BOSTON CONSERVATORY AT BERKLEE PRESENTS LIMITLESS · PDF filehis organiation is funded in part by the Massachusetts Cultural Council a state agency. BOSTON CONSERVATORY AT BERKLEE

This organization is funded in part by the Massachusetts Cultural Council, a state agency.

B O S T O N C O N S E R V A T O R Y A T B E R K L E E P R E S E N T S

LIMITLESSApril 27–30, 2017

8:00 p.m., Thursday–Saturday2:00 p.m., Saturday–Sunday

Boston Conservatory Theater

HAPPY LITTLE THINGS (WAITING ON A GRUFF CLOUD OF WANTING)

Choreography by ASZURE BARTON Music by BONNIE "PRINCE" BILLY, BILL FRISELL,

BÉLA FLECK AND EDGAR MEYER, LEV "LJOVA" ZHURBIN, andERIC AND OLIVIER SLABIAK

HOW TO PASS, KICK, FALL AND RUNChoreography by MERCE CUNNINGHAM

Music by JOHN CAGE

THE INTERVIEWChoreography by YURY YANOWSKY

Music by NATE TUCKER (B.M. '12, percussion)

WHY YOU FOLLOW / POR QUE SIGUESChoreography by RONALD K. BROWN

Music by ZAP MAMA, GORDEHEAVEN & JULIANO, THE ALLENKO BROTHERHOOD, and THE HEAVY QUARTERZ

SPRING DANCE CONCERT

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DIRECTOR'S NOTEWelcome to Limitless! Our spring concert celebrates both the limitless potential of our students, and the endless possibilities of the field of contemporary dance.

Our program features four works by renowned artists, each known for his or her unique voice and aesthetic. As I have watched the rehearsals, I have been struck by how every artist on tonight's program has pushed the boundaries of what dance can be. We open with Happy Little Things (Waiting on a Gruff Cloud of Wanting), by Canadian choreographer Aszure Barton. Described by Mikhail Baryshnikov as “one of the most innovative choreographers of this generation,” Barton’s work combines thrilling athleticism, wit, and emotion.

The concert is anchored by How to Pass, Kick, Fall and Run, an iconic work by Merce Cunningham. Cunningham is considered by many to have begun the postmodern revolution in dance; his ideas created radical new possibilities for the way dance is created, viewed and understood. Scholar Sally Banes, says of Cunningham’s aesthetic: “Any movement can be material for a dance; any procedure can be a valid compositional method; music, costume, décor, lighting and dancing have their own separate logics and identities; dancing can be about anything, but is fundamentally and primarily about the human body and its movements…”

Yury Yanowsky, former principal dancer with Boston Ballet, is building an international reputation as a choreographer. His new work, The Interview, combines evocative movement with an experimental sound score, as well as striking visual effects.

Why You Follow, by Ronald K. Brown, which is accompanied by the Berklee Limitless Ensemble under the direction of Jacques Schwarz-Bart, closes our program. Brown’s unique movement vocabulary includes elements of modern dance, Afro-Caribbean dance forms, and contemporary urban dance. He “uses movement as a way to reinforce the importance of community in African American culture and to acquaint audiences with the beauty of traditional African forms and rhythms.” His visceral, moving choreography has made him one of the seminal artists of our time.

We are honored to share the work of these four choreographers with you, and thrilled to showcase the artistry and versatility of our students. Enjoy!

Cathy YoungArtistic Director and Dean of Dance, Boston Conservatory at Berklee

Boston Conservatory at Berklee • 3

PROGRAM

HAPPY LITTLE THINGS (WAITING ON A GRUFF CLOUD OF WANTING)

FIRST PERFORMED AT THE PETER JAY SHARP THEATER

IN NEW YORK IN 2009.

Choreography by Aszure BartonCreation Assistance by Chérice Barton

Reconstruction by Tobin Del CuoreMusic by Bonnie "Prince" Billy, Bill Frisell,

Béla Fleck and Edgar Meyer, Lev "Ljova" Zhurbin, andEric and Olivier Slabiak

Original Costume Design by Fritz MastenCostume Design Reconstruction by Penney Pinette

Original Lighting Design by Nicole PearceLighting Design Reconstruction by Linda O'Brien

Sound Editing by Curtis MacDonaldRehearsal Direction by Kurt Douglas and Mila Thigpen

PERFORMED BY(Thursday and Saturday evening, Friday matinee)

Carolina Beachwood, Emmitt Cawley, Justin Daniels, Victoria Daylor, Mitzi Eppley, Laila Franklin, Rachel Ferring, Nicholas Heffelfinger,

Alyx Henigman, Camille Jackson, Christopher Kinsey, Gabriel Lawton, Jorge Ramos, Celeste Robbins,

Andrea Rodriguez, Minh Leigh Sullivan, Jordan Villanueva

(Friday evening, Saturday and Sunday matinee)Carolina Beachwood, ,Emmitt Cawley, Erica Codd, Caroline Daly,

Justin Daniels, Rachel Ferring, Laila Franklin, Nicholas Heffelfinger, Alyx Henigman, Jimin Anne Kim, Christopher Kinsey,

Gabriel Lawton, Paul Liu, Tianzhi Pan, Andrea Rodriguez, Jacqueleen Schweighhardt, Jordan Villanueva

—INTERMISSION—

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HOW TO PASS, KICK, FALL AND RUNFIRST PERFORMED BY

THE MERCE CUNNINGHAM DANCE COMPANY AT THE HARPER THEATER IN CHICAGO, ILLINOIS ON NOVEMBER 24, 1965.

