OC - Hubbard Street

1Hubbard Street Dance Chicago | Overture Center

A SUPRANET COMMUNICATIONS SERIES EVENT

THE DANCERS

Taryn Kaschock Russell Kristen Brogdon Director, HS2 General Manager

Terence Marling Alejandro Cerrudo Rehearsal Director Resident Choreographer

Claire Bataille Director, Lou Conte Dance Studio

Andy Brown Ishanee DeVas Matt Miller Production Manager Company Manager Lighting Director

Kilroy G. Kundalini Aprill C. Clements Audio Engineer Stage Manager/Properties Master

Stephan Panek Emily Predny Rebecca Shouse Head Carpenter Lighting Supervisor Wardrobe Supervisor

Lou Conte Founder

This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events and a grant from the Illinois Arts Council, a state agency.

FRI, FEB 3, 2012 | Overture Hall

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Garrett AndersonJesse Bechard

Christian BroomhallJacqueline BurnettAlejandro CerrudoMeredith Dincolo

Kellie EpperheimerJonathan Fredrickson

Jason HortinAlice KlockAna Lopez

Pablo PiantinoPenny SaundersDavid SchultzKevin ShannonJessica Tong

Robyn Mineko Williams

Glenn EdgertonArtistic Director

Jason D. PalmquistExecutive Director

2 Overture Center | Hubbard Street Dance Chicago

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PROGRAM THREE TO MAXOhad Naharin, ChoreographyVarious Artists, MusicRakefet Levy, Costume DesignAvi Yona Bueno (Bambi), Lighting DesignLaurel Shoemaker, Lighting Consultant Yoshifumi Inao, Repetiteur

THREE TO MAX, created especially for Hubbard Street Dance Chicago in 2011, is a collage of past works by Naharin over the past decade. Working with Naharin is always a rewarding experience for Hubbard Street dancers, who are able to experience the synergy of his “Gaga” method of movement, which involves covering the studio mirrors and letting dancers observe and analyze many things at once. “We are aware of the connection between effort and pleasure,” Naharin explains. “This piece is the fifth work of Ohad’s that I have been fortunate enough to dance at Hubbard Street,” says dancer Robyn Mineko Williams. “Each experience has proven to be an incredibly invigorating one, both physically and mentally. I find that Ohad’s work requires an open and alert mind, as well as a heightened sense of intention and presence, beautiful challenges for an artist to embrace.” Working with the dancers of Hubbard Street was equally gratifying for Yoshifumi Inao, who began the rehearsal process before Naharin’s arrival and described the dancers as “hard workers that learn fast and take care of themselves.”

THREE TO MAX is sponsored by Grosvenor Capital Management L.P., GoodSmith, Gregg & Unruh, LLP, and the Elizabeth F. Cheney Foundation. This work was created as part of Hubbard Street’s 2011 Israel Project, which is supported by Meg and Tim Callahan and Jane and Michael Strauss, Lead Individual Sponsors, Randy and Lisa White, Individual Sponsors and Choreographer’s Circle members Richard L. Rodes, and Sandy Fisher whose gift is in honor of Byron and Judy Pollock.

Created and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, March 17, 2011. Technical support provided by the McAninch Arts Center at College of DuPage, Glen Ellyn, IL. Music by J.S. Bach, excerpts from “The Goldberg Variations” from the album Bach: The Goldberg Variations as recorded by Glenn Gould for CBS Records. Music by Brian Eno: “Neroli,” from the album Neroli for All Saints Records. Music by Ohad Naharin: “Maxim Warrat”. Music by Rayon: “Mount Carmel”. Music by Seefeel: “Meol,” from the album Succor for Warp Records. Music by The Beach Boys: “You’re Welcome,” from Heroes and Villains for Capitol Records.

INTERMISSION

Too BeaucoupSharon Eyal and Gaï Behar, ChoreographyOri Lichtik, MusicOri Lichtik, Sharon Eyal, and Gaï Behar, Soundtrack DesignSharon Eyal and Gaï Behar, Costume DesignAvi Yona Bueno (Bambi), Lighting Design

Too Beaucoup is a full-company work created for Hubbard Street Dance Chicago by Sharon Eyal and Gaï Behar. The piece is the choreographic sequel to Bill, a work created by Eyal and Behar for Batsheva Dance Company in 2010, inspired partly by the video artist Bill Viola. Bill is about things people experience very strongly, which change without notice. Too Beaucoup, meaning “too too much”, aims to manipulate and replicate precise and robotic movement that offers a sense of watching a 3-D video. Because of this, music, costumes and lighting become just as important as the movement. The creative process proved eye-opening for Hubbard Street dancers. “If I had to choose what I learned most during the process, it would have to be how different we all are as individuals and how simple it can be to share one mind between us,” explains Hubbard Street dancer Christian Broomhall. “In the beginning stages of the process with Sharon, all of the dancers had their own interpretation of what the movement and musicality of the movement was supposed to be. And now we are all operating as one organism,


PROGRAM (cont.) most of the time, without having to bring out the bleach and toothbrush. When a community decides to exist as one and be in-tune with each other, all of our differences go unnoticed.”

