Digital programs for events at Wharton Center for Performing Arts. 

Digital Programs

# **REDUCED SHAKESPEARE COMPANY** 
## **HAMLET’S BIG ADVENTURE! (a prequel)**

Written and directed by

**Reed Martin & Austin Tichenor**

Starring

- **Doug Harvey**
- **Austin Tichenor**
- **Chad Yarish**


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Tonight’s performance will run approximately 2 hours, including a 15-minute intermission.

Run time

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### MUSIC CREDITS

Beats: **Zach Moore** 

Original Circus Music composed by **Peter Bufano**; performed by **Cirkestra**

“In Summary” composed by **Reed Martin** and **Austin Tichenor**

“In Summary” accompaniment arranged and performed by **Michael Faulkner**

“The Plan” composed by **Austin Tichenor**

---

*Hamlet’s Big Adventure! (a prequel)* was workshopped and developed at Shakespeare Napa Valley (Jennifer King, Artistic Director). Directed by the authors, the cast was Peter Downey, Jessica Romero, and Chad Yarish.

The actors and stage managers in this production are members of Actors' Equity Association, the union of professional actors and stage managers in the United States.

---

MUSIC CREDITS

**DOUG HARVEY** (*Hamlet, et al*) is thrilled to bring his reduced stature to the RSC family. Stage credits include South Coast Rep, LA Philharmonic, A Noise Within, and Mainstreet Theatre Company. His one-man show, *A Time Traveler's Guide to the Present,* was recently awarded the Paul Koslo Memorial / MET Theatre Award at the Hollywood Fringe Festival. He also tours with the RSC in *The Complete Works of William Shakespeare (abridged)* and performs regularly at the LA landmark Griffith Observatory, where he live-narrates the planetarium shows. BFA: NYU Tisch and RADA.

**AUSTIN TICHENOR** (*The King, Ophelia, et al; Co-Author & Co-Director*)is a fifth-generation San Franciscan born on the 54th anniversary of the 1906 Earthquake, making him older than he looks but short for his weight. He's co-created ten RSC stage shows, the recently published *Pop-Up Shakespeare* (illustrated by Jennie Maizels), and blogs monthly for the Folger Shakespeare Library. He played Richard Burbage in the Midwest premiere of Lauren Gunderson's *The Book of Will* at Chicago's Northlight Theatre; other stage appearances include the Tony®-winning Lookingglass Theatre and the Back Room Shakespeare Project. Numerous TV jobs include guest starring roles on *The West Wing*, *Gilmore Girls*, *24*, *Felicity*, *The X-Files* (and shows like them) and he recently directed *Twelfth Night* for the Cincinnati Shakespeare Company. Find him on Twitter @austintichenor.

What can be said about **CHAD YARISH** (*Yorick, Lilith, et al*) that hasn't already been said about crème brûlée? White, sweet, and best when lightly toasted. Chad was part of the original workshop productions of *Hamlet's Big Adventure! (a prequel), William Shakespeare's Long Lost First Play (abridged), The Ultimate Christmas Show (abridged)*, *The Complete History of Comedy (abridged)*, and *The Complete World of Sports (abridged),* making him one of the few actors in the RSC stable eligible for Bingo! (abridged). Chad lives and performs (largely) in Northern California. Chad does all his own beard stunts, served four years in the U.S. Army, makes his own mead, and has no formal theatrical training to speak of—which is either impressive or obvious. Find out more at chadyarish.com.

**JANE MARTIN** (*RSC General Manager*) Prior to joining the RSC and sleeping with Reed, Jane was artistic director of the Hawk's Well Theatre in Sligo, Ireland, and then producer of the physical comedy troupe The Right Sizein London, England. In her copious free time away from RSC business, Jane spends time raising two boys (three, if you count Reed) and teaching theater at Sonoma Valley High School.

**REED MARTIN** (*Co-Author; Co-Director*) co-created and performed in the original productions of ten RSC shows, and has performed in London's West End, at Lincoln Center, The Kennedy Center, Seattle Repertory Theatre, American Repertory Theatre, Pittsburgh Public Theater, ACT San Francisco, McCarter Theatre, Old Globe Theatre, La Jolla Playhouse, The White House, and Madison Square Garden, as well as in 11 foreign countries. He lives in Northern California with his wife and two sons, all three of whom are much funnier than he is.

