jazz transcriber is to recreate the sound of recorded music to written notation for each instrument or voice.

On Sacred Concerts:Like most people who live to an old age, Duke Ellington became more and more concerned with the meaning of his mortality and his relationship with God. Never a churchgoer, he worshipped in his own way and developed his own understanding of God. Simply put, “God is a three-letter word for Love, and Love is a four-letter word for God.” His three sacred concerts are non-sectarian celebrations of the Judeo-Christian tradition with a heavy emphasis on the Black American church experience. This is more than a jazz concert. There is a feeling of spirituality and community that is sorely missing in America today. I am honored to bring this great music to Harvard with my old friend, Jon Hendricks, the singer for whom Ellington composed his first Sacred Concert.

Guest Artists

Jon Hendricks has been called the “James Joyce of jive” by Time Magazine and “the poet laureate of jazz” by jazz critic/historian Leonard Feather. He is known as one of the world’s favorite singers and is widely considered to be the father and greatest innovator of “vocalese,” which sets intricate lyrics to recorded jazz instrumental solos then arranges voices to sing the parts of the instruments.

Born in 1921 in Newark, Ohio, Hendricks moved many times following his father’s assignments as an A.M.E. pastor, before settling in Toledo. He began singing on the radio in his teens with another Toledo native, the extraordinary pianist Art Tatum. After serving in the army, including participation in the 1944 D-Day landing, Hendricks attended the University of Toledo in pre-law. But, when Charlie Parker encouraged him to come to New York, Hendricks moved there and began his singing career.

In 1957 Hendricks teamed up with Annie Ross and Dave Lambert to form the legendary trio Lambert, Hendricks and Ross. With Hendricks as lyricist, they perfected vocalese and toured and recorded all over the world. On their first recording, “Sing Along With Basie”(1958), they sang all the parts (except rhythm) to recreate with voices the big-band standards of Basie, Ellington and others.

After six years the trio disbanded for solo careers. In the sixties, Hendricks became jazz critic for the San Francisco Chronicle. He taught at California State University at Sonoma and the University of California at Berkeley. He has worked with such greats as Miles Davis, Thelonious Monk, Wynton Marsalis and Bobby McFerrin, and his 1985 album with Manhattan Transfer, “Vocalese,” won five Grammy Awards. In 1993 he received the National Endowment for the Arts Jazz Masters Award. In 2000 he was appointed Distinguished Professor of Jazz Studies at the University of Toledo and received an honorary doctorate. He was awarded the French Legion of Honor by the President of France in 2004 and received the Grammy President’s Award in 2005.

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Jimmy Slyde, known as the “King of Slides,” was born in 1927 in Atlanta and grew up in Boston. At around age 12, he began taking tap dancing lessons across the street from the New England Conservatory of Music with Stanley Brown. At Brown’s studio, he met another teenage student, Jimmy “Sir Slyde” Mitchell. Together they formed the tap dance duo, The Slyde Brothers. In the late forties and early fifties, Jimmy Slyde danced with the leading big bands in the United States, including those of Count Basie and Duke Ellington. In the 1960s, Slyde danced throughout Europe and lived in Paris for six years. In the 1980s, the Smithsonian Institution brought him together for a first-time collaboration with Steve Condos in a program of jazz tap improvisation. At this time, he also received a Tony Award nomination for his performance in the Broadway musical Black and Blue and was a featured dancer in the Hollywood film Tap. Slyde was the recipient of a rarely granted three-year Choreographers’ Fellowship form the National Endowment for the Arts and in 1999 received the NEA National Heritage Fellowship Award. In 2002 Slyde received an honorary Doctor of Performing Arts from Oklahoma City University and in 2003 he received a Guggenheim Fellowship for Choreography.

Aria Hendricks has performed with her father’s group, Jon Hendricks & Co. (the successor to Lambert, Hendricks and Ross), and appeared all over the world including at Carnegie Hall and Lincoln Center, the Blue Note, and such festivals as the North Sea, Umbria, and Montreux. Hendricks has also appeared on CDs including “Freddie Freeloader, Jon Hendricks and Friends,” and “Boppin’ At The Blue Note” with such artists as Al Jarreau, Bobby McFerrin, George Benson, Wynton Marsalis, The Manhattan Transfer, and Count Basie Orchestra. She has performed with Chaka Khan, Nancy Wilson, James Moody,

Dizzy Gillespie, Dianne Reeves, and Joe Williams among others. Hendricks earned a degree in film from New York University and a Bachelors of Music from the Manhattan School of Music. She has recently embarked on a solo career, focusing on New York clubs.