The Sara Lee Foundation is the Lead Corporate Sponsor of Too Beaucoup. This work was created as part of Hubbard Street’s 2011 Israel Project, which is supported by Meg and Tim Callahan and Jane and Michael Strauss, Lead Individual Sponsors, Randy and Lisa White, Individual Sponsors and Choreographer’s Circle members Richard L. Rodes, and Sandy Fisher whose gift is in honor of Byron and Judy Pollock.

Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, March 17, 2011. Technical support provided by the Irvine Barclay Theater, Irvine, CA. Music by Gang of Four: “At Home He’s a Tourist,” from the album Entertainment! for Warner Music Group. Music by Vicious Pink: “8:15 to Nowhere,” for PIAS. Music by Depeche Mode: “See You”, “The Meaning of Love,” from the album A Broken Frame for Warner Music Group. Music by COH: “Quadrate Fur Max-Ernst,” from the album CoH – 0397 Post-Pop for MEGO Records. Music by Leonard Cohen: “Hey That’s No Way to Say Goodbye” as recorded by IV League. Music by Cole Porter: “It’s De-Lovely,” from the album Ted Sommer: Pleasant Percussion: The Music of Cole Porter for Universal Music Group. Music by Vice: “Temptations” for the album Trojan Horse for Tresor Records. Music by Bobby Timmons: “Moanin’” for the album Moanin as recorded by Art Blakey & The Jazz Messengers for EMI Music. Music by Oren Barzilay: “God’s Creation,” from the album Sorrow Demons Joy Blizzards for High Fidelity Records.

HUBBARD STREET DANCE CHICAGO

HISTORYHubbard Street Dance Chicago, under

the artistic direction of Glenn Edgerton since 2009, celebrates 34 years as one of the most original and forward-thinking forces in contemporary dance. The core purpose of Hubbard Street is to bring artists, art and audiences together to enrich, engage, educate and transform lives through the experience of dance. Hubbard Street serves as an emblem of the city’s international cultural profile and continues its role as a leader in the field of dance, pushing the art forward by creating new works, diversifying repertoire and cultivating the next generation of dancers and choreographers.

Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio, when in 1977 several aspiring young artists ap-proached dance teacher/choreographer Lou Conte to teach tap classes. At the time, the studio was located at the corner of LaSalle Street and Hubbard Street, which is how the company acquired its name. Within a decade it began to attract nationally known choreographers to create dances for the Company. Conte served as director for 23 years, during which he developed relationships with emerging and world-renowned chore-ographers including Lynne Taylor-Corbett, Margo Sappington, Daniel Ezralow, Nacho Duato, Jirí Kylián and Twyla Tharp, all of

whom helped shape Hubbard Street’s repertoire into what it is today.

In 2000, Jim Vincent stepped into the role of Artistic Director. Vincent worked to further expand the company’s programming, repertoire and acclaim, while also building a legacy of new choreographic development. He introduced initiatives that have become staples of Hubbard Street’s programming, including the “Inside/Out” Choreography Workshop, during which Hubbard Street dancers create original choreography for their peers; and the Choreographic Fellowship, which identifies and develops emerging choreographic talent from within the company. Dancers Alejandro Cerrudo and Robyn Mineko Williams, as well as Artistic Associate Terence Marling have all developed works for the company. Dancer Penny Saunders choreographed a work for Hubbard Street 2 (the second company) through Hubbard Street’s annual National Choreographic Competition.

In 2009, then Associate Artistic Director Glenn Edgerton stepped into the role of Artistic Director. Soon after, he named Alejandro Cerrudo Hubbard Street’s first Resident Choreographer. Cerrudo has created eight works for the company, and in the 2011-12 season he creates two more works. Edgerton’s dynamic artistic vision


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for fostering new works and strengthening the company’s repertoire while cultivating and deepening relationships with collaborative partners has fast become a reality. Since becoming Artistic Director, Edgerton has secured new commissions and repertoire hits by master and notable choreographers including Jirí Kylián, Nacho Duato, William Forsythe, Twyla Tharp, Ohad Naharin, Victor Quijada, Aszure Barton and Sharon Eyal.

Key to Hubbard Street’s mission is to cultivate collaborative partnerships with Chicago’s most significant cultural and community organizations. Since 2000, Hubbard Street has established partnerships with the Chicago Symphony Orchestra, presenting new and existing choreography set to orchestral music performed by the symphony; the Art Institute of Chicago, producing dance works within art exhibits and free information sessions to the public to explore the vital connection between dance and art; Illinois Institute of Technology School of Architecture, re-imagining the space in which dance is

performed; and Rush University Medical Center, which helped establish the HSDC Parkinson’s Project, using contemporary dance techniques to improve the mobility and quality of life for participants.