**ELAINE M. RANDOLPH** (*Stage Manager*)Credits include stage management (compulsive) and lighting design (creative) in theater, music, and dance, for The Kennedy Center, Walnut Street Theater, Actors' Theater of Louisville, among many others. Recent projects include Barbara Cook in Concert, The International Ballet Festival, and the Sondheim Celebration. Favorite projects include *Quilters, A Midsummer Night's Dream, Noises Off, Pump Boys & Dinettes, A Tuna Christmas,* and *A Christmas Carol*.

**DANIEL SINGER** (*RSC Founder*)has been a theatrical impresario from the moment he looked up 'impresario' in the dictionary. Upon his return from studying "proper dramatic technique" in London, he became a director at the original Renaissance Pleasure Faire, where he founded the subversive Reduced Shakespeare Company. In 1989 Daniel hung up his doublet-and-hose to design theme park attractions at Walt Disney Imagineering, and became a freelance designer, writer, and event producer in Los Angeles. His new hit comedy *A Perfect Likeness* chronicles Lewis Carroll's (fictitious) attempt to get his literary hero Charles Dickens to pose for a photograph in 1866 Oxford. Coming soon to a theater near you!

**ERIN SWEENEY** (*Wardrobe*)is a graduate of San Francisco State University with a B.A. in women and gender studies (she's in it for the money and job security) and has completed a fellowship in stage management with the American Conservatory Theater. After several forays out into the surrounding world, she is so, so happy to be back working in theater. Once, in an attempt to be helpful, Erin purchased a soccer ball, which has directly led to her getting to live out her dreams of working for and touring with the RSC!

---

Bios

- RSC General Manager\
**Jane Martin**
- Office Manager\
**Alli Bostedt**
- Stage Manager\
**Elaine Randolph** 
- Dramaturg\
**Kate Pitt**
- Wardrobe Supervisor\
**Erin Sweeney** 
- Backdrop Design\
**Tim Holtslag** 
- Costume Designer\
**Freya Marcelius**
- Sound Design\
**Matthew Cowell, Zach Moore** 
- Props\
**Tim Holtslag, Mercedes Rivera**
- Assistant Stage Manager\
**Mercedes Rivera, Jessica Romero**
- Poster Art\
**Lar DeSouza**
- Additional Graphics\
**Chad Yarish** 
- Webmaster\
**GingerPower, Ltd**
- U.S. Tour Direction\
**Kosson Talent**
- Legal Counsel\
**Sharon Colchamiro, Esq.** 
- Company Founder\
**Daniel Singer**

&nbsp;

For their contributions to the development of the script, the Authors wish to thank:\
Kate Pitt, Jennifer King, Laurence Olivier, Danny Kaye, Tom Lehrer, Lar DeSouza, Christopher Moore, Teddy Spencer, Peter Downey, Jessica Romero, Chad Yarish, Johanne Brøsted, Mya Gosling, Zach Moore, Dee Ryan, and Jane Martin.

Follow the [RSC on Twitter @reduced](https://twitter.com/reduced) for funny and random reduction, as well as the most up-to-date news & nonsense.

1149 Manor Drive\
Sonoma, CA 95476\
info@reducedshakespeare.com

ADDITIONAL CREDITS

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Reduced Shakespeare Company

# **MUMMENSCHANZ**

## **50 Years**


Featuring:

- Floriana Frassetto
- Sarah Lerch
- Kevin Blaser
- Manuel Schunter
- Eric Sauge


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This performance will run approximately 90 minutes, with no intermission.

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## MUMMENSCHANZ

Since its successful three-year run on Broadway, Swiss theater troupe MUMMENSCHANZ has pioneered a new form of visual theater that has  spawned multiple new genres reclaiming their legacy. MUMMENSCHANZ has been dazzling audiences worldwide for decades. By creating a playful yet compelling experience through the inventive use of shadow, light, and creative manipulation of objects, MUMMENSCHANZ offers timeless insight on the human condition. The result is a visually stunning spectacle that transcends cultural barriers and sparks the imagination.

