A campus visit by the innovative American chamber orchestra, The Knights, and the acclaimed Chinesepipa artist, Wu Man, became areality this season through a special partnership with Nanshan America Aluminum Technologies, LLC. The company supported a two-day engagement with the artists which included a public performance, a private campus event and mini-per-formance, classroom residencies at Purdue and lecture-demonstrations of traditional Chinese pipa music for students in the Lafayette School Corporation. These activitiespromoted intercultural exchange and integration on campus and in the community, reaching 450individuals.

Nanshan America’s new operation in Lafayette will employ approximately 200 in the company’s first aluminum manufacturing plant in the US. With the latest technology, the Lafayette facility offers world class aluminum casting and extrusion products for the commercial transportation and automobile industries, distribution markets, and other customers who demand highly engineered products.

PURDUE CONVOCATIONS IS PROUD TO PARTNER WITH NANSHAN ADVANCED ALUMINUM TECHNOLOGIES, LLC THIS SEASON TO BRING THE KNIGHTS WITH WU MAN, PIPA.

“Nanshan feels very strongly about its obligation to be a good corporate citizen through its Core Values: - Commitment to Community - Commitment to Customers - Commitment to EmployeesOur commitment to our Community means that we will strive to maintain strong relations with business, government and community leaders, contractors and vendors, as well as providing support for community initia-tives that have a meaningful impact in our community.”

“Nanshan has chosen to support Purdue Convocations so that members of the Greater Lafayette community, Purdue students and faculty can be offered the opportunity to attend profes-sional artistic performances of a broad and diverse nature right here in our community.” - David Kummer, Human Resources

Patrons are requested to turn off pagers, cellular phones, and signal watches during performances.The taking of photographs and the use of recording devices are not allowed in this auditorium.

Program and artists subject to change.

AGE OF INNOCENCE

Choreography by EDWAARD LIANGMusic by PHILIP GLASS and THOMAS NEWMAN

Costume Design by MARIA PINTOLighting design by MARK STANLEY, recreated by JACK MEHLER

AFTER THE RAIN

Choreography by CHRISTOPHER WHEELDONMusic by ARVO PÄRT

Costumes Designed by HOLLY HYNESLighting by MARK STANLEY, Recreated by JACK MEHLER

Staged by JASON FOWLER

-INTERMISSION-

LE SACRE DU PRINTEMPS(The Rite of Spring)

Pictures of Pagan Russia in Two Acts

Choreography after Vaslav NijinskyReconstructed and staged by Millicent Hodson

Music by Igor StravinskyScenario by Igor Stravinsky and Nicholas Roerich

Costumes and décors after Nicholas RoerichReconstructed and supervised by Kenneth Archer

Artistic Supervision of Reconstruction by Robert JoffreyLighting Design by Jack Mehler after Thomas Skelton

Scenic Supervision and Costumes Executed by Robert Perdziola and Sally Ann Parsons

FEBRUARY 28, 2013 / ELLIOTT HALL OF MUSIC

ASHLEY C. WHEATERArtistic Director

CHRISTOPHER CLINTON CONWAYExecutive Director

Artists of The CompanyMATTHEW ADAMCZYK – DERRICK AGNOLETTI – YOSHIHISA ARAI

GUILLAUME BASSO – MIGUEL ANGEL BLANCO – OGULCAN BOROVA – KATHERINE BRUNO – FABRICE CALMELS –

RAUL CASASOLA – APRIL DALY – ERICA LYNETTE EDWARDS – YUMELIA GARCIA – CARA MARIE GARY – JOHN MARK GIRAGOSIAN

– DYLAN GUTIERREZ – ELIZABETH HANSEN – JAIME HICKEY – RORY HOHENSTEIN – ANASTACIA HOLDEN – DARA HOLMES –

VICTORIA JAIANI – FABIO LO GIUDICE – GRAHAM MAVERICK – CAITLIN MEIGHAN – JERALDINE MENDOZA – KATHERINE MINOR – JACQUELINE MOSCICKE – AMBER NEUMANN – ALEXIS POLITO