MAIN COMPANYToday, the main company is comprised

of 17 dancers who display unparalleled versatility and virtuosity. One of the only American dance companies to operate year-round, Hubbard Street continues to produce bold and passionate performances in Chicago, at national and international celebrated dance venues, and through some of the most cutting-edge dance programs at prestigious universities around the country. While many contemporary dance peers are single-choreographer organizations, Hubbard Street has always been a repertory company, representing numerous choreographers and styles. The company in its entirety has grown to be recognized as a leader in the creation and development of new choreography, unique collaborations and innovative production concepts.

HUBBARD STREET DANCE CHICAGO

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HUBBARD STREET DANCE CHICAGO Its importance is based both as a

repository of work from some of the 20th and 21st century’s best contemporary choreographers and as a commissioning agent of new works, having commissioned and presented almost 200 new and acquired dance works throughout its history. Critically acclaimed for its exuberant, athletic and innovative repertoire, Hubbard Street is always changing and evolving while maintaining the highest artistic standards. Additionally, Hubbard Street now offers a Summer Intensive, which provides concentrated training in ballet and modern technique classes, repertoire rehearsals, dance history lectures and health and wellness presentations to pre-professional dancers from across the nation.

HUBBARD STREET 2Hubbard Street 2 (HS2) was formed

in 1997 to prepare dancers ages 18-25 for the life of a professional dancer in a contemporary company. HS2 provides talented young artists a chance to develop their professional experience, fostering them quickly into dynamic and bold dancers. The company’s vibrant environment gives dancers the experiences necessary to develop strong technique and an individual voice. HS2 dancers are known for their athleticism and fearless dancing. Under the direction of Taryn Kaschock Russell, HS2’s six company members perform and tour to critical acclaim at venues around the world. To date, 15 HS2 dancers have advanced to the main company, and many more have joined other national and international companies. HS2 hosts the annual National Choreographic Competition, which gives three emerging choreographers chosen from hundreds of applicants the chance to realize their artistic expression on the dancers of the second company. Almost 30 new works have been created for HS2 as part of the National Choreographic Competition.

LOU CONTE DANCE STUDIOUnder the direction of Claire Bataille,

one of the original four Hubbard Street dancers, Lou Conte Dance Studio (LCDS) attracts aspiring dancers from around the nation and dance enthusiasts in the Chicago area. Named “Best Dance Class for Adults” by Chicago magazine, LCDS offers a wide variety of weekly classes in ballet, jazz, modern, tap, African, hip hop, African drums, musical theater, yoga,

Pilates and Zumba® at all levels from basic to professional, as well as workshops and master classes. As part of its commitment to providing quality training for the community, LCDS maintains a scholarship program for advanced dancers that provides a definitive step into the professional dance world. With an exceptional faculty of experienced performers, choreographers and musicians from the Chicago community, LCDS continues to be at the forefront of the nation’s training institutions.

EDUCATION & COMMUNITY PROGRAMS

Hubbard Street’s Education & Community Programs began in 1997 in order to offer movement-based arts experiences to students, teachers and families throughout the Chicago area, giving them opportunities to participate in dance activities and to enhance their learning in other curricular areas. These programs, under the direction of Kathryn Humphreys, bring students into the world of dance by actively engaging them in perception, research, reflection and discussion, assisting them in strengthening basic proficiencies to develop analytical and abstract thinking, interpretation and problem-solving skills. Hubbard Street’s partnerships with schools provide teaching artists and educators the opportunity to plan, teach and learn together to create exciting and meaningful integrated curriculum which challenges students and takes learning to new levels. Hubbard Street also offers family workshops and youth dance programs at the Hubbard Street Dance Center and through its community partnerships at locations throughout the city.

Please join us for an informal discussion and talk-back in Overture Hall immediately after tonight’s performance.

Meet the Artist


STAFF BIOGRAPHIES GLENN EDGERTON (Artistic Director) joined Hubbard Street Dance Chicago after an international career as a dancer and director. He began his dancing career at The Joffrey Ballet where, mentored by Robert Joffrey, he performed leading roles in the company’s contemporary and classical repertoire for 11 years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five years. He retired from performing to become artistic director of the main company, leading NDT for a decade and presenting the works of Jirí Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot and Sol Leon, among others. From 2006 to 2008, he directed The Colburn Dance Institute at The Colburn School of Performing Arts in Los Angeles. Edgerton joined Hubbard Street’s artistic leadership team full-time as associate artistic director in 2008. Since 2009, Edgerton has guided the company forward as artistic director, building on more than three decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work established the company as a leader in dance performance, education and appreciation.

JASON D. PALMQUIST (Executive Director) joined Hubbard Street Dance Chicago in May 2007, after serving the arts community in Washington, D.C. for nearly 15 years. Palmquist began his career at the John F. Kennedy Center for the Performing Arts, completing his tenure there as vice president of dance administration. At the Kennedy Center, he oversaw multiple world-premiere engagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet and the inception in 1997 of the Millennium Stage, an award-winning, free daily performance series that to date has served more than 3 million patrons. Deeply enriching the Kennedy Center’s artistic programming, he successfully presented engagements with many of the world’s most important dance companies including the Royal Ballet, Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre and New York

City Ballet. Palmquist also managed the Kennedy Center’s television initiatives, including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of executive director of the Washington Ballet. Under his leadership, the company presented full performance seasons annually at the Kennedy Center and the Warner Theater, and nurtured its world-renowned school and extensive education and outreach programs. A graduate of the University of Northern Iowa, Palmquist currently serves on the boards of the Arts Alliance of Illinois and the Harris Theater for Music and Dance.