Peter Mihelich has been Jon Hendricks’ accompanist since 1998.Since moving to New York in 1990, he has toured with Clark Terry, Grady Tate, Sheila Jordan, Mark Murphy, Annie Ross, Jimmy Cobb, Kenny Washington, Benny Bailey, Eddie Henderson, Dusko Goykovich and Etta Jones as well as up and coming musicians like Eric Alexander, Joe Magnarelli, Jim Rotundi, and Peter Bernstein. Mihelich was born in Ljubljana, Slovenia, where he began piano studies at the age of five, studying formally from the ages of 11 to 15 with his mother, one of Slovenia’s preeminent instructors. Between 1985 and 1990 he studied in Graz, Austria at the Hochschule fur Music und Darstellende Kunst jazz department, where he met Sheila Jordan, Bob Mover, and Mel Lewis who encouraged him to explore his potential in the U.S. Mihelich has performed at such jazz clubs as the Blue Note, Birdland, and Yoshi’s, concerts halls such as Carnegie Hall, Chicago Symphony Hall, and the Kennedy Center and major festivals such as North Sea and JVC.

Genithia Lilia Hogges ‘01, soprano, was born and raised in Miami, Florida. An alumna of Harvard College and the Harvard Graduate School of Education, she has worked as a soloist, music minister, conductor, and arranger. Hogges’ repertoire encompasses classical, jazz, gospel, and folk songs, as well as contemporary styles. She currently serves on the Music and English faculties at Newton Country Day School of the Sacred Heart.

The Kuumba Singers of Harvard College is a 100-member choir dedicated to the expression of black creativity and spirituality through song. Founded in 1970 as a source of unity and strength for black students, Kuumba is presently Harvard’s largest multicultural organization. The Kuumba Singers, under the direction of Sheldon K. X. Reid ’96, explore and share the rich musical tradition of black culture through Africa folk songs, Negro spirituals, Traditional and Contemporary gospel, Master Choral works, and original compositions. Kuumba’s 36th Annual Spring Concert takes place on Saturday, May 6 in Sanders Theatre.

Conductors

Tom Everett, Director of Bands at Harvard and Jazz Advisor to the Office for the Arts, founded jazz programs at Harvard in 1971. He taught the first jazz course for academic credit at Harvard in 1972. He has also taught at the New England Conservatory, Brown University, the International Trombone Workshop, Indiana University Summer School, and the Franz Liszt Academy (Budapest). As a bass trombonist, he performed with the Bolshoi Ballet, Boston Ballet, Boston Pops, and Boston Opera Orchestras, the Cantata Singers, and the jazz bands of Clark Terry, Phil Wilson, Dizzy Gillespie, Tommy and Jimmy Dorsey, and Ray Charles.

Everett conducted on J.J. Johnson’s 1996 CD, “The Brass Orchestra” (Verve), which was nominated for three Grammy Awards. He has served as assistant to jazz composers/historians Andrè Hodeir and John Lewis and has been published in such journals as The Instrumentalist, Black Perspectives in Music, Cadence, Journal of Jazz Studies, The Music Educators National Journal, Brass Bulletin, and The College Band Directors’ National Association Journal.

A charter member of the International Association of Jazz Educators, Everett is a founder and first president of the International Trombone Association and past president of the New England College Band Association. He has been a panelist for the New England Foundation for the Arts and Massachusetts Cultural Council and coordinates the Harvard Club of Boston’s Annual Jazz Combo Competition. He holds degrees from Ithaca College and studied privately at the Eastman School of Music.

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Sheldon Reid ‘96 has been working with the Kuumba Singers of Harvard College for fourteen years. The first six were spent assisting and studying under then director, Mr. Robert Winfrey. Since becoming director in 1998, Reid has made the mission of the choir his own and is dedicated to “celebrating the creativity and spirituality of black culture” and the concepts of community that the mission is rooted in. He has had the honor to lead Kuumba in performing for two men who have always inspired the choir and informed its mission: Nelson Mandela and Bishop Desmond Tutu.