Choreography by Merce CunninghamReconstruction by Andrea Weber

Music by John Cage (Stories from Indeterminacy)Costume Design Reconstruction by Penney Pinette

Original Lighting Design by Beverly EmmonsLighting Design by Linda O'Brien

Rehearsal Direction by Daniel McCuskerRehearsal Assistance by Margaret Costales and Santiago MacLean


Jazz Bynum, Zoe Hawkins, Katherine Kuntz, Da’Rius Malone, Christina Morrison, James Raney, Teagan Reed,

Nicole Salerno, Arthur Sicilia

(Friday evening, Saturday and Sunday matinee)Catherine Evans, Margaret Falcone, Katherine Gow,

Grace Philipp, Santiago MacLean, Da’rius Malone, James Raney, Arthur Sicilia, Juliette Wooden

READ BY

(Sunday matinee)Mary Wolff and Daniel McCusker

How to Pass, Kick, Fall and Run (1965) by Merce Cunningham © Merce Cunningham Trust. All rights reserved.

Stories from Indeterminacy by John Cage. Used by permission of C. F. Peters Corporation. All rights reserved.

(Thursday evening)John Kuntz and Judson Evans

(Saturday matinee)Carlee Travis and Mila Thigpen

(Friday evening)Joe Bennett and John Kuntz

(Saturday evening)Mila Thigpen and Leslie Koval


THE INTERVIEWWORLD PREMIERE

Choreography by Yury YanowskyMusic by Nate Tucker ("The Interview")

Costume Design by Penney PinetteLighting Design by Linda O'Brien

Rehearsal Direction by Adriana SuarezRehearsal Assistance by Angela Gauthier


Nehemiah Aldrich, Kendall Bush, Francesca Crupi, Lindsey Faber, Shelby Griswold, Rosario Guillen, Ayami Ino, Douglas Kolakowski,

Santiago MacLean, Da’Rius Malone, Kelly O’Rourke, Hannah Pregont, Asia Pyron, Abigail Whatley, Lauren Worley

(Friday evening, Saturday and Sunday matinee)Nehemiah Aldrich, Odessa Anderson, Liana Attanasio, Erica Brandell,

Kendall Bush, Devon Colton, Lily Clingan-Darack, Rosario Guillen, Ayami Ino, Douglas Kolakowski, Da’Rius Malone, Santiago MacLean,

Samantha McLean, Hannah Pregont, Sadiya Ramos, Abigail Whatley, Michelle Young, Mariana Zschoerper

Yury Yanowsky's residency was made possible by the Kunkemueller Guest Artist Residency Program.

—INTERMISSION—

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WHY YOU FOLLOW / POR QUE SIGUESFIRST PERFORMED BY MALPASO,

WHY YOU FOLLOW / POR QUE SIGUES WAS COMMISSIONED BY THE JOYCE THEATER FOUNDATION (NEW YORK) IN 2014 AND

RESTAGED FOR RONALD K. BROWN EVIDENCE, A DANCE COMPANY IN 2015.

Choreography by Ronald K. BrownAssistant Choreography and Reconstruction by Arcell Cabuag

Music by Zap Mama ("Looklat Africa"), Gordheaven & Juliano ("Enroute to Motherland"), The Allenko Brotherhood ("Yoruba Road"), and

The Heavy Quarterz ("Kusaase Mnandi")Music Direction by Jacques Schwartz-Bart

Music performed by the Berklee Limitless EnsembleOriginal Costume Design by Keiko Voltaire

Costume Design Reconstruction by Penney PinetteOriginal Lighting Design by Tsubasa Kamei

Lighting Design by Linda O'BrienRehearsal Direction by Duane Lee Holland, Jr.