KRISTEN BROGDON (General Manager) joined Hubbard Street Dance Chicago in July 2007, after nine years at the John F. Kennedy Center for the Performing Arts in Washington, D.C., where she first worked with Hubbard Street Executive Director Jason Palmquist. During her tenure at the Kennedy Center, Brogdon was responsible for programming the facility’s unparalleled ballet and contemporary dance season. She managed The Suzanne Farrell Ballet from its inception in September 2001 and was instrumental in the creation and growth of the Metro D.C. Dance Awards. Brogdon also created and produced a commissioning program for local choreographers, facilitating work by 20 artists from D.C., Maryland and Virginia. Prior to the Kennedy Center, she was the company manager and publicist for Li Chiao-Ping Dance, a modern dance company based in Madison, Wisconsin. Brogdon holds a Master of Arts in Business with a concentration in Arts Administration from the University of Wisconsin and a Bachelor of Arts in Economics from Duke University.

TARYN KASCHOCK RUSSELL (Director, HS2) joined Hubbard Street Dance Chicago after an extensive career with the Joffrey Ballet. Starting in 1995 she spent seven years performing and touring extensively with the company. During that time, she expanded her artistry by dancing the principal roles in classic works by Agnes DeMille, George Balanchine, Martha


STAFF BIOGRAPHIES (cont.) Graham and John Cranko. She was also the first woman outside of David Parsons company to dance his signature solo Caught. Kaschock Russell joined Hubbard Street Dance Chicago in 2002 and the following January was named one of Dance Magazine’s “25 to Watch.” Her Hubbard Street repertoire included master works by Jirí Kylián, Nacho Duato, William Forsythe and Ohad Naharin. Kaschock Russell also participated in numerous original creations while a member of the company. In 2007, she became a member of Hubbard Street’s artistic staff and began teaching company class, conducting rehearsals and re-setting choreography. She was named Director of Hubbard Street 2 in 2008 and also coordinates Hubbard Street’s National Choreographic Competition. In 2010 Kaschock Russell conceived and directed the critically acclaimed Hubbard Street 2 family program Harold and the Purple Crayon: A Dance Adventure.

TERENCE MARLING (Rehearsal Director) began his ballet training in 1982 at the Ruth Page School of Dance under the direction of Larry Long. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, performing works by George Balanchine, Glen Tetley, Paul Taylor, Jirí Kylián, Ohad Naharin, Kevin O’Day and Dwight Rhoden as well as many full-length classical ballets. In 2003 Terence was invited to join the National Theatre Mannheim in Germany under the direction of Kevin O’Day where he participated in the creation of many new works. Marling joined Hubbard Street Dance Chicago in April of 2006 and danced with the company until December of 2009. He participated in the creation of new works with Jorma Elo, Toru Shimazaki, Jim Vincent, Lucas Crandall and Alejandro Cerrudo, and danced works by Susan Marshall, Nacho Duato, Ohad Naharin, Margarite Donlon, Jirí Kylián and others. Marling became Rehearsal Director for Hubbard Street in January of 2010.

ALEJANDRO CERRUDO (Dancer, Resident Choreographer), born in Madrid, Spain, received his training at the Real Conservatorio Professional de Danza de Madrid. After becoming a professional dancer in 1998, Cerrudo’s dance career has been shaped and enriched by various

dance companies including Victor Ullate Ballet, Stuttgart Ballet, Nederlands Dans Theater 2 and, since 2005, by Hubbard Street Dance Chicago. In 2008 Cerrudo was named Hubbard Street Choreographic Fellow and became the company’s first Resident Choreographer in 2009. Cerrudo has created several works for Hubbard Street and for the company’s unique collaborations with the Chicago Symphony Orchestra and Nederlands Dans Theater. Cerrudo’s works are performed by dance companies around the U.S. and the world, including Germany, Denmark, The Netherlands and Australia. Always dancing and constantly creating, Cerrudo was honored with an award from The Boomerang Fund for Artists in 2011.

CLAIRE BATAILLE (Director, Lou Conte Dance Studio) was a leading dancer with Hubbard Street Dance Chicago from 1977-1992, performing works created by Lou Conte, Twyla Tharp, Lynne Taylor-Corbett, Daniel Ezralow, John McFall and Margo Sappington. She received the Ruth Page Award for Outstanding Dancer in 1992. From 1977-2001 Bataille also served the company as Assistant Artistic Director, Ballet Mistress and Rehearsal Director. She choreographed five works for Hubbard Street between 1978 and 1985 and toured nationally and internationally with the company. Bataille began teaching at the Lou Conte Dance Studio in 1975 and has been teaching dance in Chicago ever since. Currently she is on the faculty of the Lou Conte Dance Studio and River North Chicago Dance Company and is a guest teacher for several Chicago companies. In 2003 she earned her certification in the Pilates Method in New York with Romana’s Pilates. In 2005 Bataille was appointed Associate Director of the Lou Conte Dance Studio at the Hubbard Street Dance Center and in 2008 was promoted to Director.