– VALERIE ROBIN – CHRISTINE ROCAS – AARON ROGERS – RICARDO SANTOS – LUCAS SEGOVIA – ABIGAIL SIMON –

MICHAEL SMITH – TEMUR SULUASHVILI – JACK THORPE-BAKER – SHANE URTON – ALBERTO VELAZQUEZ – MAURO VILLANUEVA –

MAHALLIA WARD – JENNY WINTON – JOANNA WOZNIAK – KARA ZIMMERMAN

SCOTT SPECKMusic Director

GRACA SALESBallet Master/Principal Coach

KATHERINE SELIGPrincipal Stage Manager

AMANDA HEUERMANNStage Manager

JACK MEHLER, Lighting Director

ROBERT JOFFREYFounder

GERALD ARPINOFounder

NICOLAS BLANCBallet Master

GERARD CHARLESBallet Master

Katherine Bruno

Elizabeth Hansen

Derrick Agnoletti

Dylan Gutierrez

Rory Hohenstein

Guillame Basso

John Mark Giragosian

Jaime Hickey

Matthew Adamczyk

Photography by: Tom Nowak

Graham Maverick

April Daly Raul Casasola

Fabrice Calmels

Yumelia GarciaErica Lynette Edwards

Anastacia Holden

Fabio Lo GiudiceVictoria Jaiani

Dara Holmes

Caitlin Meighan

Ogulcan Borova

THE JOFFREY BALLETARTISTS OF THE COMPANY

Cara Marie Gary

Yoshihisa Arai

Miguel Angel Blanco

THE JOFFREY BALLETARTISTS OF THE COMPANY

Guillaume Basso

Amber Neumann

Alexis Polito

Abigail Simon Michael Smith

Valerie Robin Christine Rocas Aaron Rogers

Temur Suluashvili Shane Urton

Jenny Winton

Kara Zimmerman

Jack Thorpe-Baker

Photography by: Tom Nowak

Lucas SegoviaRicardo Santos

Mauro Villanueva Mahallia Ward

Alberto Velazquez

Joanna Wozniak

THE JOFFREY BALLETARTISTS OF THE COMPANY

Jacqueline MoscickeJeraldine Mendoza Katherine Minor

THE JOFFREY BALLETARTISTS OF THE COMPANY

AGE OF INNOCENCEChoreography by EDWAARD LIANGMusic by PHILIP GLASS and THOMAS NEWMANCostume Design by MARIA PINTOLighting design by MARK STANLEY, recreated by JACK MEHLER

AGE OF INNOCENCE PROGRAM NOTES

Ballet Notes: This ballet, inspired by the novels of Jane Austen, tells the story of females of the late eighteenth century and early nineteenth-century. It’s a story of societal repression and of the strength of the human spirit. Age of Innocence was created with funds from the Prince Prize for Commis-sioning Original Work, which was awarded to Edwaard Liang and The Joffrey Ballet in 2008.

World Premiere: The Joffrey Ballet, October 15, 2008, Chicago, Illinois, The Auditorium Theatre of Roosevelt University

Music Credits:Movement 2 & 4 from Symphony No. 3, The Secret Agent by Philip Glass © 1995 Dunvagen Music Publishers Inc. Used by Permission. Performed by Bournemouth Symphony Orches-tra, Conducted by Marin Alsop and courtesy of Naxos of America

“The Poet Acts” from the motion picture “The Hours” by Philip Glass, Published by Sony/ATV Music Pub-lishing LLC.Michael Riesman, Piano; Lyric Quar-tet; Nick Ingam, Conductor.

LITTLE CHILDREN - END TITLE written by Thomas Montgomery NewmanAll Rights owned or administered by © SONGS OF UNIVERSAL, INC. on behalf of NEW LINE MUSIC CORP. (BMI)Used By Permission.

AGE OF INNOCENCE PROGRAM NOTES

After the Rain® by CHRISTOPHER WHEELDONMusic by ARVO PÄRTCostumes Designed by HOLLY HYNESLighting by MARK STANLEY, Recreated by JACK MEHLERStaged by JASON FOWLER