Brittany Brown, Yan Jun Chin, Dylan Contreras, Marquis Floyd, Taraja Hudson, Kevin Lau, Andrea Muniz, Faith Norton, Yasiri Sanders

(Friday evening, Saturday and Sunday matinee)Yan Jun Chin, Dylan Contreras, Marquis Floyd, Jocelyn Gonzales,

Kevin Lau, Malindi Malawo, Brenna Nopenz, Isabella Rusli, Crislin Williams-Womack


STUDENT ENSEMBLEDANCE ENSEMBLEKevin Addison '19Nehemiah Aldrich '20Odessa Anderson '19Liana Attanasio '18Carolina Beachwood '17Erica Brandell '20Brittany Brown '19Brianna Bunkley '18Kendall Bush '19Jazz Bynum '18Emmitt Cawley '20Yan Jun (John) Chin '19Lily Clingan-Darack '20Erica Codd '20Devon Colton '17Dylan Contreras '20Francesca Crupi '20Caroline Daly '18Justin Daniels '19Victoria Daylor '17Mitzi Eppley '17Catherine Evans '20Lindsey Faber '20Margaret Falcone '19Rachel Ferring '17Marquis Floyd '17Laila Franklin '19Jocelyn Gonzales '20Kate Gow '19Shelby Griswold '17Rosario Guillen '20Zoe Hawkins '20Nick Heffelfinger '17Alyx Henigman '18Taraja Hudson '20Ayami Ino '18Camille Jackson '17Anne Kim '20Christopher Kinsey '18Douglas Kolakowski '19

Katherine Kuntz '19Kevin Lau '20Gabe Lawton '17Paul Liu '20Santiago MacLean '17Malindi Malawo '20Da’Rius Malone '18Samantha McLean '19Christina Morrison '18Andrea Muniz '19Brenna Nopenz '17Faith Norton '20 Kelly O’Rouke '19Tianzhi (George) Pan '19Grace Philipp '19Hannah Pregont '18Asia Pyron '20Jorge Ramos '18Sadiya Ramos '20James Raney '17Teagan Reed '20Celeste Robbins '19Andi Rodriguez '17Nicole Salerno '19Yasiri Sanders '20Jacqueleen

Schweighardt '20Arthur Sicilia '19Minh Lee Sullivan '20Jordan Vilanueva '18Abigail Whatley '18Crislin Williams-Womack '19Juliette Wooden '19Lauren Worley '17Michelle Young '19Sophie Zimmer '17Mariana Zschoerper '17

PRODUCTION STAFFLucy Austin '20Javier Cabrera '17Christina Ciofani '19 Mitzi Eppley '17Noah Fletcher '20Kristen Haynes '20Makai Hernandez '19Annika Hilman '20Ayana Kjonaas '20Kate Leibl '20Brianna Meese '18Madeline Miller '19John Neurohr '20Nicole Nightingale '20Yewande Odetoyinbo,

M.F.A. '18Brianna Riley '20Jacqueline Smook '19Angela Syrett '20Izaya Taylor '20Catherine Wilmot,

M.F.A. '17

All students are B.F.A. candidates unless otherwise noted.

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MUSICAL ENSEMBLEJacques Schwarz-Bart, Director KEYBOARDDomi DeGalleRonojit Chaliha GUITAR Will Nelson SAXOPHONEJacques Schwarz-Bart BASSSolomon Smith PERCUSSIONIsaiah Weatherspoon Jeffrey Rivera

VOCALSNatalia Nakopiya

Special thanks to Ron Savage and Sean Skeete.

All members are guests artists from Berklee.


Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don CuriosoStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Amanda M. OttenTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew ChandlerAssistant Technical Director . . . . . . . . . . . . . . . . . . . . . . . Matthew WilliamsLead Technician / Zack Box Technical Director . . . . . . . . . . Audrey KimballLighting Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tori SweetserMaster Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nathaniel JewettA1 / Sound Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin ThurberCostume Shop Manager . . . . . . . . . . . . . . . . . . . . Rebecca Shannon ButlerAssistant Costume Shop Manager . . . . . . . . . . . . . . . . . . . . Amanda FeeleyAssistant to Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelly BakerStitchers / Drapers . . . . . . . . . . . . . . . . . . . . . . . . Sarah Karten, Sam Martin,

Natalie LaChall, Meg TimneyCostume Shop Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Meaghan HorakWardrobe Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Meg TimneyVideographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phil RobersonMarketing and Communications Director . . . . . . . . . . . . .Andrea Di CoccoTicket Operations and Patron Services Manager . . . . . . . . . . Erin Connors

STUDENT STAFF

Assistant Stage Managers . . . . . . . . . . . . . . .Michael Hicks, Isaac ReynoldsSound Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sara G. Cook, Emily MattLighting Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dean MarchantProduction Staff . . . . . . . . . . . . . . . . . . . . . . Michael Hicks, Javier Cabrera,

Makai Hernandez, Dean MarchantRun Crew . . . . . . . . . . . . . . . . . Lucy Austin, Noah Fletcher, Kristen Haynes,

Annika Hillman, Ayana Kjonass, Kate Leibl, John Neurohr, Briana Riley, Angela Syrett

Costume Shop Student Workers . . . . . . . . . Christina Ciofani, Mitzi Eppley, Brianna Meese, Madeline Miller,

Yewande Odetoyinbo, Jacqueline Smook, Catherine Wilmot

PRODUCTION STAFF

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ACADEMIC STAFF

FACULTY

Diane ArvanitesChelsea Beatty LewisOlivier BessonAlissa CardoneRussell ClarkePatsy Collins BandesDanielle DavidsonJoy DavisGianni Di MarcoKurt Douglas