Reid is an arranger and a writer and has performed his original works with the choir in Trinidad, Bermuda, and all over the continental U.S. He conducted a select group of the singers in a collaborative effort with Bobby McFerrin in Boston’s Symphony Hall and the Spirits of Music International Music Festival in Leipzig, Germany and is featured on the “Sommer Nachts Musik” DVD. Reid teaches Chemistry and Music at Newton North High School. He is the founder and co-director of the Jubilee Singers for whom he has developed, in collaboration with one of his mentors and co-director Richard Travers, a curriculum to mirror the issues of community, social responsibility, identity, race, and religion that spring from groups like the Kuumba Singers. He holds degrees from Harvard College and the Harvard Graduate School of Education.

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David Berger, a leading authority on the music of Duke Ellington, Ellington’s compositional colleague Billy Strayhorn, and the Swing Era, was conductor and arranger for the Lincoln Center Jazz Orchestra from its inception in 1988 through 1994. He has transcribed more than 600 full scores of classic recordings including over 400 works by Duke Ellington and Billy Strayhorn. In 1996 Berger collaborated with choreographer Donald Byrd to create “The Harlem Nutcracker,” a two-hour dance piece that expands the 31-minute Tchaikovsky/Ellington/Strayhorn score into an American classic. He conducts “The Sultans of Swing,” a 15-piece band that brings swinging jazz to a new generation. Peter Watrous of the New York Times wrote that Berger “captured Mr. Ellington’s tempos, an integral part of his compositions, perfectly...the pieces soared…the orchestra has remained faithful to the harmonies and structure of the pieces, but has also let the soloists interpret their own improvisation, bringing real heat to the performance.” Berger has written music for television, Broadway shows, and film. His compositions, arrangements, and transcriptions are played by bands all over the world. A seven-time recipient of National Endowment for the Arts fellowships, Berger resides in New York City where he teaches at the Juilliard School.

Office for the Arts at Harvard

Main Office, 74 Mt. Auburn StreetDirector Jack Megan Director of Programs Cathleen McCormick Learning From Performers Program Assistant Deena Anderson Financial Associate Sally BondAssistant to the Director Kelley JohnsonManager, Learning From Performers Thomas Lee Administrative Coordinator Scott LozierAssociate Project Manager, ARTS FIRST Ingrid Schorr Project Manager, ARTS FIRST and Public Art Teil Silverstein Program Associate Stephanie TroisiInformation Resource Jessica Watkins

Memorial Hall/Lowell Hall Complex StaffDirector Eric C. EngelAssistant Director Raymond C. TraiettiProgram Manager Ruth A. PolleysProduction Manager Tina BowenProduction Services Coordinator Ilya Luvish Production Associate Jonathan SalzProgram Assistant Jaclyn Campbell

Harvard Box Office StaffManager Tina L. SmithAssociate Manager & Manager of Student Ticketing Services Jason GovostesSenior Box Office Associate Bob BartoschBox Office Associate Amy L. LeBrunBox Office Associate Michael Van DevereBox Office Assistant Heather Hughes Box Office Assistant Amy Nora Long Box Office Assistant Leah Zaguroli

Ceramics ProgramDirector Nancy SelvageCoordinator Shawn Panepinto OFA Affiliated Conductors Conductor, Baroque Chamber Orchestra Robert MealyDirector, Choral Activities Jameson MarvinAssociate Conductor, Harvard Radcliffe Chorus Kevin LeongChoral Administrator; Conductor, Choir in Progress Sarah WhittenAssistant Conductor, Collegium Musicum Michael BarrettAssistant Conductor, Harvard Glee Club Michael McGaghieAssistant Conductor, Radcliffe Choral Society Katie WoolfConductor, Harvard Pops Allen Feinstein Director, Harvard University Bands and Jazz Advisor, Office for the Arts Thomas Everett Assistant Director, Harvard University Bands Mark Olson Director, Harvard Radcliffe Orchestra James YannatosConductor, Kuumba Singers Sheldon ReidConductor, Mozart Society Orchestra Akiko Fujimoto

Agassiz TheatreTechnical Director for College Theatre Programs Alan Symonds

Dance ProgramDirector Elizabeth BergmannAdministrator Susan Larson Dance Production Supervisor Jessica FloresDance Assistant Joshua LeggLecturer on Dramatics Arts; Artistic Director Emerita, Radcliffe College Claire Mallardi

Sanders Theatre in Memorial Hall is managed by the Office for the Arts at Harvard.