AFTER THE RAIN PROGRAM NOTES

Ballet Notes: Christopher Wheel-don’s After the Rain is a ballet of bold movements and heartfelt emo-tion. In Part I, danced to the first movement of Pärt’s Tabula Rasa, the three couples’ opening move-ments find the men lying on the floor with the women standing over them, en pointe, with their left legs thrust in the air. From that power-ful image, the couples perform a series of intricate lifts and turns that often mirror one another. They are dressed in steel gray, reflecting the striking backdrop, in which a revolving palette of grays resembles glass covered with raindrops. The colors and mood shift dramatically in Part II, a pas de deux danced to Spiegel im Spiegel. The ballerina is dressed in pink and her partner is bare chested. In a series of unfold-ing partnering moves, the dancers explore the shifting emotions of their relationship. At times they are close and tender with one another, while at other times they inhabit the same space but are separated and searching for one another. The ballet is short in length–lasting about 22 minutes–but rich in inven-tion and feeling. Repertory notes courtesy of and adapted from New York City Ballet Online Repertory Index.

World Premiere: January 22, 2005, New York City Ballet, New York StateTheater, New York

Joffrey Premiere: October 13, 2010, Auditorium Theatre of Roosevelt University, Chicago, IL

Music Credits: Arvo Pärt Ludus from TABULA RASA and SPIEGEL IM SPIEGELUsed by arrangement with Europe-an American Distributors Company, U.S. andCanadian agent for Universal Edi-tion Vienna, publisher and copy-right owner

LE SACRE DU PRINTEMPS(The Rite of Spring)Pictures of Pagan Russia in Two Acts

Choreography after Vaslav NijinskyReconstructed and staged by Millicent HodsonMusic by Igor StravinskyScenario by Igor Stravinsky and Nicholas RoerichCostumes and décors after Nicholas RoerichReconstructed and supervised by Kenneth ArcherArtistic Supervision of Reconstruction by Robert JoffreyLighting Design by Jack Mehler after Thomas SkeltonScenic Supervision and Costumes Executed by Robert Perdziola and Sally Ann Parsons

THE RITE OF SPRING PROGRAM NOTES

Ballet Notes: Vaslav Nijinsky, as a member of Diaghilev’s Ballets Russes, was one of the greatest dancers of the 20th century as well as an innovative choreographer. Le Sacre du Printemps gave him the opportunity to revolutionize dance, stimulated by his close collabora-tors, Igor Stravinsky, the composer and Nicholas Roerich, the scenar-ist and designer. All three felt the desire to break free fromprevailing classical ballet and evoke the primitive soul of their native Russia, return to colorful peasant costumes and the vast stony regions of the Slavic north. Stravinskycaptured in his music the firstmoment of the Russian Spring, which, as he said, was like the whole world suddenly cracking. Roerich and Stravinsky conceived a pagan rite involving elders of a tribe watching the annual fertility ritual where a young girl dances herself to death. Such a work was

realized, a ballet completely apart from the norm of their day. The movements that Nijinsky devised were so unfamiliar to theclassically trained dancers that many of them rebelled against the steps he required. But he stood firm. Stravinsky’s polyrhythms were monumentally difficult. Diaghilev asked a pupil of Jaques-Dalcroze (founder the music study system, Eurhythmics) to assist Nijinsky with the score for the corps deballet. Her name was MarieRambert who later directed the Ballet Rambert in London. Nijinsky created the role of the Chosen One in Le Sacre for his sister, Bronislava, who became pregnant and could not perform. She was replaced by Maria Plitz who danced the role to acclaim. By the final rehearsals, most of the dancers believed in the ballet, though everyone, including Diaghilev, was anxious about the audience reaction to the new work.

In fact, at the premiere in Paris in 1913, pandemonium broke out in the theatre with audience members howling, whistling and catcalling in response to the violent fertility rite, drowning out the music andfighting in the aisles. There was chaos at the Théâtre des Champs-Elyssées and the ensuing riot has become legend. Le Sacre duPrintemps nevertheless, made a profound impression, considered by many to be the tumultuous birth of modernism in ballet. Stravinsky’s score of Le Sacre du Printemps is in the repertoire of most of the world’s great orchestras and more than 200 choreographers have since done creations to the score, but only The Joffrey Sacre turned legend back into artifact. It was meticulously researched and reconstructed by Millicent Hodson and Kenneth Archer and is recognizedinternationally as the closestpossible version of Nijinsky’s

original. This reconstruction is a testimony to the ardent desire of Robert Joffrey and Gerald Arpino to revive rare classics which thecompany still presents with great care, allowing audiences toexperience the defining treasuresof ballet.