Maggy GorrillDuane Lee Holland, Jr.Aaron JensenTai JimenezShannon Lee JonesSusan KinneyLeslie KovalDaniel McCuskerTommy NeblettPenney Pinette

Denise PonsMarcus SchulkindAdriana SuarezMila ThigpenJim VieraDean VollickGemma WilliamsMary Wolff

ACADEMIC OFFICE

Joe Bennett, Vice President for Academic Affairs and Dean of the ConservatoryJim O'Dell, Associate Dean for Academic OperationsShannon Landis, Academic Operations Manager

DANCE DIVISION

Cathy Young, Dean of DanceTommy Neblett, Associate Director of the Dance DivisionMegan Bisceglia, Administrative Coordinator of the Dance DivisionWilliam Henriquez, Administrative Assistant to the Dance Division


CATHY YOUNG, artistic direc-tor and coproducer—holds a B.A. in sociology and women’s stud-ies from Harvard University and an M.F.A. in dance from the University of Illinois. Young is nationally recog-nized as a master teacher and has conducted residencies at more than 30 colleges around the country, as well as at the Bates Dance Festival, Florida Dance Festival, and the In-ternational Open Look Festival in St. Petersburg, Russia. While she is best known as a teacher and cho-reographer of jazz dance, her 30 years of experience in the field of dance have been wide ranging and diverse. As a performer, Young has danced with a number of compa-nies, including Zenon Dance Com-pany and Danny Buraczeski’s JAZZ DANCE! She has also toured ex-tensively throughout the U.S. and Europe and has performed in pres-tigious venues such as the Joyce Theater in New York and Jacob’s Pillow Dance Festival. For the past 20 years, Young has focused on cre-ating her own works, a dynamic mix of styles and dance forms that inter-mingles jazz, modern, contact im-provisation, social dance, and gym-nastics. She creates choreography for her own company, Cathy Young Dance, and has also been commis-sioned by professional companies and presenters including the Walker Art Center, Minnesota Dance The-atre, Pennsylvania Dance Theatre, Zenon Dance Company, Minnesota Opera and internationally by Kan-non Dance Company of St. Peters-burg, Russia. Her choreography has

been recognized with awards and grants from the McKnight Founda-tion, the Jerome Foundation, Tar-get Foundation, and the Minnesota State Arts Board, among others. She was previously department chair and an associate professor of dance at Ursinus College and now proudly serves as dean of dance at Boston Conservatory at Berklee.

TOMMY NEBLETT, coproducer—has been in the dance profession for 35 years, first as a performer, then as a choreographer, educator, and administrator. He is the associate di-rector of dance at Boston Conserva-tory at Berklee and coartistic direc-tor (with his wife, Diane Arvanites) of Prometheus Dance, and the Elders Ensemble, a group of post-professional dancers, ages 62 to 94. Prometheus Dance is company in residence at Walnut Hill School for the Arts in Natick, Massachusetts. As a performer, Neblett danced with Dan Wagoner and Dancers, Laura Dean Dancers and Musicians, Concert Dance Company of Bos-ton, Maryland Dance Theater, and with Prometheus Dance, which has been named “One of the Year's Ten Best” by the Boston Globe, Boston Herald, and the Boston Phoenix five times. As a freelancer, he has performed in films, operas, fash-ion shows, nightclubs, and theater productions. As a choreographer, Neblett, along with Arvanites, has received a Creativity Grant from the National Endowment for the Arts, six Artist Grants in Choreography from the Massachusetts Cultural Council,

BIOS

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and a Citation for Outstanding Ar-tistic Achievement from Governor Deval Patrick. Their work has been performed at the Kennedy Cen-ter, Lincoln Center, Jacob’s Pillow, Bates Dance Festival, Joyce SoHo, the Institute of Contemporary Art/Boston, throughout the East Coast, and in Spain, France, Denmark, Ven-ezuela, Ecuador, and China. Their work in opera has included Nixon in China, Alceste, and The Pearl Fish-ers for OperaBoston, and Rinaldo, Idomeneo, and The Husbands for Boston Opera Collaborative. As an educator, Neblett has been on the faculty of Boston Conservatory since 1994. He has also been on the dance faculties of Boston Bal-let, Harvard University, Emerson College, Walnut Hill School for the Arts, the Dance Complex, and the Oure Idraetshojskole in Denmark. prometheusdance.org

ASZURE BARTON, choreog-rapher—has created works for Mikhail Baryshnikov, Alvin Ailey American Dance Theater, English National Ballet, American Ballet Theatre, Nederlands Dans Theater, National Ballet of Canada, Martha Graham Dance Company, Bayer-isches Staatsballett, Sydney Dance Company, Houston Ballet, and Hubbard Street Dance Chicago, among others. She is the founder and director of Aszure Barton and Artists. Her works have been per-formed on countless international stages including the Palais Garnier (Paris), the Kennedy Center (Wash-ington D.C.), the Stanislavsky The-

ater (Moscow), Sadler’s Wells The-atre (London), and Lincoln Center (New York).