KATHRYN HUMPHREYS (Education Director) develops and implements dance education initiatives designed to improve teacher and teaching artist practice and collaboration to effect whole school change and further understanding of the role of dance in public education. With more than a decade of experience in arts education, her work supports local and


STAFF BIOGRAPHIES (cont.) national groups as they work to understand and implement dance education in the public schools, utilizing the model developed by Humphreys at Hubbard Street. She holds an MA in Dance from Texas Woman’s University and consults locally and nationally on issues relating to dance education and research.

LOU CONTE (Founder), after a performing career including Broadway musicals such as How to Succeed in Business Without Really Trying, Mame and Cabaret, established the Lou Conte Dance Studio in 1974 and three years later founded what is now Hubbard Street Dance Chicago. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists including Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow. These relationships transformed Hubbard Street Dance Chicago into the internationally acclaimed repertory company it is today. Conte continued

to build Hubbard Street’s repertoire by forging a key relationship with Twyla Tharp in the 1990s, acquiring seven of her works, including an original work for the company. Conte further expanded the company’s repertoire to include European choreographers Jirí Kylián and Nacho Duato and Israeli choreographer Ohad Naharin. Throughout his 23 years as the company’s artistic director, Conte received numerous awards, including the inaugural Ruth Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995 and the Chicagoan of the Year award from Chicago magazine in 1999. In 2003 Conte was inducted as a laureate in the Lincoln Academy of Illinois, the state’s highest honor. He has been credited by many for helping to raise Chicago’s international cultural profile and for creating a climate for dance in the city, where the art form now thrives.

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THE DANCERS GARRETT ANDERSON (Tucson, AZ) began his training in Walnut Creek, California under the direction of Richard Cammack and Zola Dishong at the Contra Costa Ballet Centre. He went on to study at San Francisco Ballet school and then in Pacific Northwest Ballet’s professional division. In 2001, Anderson joined San Francisco Ballet as a member of the corps de ballet and in 2005 was promoted to soloist. In 2008, he joined the Royal Ballet of Flanders in Antwerp, Belgium, as a first soloist under the direction of Kathryn Bennets. There he toured extensively throughout Europe and the world. In January of 2011, he returned to the United States to dance with Trey McIntyre Project. Anderson was the recipient of the American Ballet Theatre national dance scholarship and holds a B.A. in dance from St. Mary’s College of California. Anderson joined Hubbard Street Dance Chicago in August 2011.

JESSE BECHARD (Bolton, MA) began his formal ballet training at 16 and graduated from Walnut Hill School for the Arts. He attended summer programs at Boston Ballet, Alonzo Kings LINES Ballet and Ballet Austin. In 2000, having completed his freshman year at the University of Chicago, he returned to dance. After a year with Ballet Austin he joined Richmond Ballet where he danced for eight years, performing works by John Butler, Jessica Lang, Val Caniparoli, William Soleau, Mauricio Wainrot and Colin Conner. Bechard joined Hubbard Street Dance Chicago in August 2010.

CHRISTIAN BROOMHALL (Columbus, OH) received classical training from BalletMet Columbus under the direction of David Nixon and Yoko Ichino. From 1999 to 2001 he danced professionally with BalletMet Columbus. He then performed with the Northern Ballet Theatre until 2005, when he returned to dance with BalletMet Columbus until 2008. Broomhall joined Hubbard Street Dance Chicago in August 2008.

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THE DANCERS (cont.) JACQUELINE BURNETT (Pocatello, ID) received her classical ballet training in Pocatello, Idaho from Romanian Ballet Master Marius Zirra, with additional summer training at Ballet Idaho, Brindusa-Moore Ballet Academy, Universal (Kirov) Ballet Academy, the Juilliard School and the San Francisco Conservatory of Dance. She received a BFA in Dance Performance from The Ailey School/Fordham University joint program in New York City in May 2009, graduating magna cum laude and with departmental honors. Burnett joined Hubbard Street Dance Chicago as a Center Apprentice in January, 2008, while concurrently completing her BFA degree, and became a member of the main company in August, 2009. Burnett is also a 2011-12 Princess Grace Honorarium recipient.

ALEJANDRO CERRUDO see staff bios.

MEREDITH DINCOLO (Indianapolis, IN) began dancing at age seven in Indianapolis and continued her training under Iacob Lascu in Michigan. She graduated from the University of Notre Dame in 1993 and moved to Chicago to pursue dance. In 1996, Dincolo joined Hubbard Street Dance Chicago where she spent four years under the direction of Lou Conte. In 2000, she joined Lyon Opera Ballet and went on to the Nationaltheater Mannheim, under Kevin O’Day and Dominique Dumais. Dincolo returned to Hubbard Street Dance Chicago in November 2004.