World Premiere: Diaghilev’s Ballets Russes, May 29, 1913, Theatre des Champs-Elysees, Paris, France.

US & Joffrey Premiere: The Joffrey Ballet, September 30, 1987, Dorothy Chandler Pavilion, Los Angeles, CA

The Rite of Spring, 1913

ACT I —Adoration of the EarthSpring.The Earth is covered with flowers. The Earth is covered with grass. A great joy reigns over the Earth.The men join in the dance and invoke the future according to the rites.The Sage among all the Ancestors (Elders) participates in the glorification of the Spring.All are made one (led to unite) with the abundant and rich Earth.Everyone tramples the Earth with ecstasy.

ACT II —The SacrificeAfter the day: after midnight.On the hills are the consecrated stones.The (young) maidens carry-out the mystical games and look for the Great Path.They glorify, they exalt the maiden who is designated to be the chosen one of the god.They call the Ancestors, venerated witnesses. And the wise Ancestors of Men contemplate the (Dance of ) Sacrifice.It is thus they sacrifice to Yarilo* the magnificent, the flaming.

—From the original program, May 29, 1913, Theatre des Champs-Elysees, Paris, France

THE RITE OF SPRING PROGRAM NOTES

The 1987 Joffrey Ballet produc-tion was made possible, in part, by grants to the company and to Millicent Hodson from the National Endowment for the Arts, the L.J. Skaggs and Mary C. Skaggs Foun-dation, and the New York State Council on the Arts and to Kenneth Archer from the Indian Council for Cultural Relations. Costumes were made possible, in part, by a gift from The Los Angeles Friends of The Joffrey Ballet. Special Thanks to Philip Dyer, Consultant and Sara C. Woodcock, Research Assistant to The Theatre Museum, Victoria

and Albert Museum, for research and material for the costumes for the 1987 production of Le Sacre du Printemps. Also to Parmenia Migel Ekstrom, Stravinsky-Diaghilev Foundation, New York; Boris Kochnov; Ballet Rambert Archives, London; Dr. and Madam Svetslav Roerich ’ Olga Rumyanseva, Roerich Study, Oriental Museum, Moscow.

*In pre-Christian Slavic mythology, Yarilo was thought to be the sun-deity and ancient spirit of light and creativity.

Edwaard Liang was born in Taipei, Taiwan. He was raised in Marin County, California, and began his ballet training at the age of five at Marin Ballet. In 1989, Mr. Liang entered the School of American Ballet. He joined New York City Ballet in the spring of 1993, and that same year he was a medal winner at the Prix de Lausanne International Ballet Competition and received the Mae L. Wien Award. He was promoted to Soloist in 1998. Mr. Liang danced with NYCB until 2001, when he joined the Broadway cast of Fosse, performing a leading principle role. In 2002, Mr. Liang became a member of acclaimed Nederlands Dans Theater 1, where he danced, choreographed and staged ballets. After returning from Holland, Mr. Liang returned to New York City Ballet from 2004-2007. He has also performed as a Guest Artist with various companies, some being the Norwegian National Ballet and Complexions.

Edwaard Liang has choreographed a number of works. He started with Nederlands Dans Theater 1workshop, Flight of Angels, which has since been staged for many companies. Mr. Liang was invited to create a piece for the 2004 New York Choreographic Institute and choreographed a piece for the opening of the Cedar Lake Dance

Company. Mr. Liang’s Distant Cries, danced by NYCB PrincipalDancers Peter Boal and Wendy Whelan, was premiered to rave reviews from the New York Times for the Joyce Theatre, New York City Ballet Gala, and City Center. Edwaard Liang has sincechoreographed ballets for many companies and projects such as New York City Ballet, Pacific Northwest Ballet, Joffrey Ballet, San Francisco Ballet, Shanghai Ballet, Washington Ballet, Hubbard Street 2, National Ballet of Novosibirisk, Guggenheim’s Works and Process, Morphoses the WheeldonCompany. Mr. Liang was named one of the TOP 25 to Watch for 2006 by Dance Magazine forchoreography, winner of the 2006 National ChoreographicCompetition, and invited to be a part of the 2007 NationalChoreographers Initiative. Mr. Liang was featured in the New York City Ballet Workout book, the accompanying video, and Richard Corman’s book of photographs Glory. Mr. Liang’s televisionappearances include the nationally televised PBS Great Performances broadcast Dance in America: From Broadway: Fosse, which hassubsequently been made into a DVD. He was also nominated for the Golden Mask Award forChoreography in Russia.