RONALD K. BROWN, choreog-rapher—founded EVIDENCE, A Dance Company in 1985. He has worked with Mary Anthony Dance Theater, Jennifer Muller/The Works, and other choreographers and artists. Brown has set works on Alvin Ailey American Dance The-ater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago, Ballet Hispanico, and Malpaso. He won an AUDELCO Award for his choreography in Regina Taylor’s award-winning play Crowns, received two Black Theater Alliance Awards, and a Fred and Adele Astaire Award for Outstanding Choreography in the Tony Award—winning Broadway and national touring production of The Gershwins' Porgy and Bess, adapted by Suzan Lori Parks, ar-ranged by Diedre Murray, and di-rected by Diane Paulus.

ARCELL CABUAG, reconstruc-tor—is the associate artistic di-rector and senior dancer of the Ronald K. Brown EVIDENCE, a Dance Company. His prior profes-sional experience includes: Rock the House for Paramount Pictures, The Shoji Tabuchi Show (Branson, Missouri), and the Richard Rodg-ers Centennial Production of The


King and I. Cabaug can be seen in the episode "Choreographed" on Law & Order: SVU, and a Codorinu commercial with PILOBOLUS, shot and aired in Barcelona. He enjoys serving the dance community as a professor at Long Island University Brooklyn, and as the codirector of the Restoration Dance Youth En-semble in Brooklyn. Cabuag has also set EVIDENCE repertory at University of Massachusetts, Bos-ton Arts Academy, the Peridance Certificate Program, the Ailey Fordham B.F.A. Program, Universi-ty of the Arts, and the New Orleans Ballet Association. Cabuag has as-sisted Robert K. Brown in creating repertory for the Philadanco Dance Company, Muntu Dance Theatre of Chicago, Ballet Hispanico, the Al-vin Ailey American Dance Theater, and Malpaso of Havana, Cuba, and is the associate choreographer for the Tony Award—winning Broad-way and national touring produc-tion of The Gershwins’ Porgy and Bess. Cabuag joined EVIDENCE in 1997 and won the New York Dance and Performance “Bessie” Award in 2004.

MERCE CUNNINGHAM, chore-ographer—was born in Centralia, Washington on April 16, 1919. Cun-ningham began his dance career at age 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944, he pre-sented his first solo show and in 1953 formed the Merce Cunning-ham Dance Company as a forum to explore his groundbreaking ideas.

Together with John Cage, his part-ner in life and work, Cunningham proposed a number of radical in-novations, chief among them that dance and music may occur in the same time and space, but could be created independently of one another. They also made extensive use of chance procedures, aban-doning musical forms, narrative, and other conventional elements of dance composition. For Cun-ningham the subject of his dances was always dance itself.

TOBIN DEL CUORE, reconstruc-tor—is a native of Maine and be-gan his ballet training at Walnut Hill School in Natick, Massachusetts. He attended The Juilliard School under the direction of Benjamin Harkarvy, graduating in 2001 with a B.F.A. Upon graduating, Del Cuore joined the artists of Hubbard Street Dance Chicago (HSDC), where he danced for six years and had the opportunity to work with some of today’s most important choreog-raphers. Since leaving HSDC, Del Cuore has staged work for resident choreographer Alejandro Cerrudo and recently danced with the Lar Lubovitch Dance Company, the Metropolitan Opera, Alessandra Ferri Dance, Houston Grand Op-era, the Lyric Opera of Chicago, and BalletX. In addition to dancing for Aszure Barton and Artists, Del Cuore also assists Barton in new creations, produces video projec-tions for her work, and stages ex-isting repertoire.

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KURT DOUGLAS, rehearsal di-rector—is originally from Guyana. He earned an M.F.A. in dance from Hollins University (in association with the American Dance Festival, Frankfurt Conservatory of Per-forming Arts, and the Forsythe Company in Frankfurt, Germany) and a B.F.A. in dance from Bos-ton Conservatory. There, he was the recipient of the Ruth Sand-holm Ambrose Scholarship Award and the Jan Veen Dance Award. In 2001, he joined Limón Dance Company. In 2002, he received a Princess Grace Award and was in-vited to perform for Prince Albert of Monaco and the royal family. Douglas was named one of Dance Magazine’s “Top 25 to Watch” in 2006, and, in 2007, he became the first African American in Limón’s history to portray Iago in The Moor’s Pavane, José Limón’s most influential work. Douglas has danced with the Radio City Rock-ettes, Lar Lubovitch Dance Com-pany, and Thang Dao Dance Com-pany, among others. He toured with the Tony award–winning mu-sical A Chorus Line. Douglas has conducted Limón workshops all over the world, at institutions such as Harvard University and the Juil-liard School. Now a reconstructor of Limón’s work, Douglas is an am-bassador with the Limón for Kids program and guest teaches at the Limón Institute in New York City.