All inquiries should be addressed to: Memorial Hall/Lowell Hall Complex45 Quincy Street, Room 027, Cambridge, MA 02138Phone: 617.496.4595, Fax: 617.495.2420

CALENDAR OF EVENTS Available at the Harvard Box Office web site: www.fas.harvard.edu/tickets

SMOKING There is no smoking allowed in Memorial Hall.

RESTROOMS/PUBLIC TELEPHONES Located on the Lower Level

PARKING Free parking for Sanders Theatre events is available at the Broadway Garage, entrance at Felton Street, from one hour pre-performance to one hour post-performance. For most student events, patrons will be asked to park at 52 Oxford Street.

LOST AND FOUND Call 617.496.4595 or visit the Administrative Offices, Memorial Hall room 027. Memorial Hall and Harvard University are not responsible for lost or stolen property.

LATECOMERS will be seated at the discretion of the management.

ELECTRONIC DEVICES Please silence all cell phones, pagers and other electronic devices.

PHOTOGRAPHY AND RECORDING Use of cameras and audio and video recording equipment is prohibited. Film and tape will be confiscated.

EMERGENCY EXITS Please take a moment to identify the nearest emergency exit. In addition to the six regular exits, there are emergency exits located at the rear of the mezzanine and balcony levels.

ACCESS FOR PATRONS WITH DISABILITIESWheelchair accessible seating is available through the Harvard Box Office by telephone at 617.496.2222, TTY 617.495.1642, or in person. Sanders Theatre is equipped with Assistive Listening Devices, which are available at the Box Office, one-half hour before performance time.

For information about parking for disabled patrons, call Marie Trottier, University Disability Coordinator, at .617.495.1859, TTY 617.495.4801, Monday through Friday 9am to 5pm. Please call at least two business days in advance.

THE HARVARD BOX OFFICEPhone: 617.496.2222; TTY: 617.495.1642Advance Sales: Holyoke Center Arcade, Harvard SquareOpen Tuesday-Sunday 12 noon to 6 pm. Closed Mondays, some holidays.Pre-Performance Sales: Sanders Theatre in Memorial Hall. Open on performance days only, at 12 noon for matinees and 5 pm for evening performances. Open until one-half hour after curtain.

Upcoming Office for the Arts Events

Except where noted, admission for all events is free and open to the public (tickets/RSVPs not required). For more information call 617.495.8676 or visit www.fas.harvard.edu/ofa.

Friday, May 5, 3:30 pm: A Conversation with Playwright CHRISTOPHER DURANG ‘71 (Sister Mary Ignatius Explains It All for You, The Marriage of Bette and Boo), recipient of the 2006 Harvard Arts Medal, moderated by actor John Lithgow ‘67. Agassiz Theatre, 10 Garden St., Radcliffe Yard. Free tickets available through the Harvard Box Office: tickets for Harvard students (2 per ID) now available; tickets for other Harvard affiliates (2 per ID) available beginning April 27; all remaining tickets available to the public (2 per person) beginning May 2. Information: 617.496.2222 (TTY: 617.495.1642), www.fas.harvard.edu/tickets. Presented by OFA Learning From Performers and the Board of Overseers of Harvard College.

Thursday, May 4 - Sunday, May 7: ARTS FIRST 2006, Harvard University’s annual spring celebration of the arts featuring more than 200 music, theater, dance, and visual arts events. Information and complete listings: www.fas.harvard.edu/arts

Thursday, May 19 - Sunday, May 22: CERAMICS PROGRAM SPRING SHOW & SALE, 219 Western Ave., Allston. Long recognized as featuring the best and most varied selection of contemporary ceramics by 40 potters and sculptors affiliated with the OFA Ceramics Program. Free wine cups at opening reception. Information: www.fas.harvard.edu/ceramics, 617.495.8680 or 617.497.7923.

Register now for OFA Ceramics Program Summer Classes and Workshops at www.fas.harvard.edu/ceramics.