ABOUT EDWAARD LIANG

ChoreographerAge of Innocence

ABOUT CHRISTOPHER WHEELDON

A former dancer with The Royal Ballet and soloist with New York City Ballet (where he served as Resident Choreographer from 2001 to 2008), Wheeldon founded Morphoses in 2007 with the goal of introducing a new spirit ofinnovation to classical ballet by fostering collaboration among choreographers, dancers, visual artists, designers, composers, and others who can bring new life and perspective to ballet.

Born in Yeovil, Somerset, England, Wheeldon began his ballet training at eight years old and beganstudying at The Royal Ballet School at eleven. Wheeldon joined The Royal Ballet in 1991 and won the Gold Medal at the Prix deLausanne competition that year. In 1993, Wheeldon was invited to become a member of New York City Ballet, where he was promoted to soloist in 1998. Wheeldonchoreographed his first work for NYCB, Slavonic Dances, for the 1997 Diamond Project and, incollaboration with artist IanFalconer, created Scènes de Ballet for the School of American Ballet’s 1999 Workshop Performances and NYCB’s 50th anniversary season.

After creating Mercurial Ma-noeuvers for NYCB’s Spring 2000 Diamond Project, Wheeldon retired from dancing to concentrate on choreography. In NYCB’s2000-2001 season, he served as the company’s first Artist in Residence, creating two ballets: Polyphonia, set to piano music by Györgi Ligeti, and Variations Sérieuses, set to a score by Felix Mendelssohn. In July 2001, Wheeldon was named NYCB’s first Resident Choreographer.During his appointment, Wheeldon choreographed works that included Morphoses and Carousel (A Dance) (2002); Carnival of the Animals and Liturgy (2003); After the Rain and An American in Paris (2005); Klavier (2006), The Nightingale and the Rose (2007) and RococoVariations (2008) .

Wheeldon was the recipient of the Dance Magazine Award and the London Critics’ Circle Award for Best New Ballet for Polyphonia in 2005; a performance of the work by NYCB dancers received theOlivier Award. In 2006, DGV(Danse à Grande Vitesse) wasnominated for an Olivier Award. Additional honors include theMartin E. Segal Award from Lincoln Center and the American Choreography Award.

ChoreographerAfter the Rain

Vaslav Nijinsky was born in Kiev, probably in 1889. His parents were artists of the Wielki Theatre in Warsaw and performed throughout Poland and the Russian empire. Nijinsky, and later his sisterBronislava, trained at the Impe-rial Ballet School in St. Peters-burg. Their ability was recognized quickly and both joined the Mariin-sky Theatre upon graduation.

Sergei Pavlovich Diaghilev was a prominent member of St.Petersburg’s intellectual and cul-tural life, dedicated to presentingRussian creativity to WesternEurope. In 1909, he brought a company from the Imperial Theatre to Paris, led by Nijinsky with Anna Pavlova. Their dancing, designs by Russian artists, and the newrepertoire won enormousaccolades and established Diaghilev and Nijinsky, an openly gay couple, as the centers of the WesternEurope’s artistic elite.

Vaslav Nijinsky choreographed four works: L’Après-midi d’un Faune (1912), Jeux (1913), Le Sacre du Printemps (1913), Till Eulenspiegel (1916). All were controversial in their time. All retain their ability to shock, both as documented in contemporary graphics and asreconstructed in performance. From photographs, one can see the

individual poses and groupmovements that seemed completely divorced from even Fokine’s ballet vocabulary. Nijinsky foundinspiration in the dancing ofIsadora Duncan, the archeological paintings of Nicholas Roerich and the art of the avant-garde in Russia and France.

He ended his professional ballet career at twenty-nine with a private performance in Switzerland. He was diagnosed with schizophrenia and spent much of his remaining 30 years in treatment, although his diary and extraordinary drawings testify to his enduring genius.