KELLIE EPPERHEIMER (Los Osos, CA) began her dance training in 1988 with the Academy of Dance and Civic Ballet of San Luis Obispo. Epperheimer joined Hubbard Street 2 in January 2005 before becoming an apprentice with the main company in December 2006. Epperheimer became a full company member in January 2008.

JONATHAN FREDERICKSON (Corpus Christi, Texas) studied ballet at the Munro Ballet Studios, home to Corpus Christi Ballet, under teachers Cristina Munro and Kay Boone. He received his BFA for Dance Performance and Choreography from California Institute of the Arts in 2006. Immediately thereafter, he joined the Limon Dance Company where he had the opportunity to perform

principal roles. While dancing with Limon, he created two new works on the company. He is a former winner of Hubbard Street’s National Choreographic Competition and was named one of Dance Magazine’s “25 to Watch” in 2011 for his choreography. Fredrickson joined Hubbard Street in February 2011.

JASON HORTIN (Olympia, WA) graduated from the University of Nevada, Las Vegas with a BFA in dance under the direction of Louis Kavouras and has danced with Moving People Dance Theatre, the Erick Hawkins Dance Company and River North Chicago Dance Company. Jason joined Hubbard Street Dance Chicago as an apprentice in August 2007 and was promoted into the main company in July 2008.

ALICE KLOCK (Ann Arbor, MI) began dancing at the age of 11. In 2003, she attended Interlochen Arts Academy, where she achieved artistic and academic high honors upon graduation. In 2007, Alice moved to California to study with Alonzo King in the LINES/Dominican BFA program. She has attended summer programs at the San Francisco Ballet, The National Ballet School of Canada, Miami City Ballet, Alonzo King LINES Ballet, San Francisco Conservatory of Dance, Springboard Danse Montreal and Hubbard Street. She has worked professionally on a number of projects with San Francisco choreographer Gregory Dawson, and had the honor of performing with Alonzo King LINES Ballet in their 2008 home fall season. She joined Hubbard Street 2 in September 2009 and was promoted into the main company in August 2011.

ANA LOPEZ (A Coruña, Spain) began her formal training at Conservatorio de Danza Diputacion de A Coruña. Upon graduating Isaac Diaz Pardo high school, she continued her training at Centro Internacional de Danza Carmen Roche. Lopez danced with Joven Ballet Carmen Roche, Compañía Nacional de Danza 2 and Ballet Theater Munich before joining Hubbard Street Dance Chicago in January 2008.

PABLO PIANTINO (Mendoza, Argentina) began dancing at the age of 14. His training includes private seminars


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THE DANCERS (cont.) with Hector Zaraspe and studies at both the Colón Theatre School and the Juilliard School, where he received his BFA. Having danced with the Colón Theatre Ballet Company and the Juilliard School Dance Ensemble, Piantino joined the San Francisco Ballet in 1999 and became a Hubbard Street Dance Chicago company member in August 2005.

PENNY SAUNDERS (West Palm Beach, FL) received her formal dance training at and graduated from the Harid Conservatory in Boca Raton. While furthering her training under Elisabeth Carroll, she joined the American Repertory Ballet in New Jersey. Saunders has also danced with Ballet Arizona, toured extensively with MOMIX and was a member of Cedar Lake Ensemble in New York before joining Hubbard Street Dance Chicago in November 2004.

DAVID SCHULTZ (Grand Rapids, MI) began his training in Grand Rapids, Michigan with the School of Grand Rapids Ballet. Before joining the company for four seasons, Schultz studied with the National Ballet of Canada. He has performed works by Gordon Pierce Schmidt and Septime Webre, as well as Prodigal Son by Peter Sparling. Schultz has studied the techniques and works of Paul Taylor, George Balanchine, Lester Horton, Martha Graham and Nacho Duato before joining Hubbard Street 2 in September 2009. He was promoted into the main company in August 2011.

KEVIN SHANNON (Baltimore, MD) began his formal dancing under the guidance of Lester Holmes. He graduated from the Baltimore School for the Arts, receiving additional summer training at the School of American Ballet, Miami City Ballet, Paul Taylor and David Parsons. He received his BFA in 2007 from the Juilliard School, where he performed works by Susan Marshall, Mark Morris, William Forsythe and Jirí Kylián. He has toured nationally with the Juilliard School Ensemble and performed in the nationally-broadcast special “Live From Lincoln Center, The Juilliard School: Celebrating 100 Years.” He is a co-founder of BØRDERLINE DANCE CIRCLE—a troupe under the choreographic direction

of Michelle Mola—for which he danced professionally and developed concepts since 2005. Shannon joined Hubbard Street Dance Chicago in November 2007.