DUANE LEE HOLLAND, JR., rehearsal director—began his professional dance career at the

age of 17, dancing for the first hip-hop theater dance company, Ren-nie Harris Puremovement (RHPM). While performing with RHPM, he also taught at MIT, Stanford Uni-versity, Jacob's Pillow, University of Utah, UCLA, Monte Carlo Bal-let Company, Pennsylvania Ballet Company, Philadanco, Alvin Ai-ley Dance Theater, and Broadway Dance Center. Holland has also had the privilege of working with esteemed choreographers Ronald K. Brown (EVIDENCE), Garth Fagin (The Lion King original Broadway production), and Jeff Masted (A Few Good Men). He was also assis-tant choreographer and assistant dance captain of Maurice Hines's Broadway production of Hot Feet. In addition, he was featured in Jer-ry Mitchell's 2006 Broadway Bares AIDS benefit, New York Strip. In 2007, Holland became an adjunct faculty member of the Boyer Col-lege of Music and Dance at Temple University in Philadelphia. In 2008, he was honored to be named as-sistant artistic director for Rennie Harris Puremovement. In 2009, he was installed as an adjunct faculty member of Ursinus College. Hol-land continues to conduct com-munity outreach programs in the suburban Philadelphia area, as well as in conjunction with universities across the nation.

DANIEL McCUSKER, rehearsal director—has taught interna-tionally in Canada, Singapore, and France, as well as at several American dance festivals. In ad-


dition to creating his own work, he danced with the Lucinda Childs Dance Company, performing in the U.S. and on tour in Europe. For seven years he directed Ram Island Dance, a community dance orga-nization in Portland, Maine, with a company that toured throughout New England, held classes for chil-dren and adults, and had a small presenting program. He is a senior lecturer at Tufts University, where he has taught since 1997. A dance maker, teacher, mentor, and dance curator, McCusker is involved in the local dance community as a choreographer, mentor, and occa-sional presenter. His creative work has been supported by federal and state grant organizations, includ-ing the National Endowment for the Arts, New York State Council on the Arts, the Monks Trust, pro-ducing organizations, and gener-ous individuals. McCusker trained in New York with Alfredo Corvino, studied at the Cunningham Studio and with Judy Padow, and attend-ed classes with Gwyneth Jones, Olivier Besson, and Debra Bluth, which have had more recent impact on his dancing. He holds a B.A. in comparative literature and social sciences from Fordham University's College at Lincoln Center. After col-lege, he studied comparative litera-ture at the Graduate Center, City Univeristy of New York, but after a year he realized he would rather be dancing.

ADRIANA SUÁREZ, rehearsal director—was born into a family

of dancers in Caracas, Venezuela and began her training at the age of 10. Her first teacher was her mother, Celia Inés Marino, who di-rects the Ballet Department at the Ailey School. Suárez continued her studies at the School of American Ballet and, in 1989, became a mem-ber of Boston Ballet. In 1994, she became a principal dancer in pro-ductions of The Sleeping Beauty, Le Corsair, Giselle, Onegin, Ro-meo and Juliet, and The Taming of the Shrew, as well as works by George Balanchine, Nacho Duato, Mark Morris, Christopher Wheel-don, Rudi van Dantzig, and Stan-ton Welch. In addition to her dance career, Suárez is married to dancer Gianni Di Marco and is mother of their two children, Gianna and Adriano. She is also certified in gy-rotonics.

MILA THIGPEN, rehearsal direc-tor—dubbed a “lively" dancer by the Boston Globe, Thigpen has performed in the classical works Soaring by Doris Humphrey and Esplanade by Paul Taylor, as well as contemporary works by Seán Curran, Germaul Barnes, Arthur Aviles, and Aszure Barton. She was a touring member of ANIKAI Dance Company and a founding com-pany member of KAIROS Dance Theater. Thigpen has performed with MetaMovements at the Bos-ton Salsa Congress, Connecticut Salsa Festival, and the New York Salsa Congress. Thigpen's work has been presented in the Boston Globe's "Ten’s the Limit" modern

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dance showcase and the National School Boards Association’s annual conference. In 2011, she was com-missioned to choreograph an origi-nal work for Salsa Chévere Dance Company in Cuba.

NATE TUCKER, composer—can be heard performing as a percus-sionist and/or composer for Juven-tas New Music Ensemble, Flamenco Boston, and as music director and composer for Mount Auburn Cem-etery’s A Glimpse Beyond. Find Tucker’s CD and DVD Off Grid and additional performing information at natetuckermusic.com.

ANDREA WEBER, reconstruc-tor—was a dancer with the Merce Cunningham Dance Company from 2004–2011, performing roles in over 25 works. Weber is on faculty of the Merce Cunningham Trust, teaching Cunningham Technique® at New York City Center and the Joffrey Jazz and Contemporary Trainee program. She has also taught at State University of New York at Pur-chase, Brown University, Skidmore College, the American Dance Fes-tival, ArcDanz Festival, NYU Tisch, ABT Studio Company, Salem State College, and Dance New Amster-dam. Weber has staged Pond Way for Ballett am Rhein and Ballet Vlaanderen, Suite for Five for the CNSMD in Lyon, France RainForest for the Stephen Petronio Company, and Sounddance at University of North Carolina School of the Arts. Weber has also danced with Cole-man and Lemieux Compagnie,

Dance Heginbotham, Jessica Lang Dance, Cornfield Dance, Jonah Bo-kaer, and Charlotte Griffin.