Biographical information fromThe New York Public Library

ABOUT VASLAV NIJINSKY

ChoreographerLe Sacre du Printemps

ABOUT ASHLEY WHEATER

Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School. Mr. Wheater began his professional career with The Royal Ballet, and danced at the London FestivalBallet, The Australian Ballet, the Joffrey Ballet and San Francisco Ballet. In 1997, he became Ballet Master at the San Francisco Ballet, and in 2002, Assistant to theArtistic Director.

In 2007, Mr. Wheater was appoint-ed Artistic Director of The Joffrey Ballet. New work is the life blood of a company, and he has introduced numerous premieres to the reper-toire. In 2008, the Boeing Corpora-tion recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Mr. Wheater, representing The Joffrey Ballet, was named Lin-coln Academy Laureate, the highest honor presented by the State of Illinois.

Artistic DirectorThe Joffrey Ballet

COMPANY HISTORY JOFFREY BALLET

The Joffrey Ballet has been hailed as “America’s Company of Firsts.” The Joffrey Ballet’s long list of “firsts” includes being the first dance company to perform at the White House at JacquelineKennedy’s invitation, the first to ap-pear on television, the first Ameri-can company to visit Russia, the first classical dance company to go multi-media, the first tocommission a rock ‘n’ roll ballet, the first and only dance company to appear on the cover of Time magazine, and the first company to have had a major motion picture based on it, Robert Altman’s The Company.

For more than a half-century, The Joffrey Ballet’s commitment totaking world-class, artistically vibrant work to a broad and varied audience has created a solidfoundation that continues tosupport the company’sunprecedented capacity forachieving important “firsts.” Today, the Joffrey, which has been hugely successful in its former residences in New York and Los Angeles, lives permanently in its brilliant new facility, Joffrey Tower, in the heart of America, Chicago, Illinois. The company’s commitment toaccessibility is met through the most extensive touring schedule of any dance company in history, an innovative and highly effective edu-cation program including the much lauded Joffrey Academy of Dance,

Official School of The JoffreyBallet, and collaborations withmyriad other visual andperforming arts organizations.Classically trained to the highest standards, The Joffrey Balletexpresses a unique, inclusiveperspective on dance, proudly reflecting the diversity of America with its company and audiences and repertoire which includes major story ballets, reconstructions of masterpieces and contemporary works. Founded by visionaryteacher Robert Joffrey in 1956, guided by celebratedchoreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley C. Wheater and Executive Director Christopher Clinton Conway. The Joffrey Ballet has become one of the most revered and recognizable arts organizations in America and one of the top dance companies in the world.

Restrooms are located at the north and south ends of the lower lobby of Elliott Hall. Additional restrooms are located at the north and south ends

of each balcony. Loeb Playhouse restrooms are located off of the lobby down one flight of stairs. Additional restrooms are located on the main floor of Stewart Center.

Accessibility questions should be directed to any usher or house staff member. Seats, ramps, r e s t r o o m s , d r i n k i n g

fountains, and reserved parking spaces are provided for patrons in need at all venues. Accessibility brochures are available at the box office.

Sound enhancement headsets and earplugs are available at no charge from the house staff.

Large print programs are available upon request. See an usher for a copy.

Cameras and recording equipment are prohibited u n l e s s b y s p e c i a l

permission of Convocations and the artist. Flash photography is prohibited at all times.

First aid and lost and found can be accessed by contacting any usher or house staff member.

Smoking, food, and beverages are prohibited in the theatres. Smoking is prohibited in campus buildings. Food and beverages are permitted in the Elliott Hall lower lobby and the Stewart Center lobby.

Children While we encourage early introduction to the arts, we also wish to provide the best environment for all of our patrons. Our child policy is as follows:

• We request that children under6 years of age not be brought to performances, except those labeled “Family” in our brochure or web site.

• Infantsonlapsareonlypermittedat family shows. All patrons, including infants on laps, must have a ticket due to fire marshal requirements.

Expecting a call or page? Leave your pager, name, and seat location with the house staff and they will discreetly retrieve you from the event. The number to leave with your service for emergencies is 765-494-3918.

Building emergencies will be announced and directions given from the stage.

Box Office765-494-3933 | 800-914-SHOWTDD Relay 765-496-1343Hours for Elliott Hall Box Office Monday-Friday: 10 am-4:30 pmHours for Loeb Playhouse Box OfficeMonday-Friday: 10 am-6 pmThe venue box office is open two hours before and until intermission on show days.

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