JESSICA TONG (Binghamton, NY) received her formal training at The Ballet School in Salt Lake City, Utah under Jan Clark Fugit, as well as at the University of Utah where she danced as a member of Utah Ballet. She also attended the summer programs of American Ballet Theatre, San Francisco Ballet, and Lou Conte Dance Studio, among others. Tong danced with BalletMet in Columbus, Ohio, Eliot Feld’s Ballet Tech in NYC, and Hubbard Street 2 before joining the main company in January 2007. Tong was named one of Dance Magazine’s “25 to Watch” in 2009.

ROBYN MINEKO WILLIAMS (Lombard, IL) began dancing at age five under the direction of Yvonne Brown Collodi. She continued studying dance at the Lou Conte Dance Studio on full scholarship from 1993 to 1995. Williams danced with River North Chicago Dance Company for four years before becoming an apprentice with Hubbard Street Dance Chicago in June 2000. She became a full company member in September 2001. In 2010, she co-choreographed Harold and the Purple Crayon: A Dance Adventure for Hubbard Street 2.

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Alvin Ailey American Dance TheaterOn their first tour under new artistic director Robert Battle. This is an important moment in the history of dance in America — be a part of it!

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THE CHOREOGRAPHERS SHARON EYAL was born in Jerusalem in 1971. She joined Batsheva Dance Company in 1990. During her time there, she developed her talents as a choreographer, becoming so adept that she was named associate artistic director in 2003 and 2004. In 2005, Sharon was invited to serve as Batsheva’s Resident Choreographer, a position she still holds today. Eyal is such a productive choreographer that within an extremely short time she developed into an influential figure on the Israeli scene and has rapidly been gaining international recognition. Among her creations for the Batsheva Dance Company and the Batsheva Ensemble: You Got to Live, Pan (2001), Ink (2002), Static (2002), After Love (2003), Love (2003), Quiet Village (2004), Part II (2005), Bertolina (2006) and Makarova Kabisa (2008). In the last few years, Eyal’s reputation has been generated interest from choreographers and dance companies outside of Batsheva Dance Company. Solo dancer Talia Paz has been performing excerpts from Eyal’s love and One Leg Barbie, a new solo created by Eyal, in performances around the world. In 2009, Eyal created Killer Pig, a new work for Norway-based dance company Carte Blanche. The world premiere of Too Beaucoup by Hubbard Street Dance Chicago was Eyal’s first work created for and presented by an American dance company.

OHAD NAHARIN was born in Israel and was raised in an artistic environment - his mother taught dance and composition, and his father was a doctor of Psychology and an actor. Naharin began his training as a dancer with Batsheva Dance Company and continued his studies at Julliard. He danced for one season in the Martha Graham Company and with Maurice Bejart. Between 1980 and 1990 Naharin was active in the New York dance scene and worked with various companies. Jirí Kylián of the Nederlands Dance Theater (NDT) saw Naharin’s work, which began a long partnership between the two and NDT. In 1990 Naharin became Artistic Director of Batsheva Dance Company and created KYR, a full-length work commissioned by the Israel Festival, Jerusalem, for which he composed the music with Israeli rock group The Tractor’s Revenge. KYR was a first landmark in the succession of pieces which gave birth to the “new” Batsheva – bold, sweeping, and physically sensual. Naharin’s work is also in the repertoire of Pittsburgh Ballet Theatre, Hubbard Street Dance Chicago, The Cullberg Ballet, Lyon Opera Ballet, Frankfurt Ballet, Nederlands Dans Theater, Le Ballet du Grand Theatre de Geneve, Compania Nacional de Danzade Madrid, and Opèra National de Paris.

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ADMINISTRATIONStacey Dent Associate Director of FinanceKarine Provost Manager of Pre-Professional ProgramsKrista Ellensohn Accounting & Operations ClerkMarisa Santiago Touring CoordinatorTiernan Damas Arts Administration Intern

EXTERNAL AFFAIRSBill Melamed Director of External AffairsSharon Barry Associate Director of DevelopmentStacey Recht Associate Director of MarketingColin Borck Individual Giving Manager Kalena Dickerson Manager of Institutional GrantsFarrah Williams Manager of CommunicationsLisa Hayden Ticketing and Patron Services AssociateBrian Barasch Marketing CoordinatorJamie Wasielewski Development Assistant

EDUCATION & COMMUNITY PROGRAMSKathryn Humphreys Director of Education & Community ProgramsSinead Kimbrell Associate Director of EducationSarah McCarty Education ManagerKristen Gurbach Johnson Community Programs CoordinatorCara Scrementi Community Programs Coordinator Cheryl Olendzki Lead FSI Teaching Artist

WARDROBE STAFFRebecca Shouse Wardrobe SupervisorBranimira Ivanova DraperCarol Miller DraperNathan Rohrer First Hand

BOARD OF DIRECTORSExecutive CommitteeMarc Miller ChairMeg Siegler Callahan PresidentCamille Rudge SecretaryEllis Regenbogen TreasurerDave Mekemson Immediate Past Chair

Jane Strauss Vice President, External AffairsLyndon Taylor Vice President, MembershipRichard F. Tomlinson II Vice President, Facilities