YURY YANOWSKY, choreogra-pher—made a career as a prin-cipal dancer with Boston Ballet which spanned over two decades. Yanowsky was the recipient of the first prize at the Prix de Lausanne and won the silver medal at both the Varna International Ballet Com-petition and the International Bal-let Competition in Jackson, Mis-sissippi. Yanowsky's passion for choreography began early in his dance career, and over the past decade he has had the opportunity to choreograph numerous ballets for Boston Ballet, Boston Ballet II, Carlos Acosta's Premiere's Plus, Festival Ballet Providence, Kansas City Ballet, Bundes Jugend Ballet, and many international galas. In 2015, Yanowsky was awarded the Choreographic Prize at the presti-gious Erik Bruhn Competition for his ballet District. In 2016, he was the guest choreographer for the Opening Night Gala for the bal-let program at Jacob’s Pillow. His world premiere Smoke and Mirrors for Boston Ballet was named “Best in Dance for 2016” by The Arts Fuse and hailed as a “visual and choreo-graphic masterpiece.” Most recent-ly, Yanowsky served as movement consultant for American Repertory Theater in Cambridge, Massachu-setts, and as movement director for Boston Lyric Opera’s production of The Rakes Progress. He is a fre-quent teacher at Boston Ballet and


Brookline Ballet and is on the fac-ulty at Harvard University.

DON CURIOSO, production man-ager—has served Boston Conser-vatory for 15 years. Curioso was production manager for Civic Light Opera in Seattle, Washington, and was production manager and tech-nical director for Suffolk University. Professional credits include Ameri-can Musical Theater, Long Wharf Theater, the Garde Arts Center, and Yale Repertory Theater. Early career highlights include Babes in Arms, directed by Ginger Rogers; the pre-Broadway production of Late Nite Comic, starring Robert Lupone; the inaugural season of Connecticut Repertory Theater; and The Gifts of the Magi and Children of Eden, featuring then-unknown Cheyenne Jackson. Recent Conservatory high-lights include Opening Note!; pro-ductions with the late Dana Bray-ton; numerous collaborations with theater, dance, music and opera; serving as the liaison at Midway Stu-dios during the Conservatory's 2009 off-campus season; and hosting the Production Managers Forum in Bos-ton. Curioso received an M.F.A. in technical direction and production management from the University of Connecticut. His teaching credits in-clude Wagner College, Suffolk Uni-versity, and Boston Conservatory at Berklee.

REBECCA SHANNON BUTLER, costume shop manager—holds a B.F.A. from the Massachusetts College of Art and Design. She has

worked with Boston Conservatory since a 2004 internship, where fa-vorite productions include Romeo and Juliet, The Mikado, and The Wild Party. Freelance costume de-sign credits include Boston Con-servatory (Hair, Reflections), Actors’ Shakespeare Project (Cymbeline, The Merry Wives of Windsor), and Intermezzo Chamber Opera Se-ries (Rocket’s Red Blare, The Diva Monologues, The Prodigal Son, Anne Hutchinson). Butler is a found-ing member of a designer’s studio, the Industrial Stitchers Guild, and has created costumes and textile art for organizations in Boston and beyond.

ANDREW CHANDLER, technical director—is originally from Ala-bama and has served as the produc-tion manager and/or technical direc-tor of the New York Musical Theatre Festival, Forestburgh Playhouse, and Theatre West Virginia. He currently serves as the technical director for Odyssey Opera in Boston and is thrilled to be a part of Boston Con-servatory at Berklee's production de-partment. Chandler holds a B.A. in technical theatre from Florida State University.

AMANDA FEELEY, assistant cos-tume shop manager—holds a B.F.A. in fashion design from Mas-sachusetts College of Art and De-sign. She has worked as a costume technician across the country, includ-ing the Santa Fe Opera, Walt Disney World, and locally at Boston Ballet and Costume Works. She previously

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designed the costumes for Boston Conservatory’s production of Assas-sins. She received an EMACT DASH award for her work on Theater at the Mount’s The Fox on the Fairway, and has designed numerous shows for them including some favorites: Shout! The Mod Musical, Xanadu, Legally Blonde, and The Drowsy Chaperone. Feeley’s fashion design work has been shown in Boston Fashion Week and other New Eng-land fashion shows.

BRIAN MELCHER, assistant tech-nical director—holds a B.A. in theater technology from Brandeis University and comes to Boston Conservatory after five years of work in regional theater across New Eng-land. Melcher has worked for many companies and spaces, most notably Portland Stage Company, American Repertory Theater, and Barrington Stage Company, where he spent three years as technical director and oversaw technical elements for direc-tor John Rando’s Broadway-bound revival of On the Town.