Sara AlbrechtMarge CollensLinda HutsonKaren LennonMaureen MoshByron PollockJ. Randall White

DirectorsCorinne E. BrophyCarolyn CliftJoel CoryAllan DrebinCarla J. EyreElizabeth Yntema FergusonPaul GignilliatFrances HenkelStephanie J. HickmanJoni S. JacobsenBetsy Stelle MorganSarah Nolan James F. OatesSheila OwensAlyssa RappLauren RobishawCarter Sharfstein Mary Kay ShawRoss ShellemanDenise Stefan-GinascolDeborah Stonebraker

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Overture Center for the Arts would like to recognize our 2011/12 Community Partners and thank them for all they do to support Madison’s thriving arts community.

LegACy SPOnSOrS

PLAtinuM COMMunity PArtnerSAmerican girl’s Fund for Children

SiLver COMMunity PArtnerS

BrOnze COMMunity PArtnerS

COMMunity PArtnerS

*List current as of December 2, 2011

American Family insuranceBell LaboratoriesCapital newspapers, inc.DeWitt ross & StevensFood Fight, inc.gammexProvideoSvA

Supranet CommunicationstDS telecommunicationstOMCAt ProductsunityuW Hospital and ClinicsuW Medical FoundationWebcrafters

the Bruce Company of WisconsinCunA Mutual groupCuster Financial Servicesthe Fiore Companies, inc.goodman’s JewelersHovde PropertiesJ.H. Findorff & Son inc.Mge Foundation

Mullins groupPark BankPepsi Cola of Madisonthe robert H. Keller Co.Steve Brown Apartmentsvon Briesen & roperWhyte Hirschboeck Dudek S.C.WiSC-tv

Murphy Desmond S.C.Smart Motors

Stafford rosenbaum S.C.State Bank of Cross Plains

1112 Donor List_v2.indd 1 12/12/11 11:22 AM


ORDERING & INFORMATIONOrder online! overturecenter.com Phone orders: Call 608.258.4141 Mail or fax: online order form at overture-center.com or in our magazine.Buy in person: Visit the ticket office located on the main floor just off the Rotunda Lobby. Ticket office hours: Mon–Fri, 11 am–5:30 pm; Sat, 11 am–2 pm; open additional hours evenings and Sundays on days of ticketed performances.Group orders: Groups of 15 or more receive a discount on most performances. Call 608.258.4159 to make reservations.Visit overturecenter.com: For a calendar of events, links to artists’ websites, video, audio, directions, parking and much more.

PATRON SERVICES & POLICIESAccessibility: Request accommodations when ordering your tickets. Call 608.258.4144 for information, questions, or to request the following:n wheelchair-accessible seatingn house wheelchair for transportn sign language interpretationn Braille playbilln other accommodationsInformation is also available at overturecenter.com/tickets/accessibilityChildren and lap seating: Every person, regardless of age, must have a ticket to enter the theaters for performances. Children un-der the age of 6 are not permitted at certain performances. See our season brochure, visit our website or call the Help Line at 608.258.4143 for information.Contacting a patron during a performance: Call 608.258.4179 with the performance the patron is attending and his/her row and seat number.

Lost and Found: Visit the information desk in the Rotunda Lobby or call 608.258.4973.Rentals: For information on renting spaces in Overture Center for weddings, performances, meetings or other events, call 608.258.4163 or email [email protected].

EtiquettePlease turn off all paging devices, cell phones and watch alarms.Smoking is prohibited in Overture.The use of cameras or tape recorders in the theaters is prohibited without written permis-sion from Overture Center and the performing company’s management. Food, large bags and other large items are not permitted in the theaters. Bottled water and beverages in Overture Refillable Theater Cups are allowed in the theaters at select shows.In consideration of audience members with scent sensitivities and allergies, please use perfumes, aftershaves and other fragrances in moderation.Event StaffStagehand services in Overture are provided by members of Local 251 of the International Alliance of Theatrical Stage Employees.Volunteer usher and other services for Overture are provided by Overture Friends. For information, visit overturecenter.com/contribute/volunteer or call 608.258.4177.

RESIDENT ORGANIZATIONSBach Dancing & Dynamite Societybachdancinganddynamite.org | 608.255.9866Children’s Theater of Madisonctmtheater.org | 608.255.2080Kanopy Dance Companykanopydance.org | 608.255.2211Li Chiao-Ping Dancelichiaopingdance.org | 608.835.6590Madison Balletmadisonballet.org | 608.278.7990Madison Operamadisonopera.org |608.238.8085Madison Symphony Orchestramadisonsymphony.org | 608.257.3734Wisconsin Academy’s James Watrous Gallerywisconsinacademy.org | 608.265.2500Wisconsin Chamber Orchestrawcoconcerts.org | 608.257.0638

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Welcome to Overture Center for the ArtsYour enjoyment is important to us. Please contact an usher or the ticket office if you have any concerns about your experience here.

OC - Hubbard Street

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