AMANDA M. OTTEN, stage man-ager—is in her fourth season as the staff stage manager at Boston Con-servatory at Berklee. Some of her credits include Alcina, Le nozze di Figaro, Flight, The Rake’s Progress, L’Italiana in Algeri, Alice in War, and Hair. She has worked extensively with Odyssey Opera, including Lu-cio Silla, Powder Her Face, Le Cid, Un giorno di regno, The Zoo, and The Bear. Otten has also stage man-aged shows with Guerrilla Opera

and Boston Opera Collaborative, and has managed the opening night galas for Boston Lyric Opera for the past two seasons. Prior to her arrival in Boston, Otten worked as the production stage manager at Northwestern University for three seasons, with credits including L’Incoronazione di Poppea, Lucre-zia, Bastianello, Albert Herring, Die Fledermaus, and Street Scene. Af-ter completing her B.F.A in techni-cal production at the University of North Carolina at Greensboro, she began her opera career with Ash Lawn Opera, assisting for two sum-mer seasons. Although she is most at home in opera, Otten has worked in a variety of disciplines, including dance, musical theater, plays, and concert events.

PENNEY PINETTE, costume de-signer—teaches costume con-struction and technology at Boston University and Tufts University. She has worked as a draper for Ameri-can Repertory Theater and Hun-tington Theatre Company, and has designed for film, theater, and dance productions throughout Boston.

TORI SWEETSER, lighting supervi-sor—has worked with Boston Lyric Opera, Odyssey Opera, Christmas Revels, New England Conservatory, and the Castleton Opera Festival. She has also toured internationally, most recently with the Philip Glass opera Einstein on the Beach.


150TH ANNIVERSARY GALATuesday, May 9, 2017 at Boston’s Symphony Hall

TICKETS ON SALE

BOSTON CONSERVATORY AT BERKLEE’S

Featuring award-winning actor Alan Cumming as Master of Ceremonies

LEARN MORE AND PURCHASE TICKETS AT: BOSTONCONSERVATORY.BERKLEE.EDU/GALA

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BOARD OF TRUSTEES

Berklee and Boston ConservatorySusan Whitehead,

Board ChairMichael R. Eisenson,

Vice ChairRoger H. Brown,

President, BerkleeRichard Ortner, President, Boston

Conservatory at BerkleeDavid AbramsLuis AlvarezG. Leonard Baker, Jr.Michael A. Brown John ConnaughtonCynthia K. CurmeEmilio EstefanGloria EstefanMonica GiraldoDean F. GoodermoteDavid Gross-LohJoshua Gruss '97 (Berklee)Christopher GuestNils Gums '06 (Berklee)Dan HarpleKristine Moyer HigginsCharles HirschhornSteven HoltzmanWilliam KaiserJoel KatzB. J. KrintzmanLaura D. KunkemuellerSara Lawrence-LightfootMiky (Mie Kyung) LeeMartin J. MannionDemond MartinMarc MayerJane L. MendilloFrederick T. MillerPeter MullerAnthony Pangaro

Alexander RigopulosJeff ShamesDarius SidebothamDavid Scott SloanSusan SolomontJeffrey C. WalkerAnn Marie WilkinsMarillyn ZacharisBarry Zubrow

Leadership Council Teresa Koster, ChairLaura D. Kunkemueller,

Conservatory LiaisonElizabeth S. BoverouxGregory E. BulgerDavi-Ellen ChabnerCaroline McMillan CollingsDiana Dohrmann '71Kate Sides FlatherMimi HewlettKelly C. McKernanLyle J. Micheli, M.D.Pamela A. MurrayCharlotte Prescott NewtonMegan O'BlockChristopher D. PerrySantosh PerumbadiWanda ReindorfGeraldine R. RicciJan Steenbrugge '99Peter J. WenderEdward G. WertheimTania Zouikin

Board of Overseers Ivy C. Scricco, ChairAnne N. Cuervo,

Vice ChairSteven E. Eisenberg P'17,

Vice ChairStacy Parkinson P'14, P'16,

AmbassadorHoward H. Bengele, Ph.D.

Joan M. BroderickDoreen Donovan CorkinRonald F. Duska P'17Miles A. Fish, III '63Edward C. FleckJill A. Fopiano, C.F.A.Jennifer A. FraserJohn S. FosterRemmi Franklin Christina P. GlenPreston B. GrandinAlice JacobsKate KushTom KushMarilyn LevittRicardo Lewitus, M.D.Michele ManganaroGregory MaillouxMichael G. MoyerBrendan MurphySean M. Murphy '94 '96Barbara G. PapeschSuzanne H. RollertWarren A. SeamansRobb SilvaAnne C. TolkoffRosamond VauleJason S. WeissmanAmy K. Wertheim

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BOSTON CONSERVATORYAT BERKLEE

Documents

BOSTON CONSERVATORY AT BERKLEE PRESENTS LIMITLESS · PDF filehis organiation is funded in part by the Massachusetts Cultural Council a state agency. BOSTON CONSERVATORY AT BERKLEE