Celebrating a momentous anniversary, the troupe revisits its history while writing the next chapter in its story of inimitable, non-verbal language. Featuring some of their most popular and successful productions, their 50th Anniversary Tour  takes audiences on an imaginative and poetic journey through the infinite—yet familiar—world of imagination conjured by MUMMENSCHANZ. 


run time/about

**FLORIANA FRASSETTO** (Swiss), studied at Academia Alessandro Fersen in Rome from 1967 to 1969. She completed her training as an actress while attending a school for mime and acrobatics at Roy Bosier‘s Teatro Studio. She then worked with the company of Roy Bosier in several school productions that toured Italy. The idea of founding MUMMENSCHANZ resulted from meeting, in late 1970, Andres Bossard and Bernie Schürch—two young Swiss clowns called “Before and Lost” that performed a partially spoken show. Floriana became the third member of the new company in 1972, and together they co-created the repertoire of MUMMENSCHANZ, converting the spoken numbers to masked visuals. Floriana has performed on tour worldwide for the last 47 years. She feels herself an artisan of fantasy and has always been motivated to construct new shapes along with Bernie. Other notable experiences include the choreography and the costumes for Giancarlo Sbragia’s *Faust* and André Heller‘s musical, *Body and Soul*, and an artistic collaboration with Isabelle Baudet for the children’s musical *Oliver Twist* in Lausanne (Switzerland). She is the artistic director of MUMMENSCHANZ.

**TESS BURLA** was born in 1981 and grew up in Murten, Switzerland. After completing her studies in psychomotor therapy, she trained as a dancer in Barcelona and Berlin. In 2009, she completed a master’s in dance education at Zurich University of the Arts. She has been a member of Cie Chapeau (and formerly Paula fliegt) since 2015. She gained experience working with Marcel Leemann, and as part of Brigitta Schrepfer’s Somafon, human kinetics movements arts, and Collectif de Marchepied. Burla works as a freelance dancer and is a founding member of cie deux plus. In addition to dance performances in collaboration with live musicians (Simone Abplanalp and Ursula Hofmann), she also made an appearance as part of the clown duo Nasva and Ravu in 2018. Her journey with MUMMENSCHANZ began in 2019.

**SARAH LERCH** was born in 1983 and grew up in Bern, Switzerland. She studied acting at the Accademia Teatro Dimitri (ATD) before going on to create her own dance and theater productions. From 2009 to 2011, she toured throughout Europe with the Czech company Continuo Theatre. She then returned to Switzerland and completed a master’s degree in physical theatre at the ATD. She is a two-time winner of the Migros Kulturprozent competition and a member of the Swiss Study Foundation. In 2014, she co-founded the international company Wakouwa Teatro and gave birth to a baby boy. She is a versatile performer and choreographer working on a variety of major stage projects, with collaborators such as Volker Hesse, and she regularly teaches acrobatics and aerial silks. From 2019 to 2020, she was co-director of the Theaterzirkus Wunderplunder with Kevin Blaser. Sarah joined MUMMENSCHANZ in 2021 for its 50th anniversary production.

**KEVIN BLASER** (Swiss), born in 1990, is a young artist from Ticino. In his early age he showed a strong interest in movement and art. He stood out in gymnastics and in skateboarding in which he found a companion with whom he travels the world. Passionate for music, he perfected his skills in percussion and drums, with which he continues to play in various bands. Through theatre he discovered the means for full expression of himself and entered the school for physical theatre Accademia Teatro Dimitri, where he obtained his bachelor’s degree in 2015. He played in theatre and cinema productions such as Gilgamesh (from Patrizia Barbuiani), Gotthard 2016 (from Volker Hesse), and Tutti Giù (from Niccolò Castelli). In July 2016 he started his journey with the MUMMENSCHANZ company.

**MANUEL SCHUNTER** was born in Munich (Germany) in 1985 and has lived primarily in Switzerland since 2007. He completed a bachelor’s degree in physical theatre at the Accademia Teatro Dimitri and a master’s degree in expanded theatre at the Bern University of the Arts. He has since given numerous performances and toured as a clown in the world of circus and vaudeville (with Circus Monti, Circus Roncalli, Das Zelt, Circus Sarrasani and at Circus Knie’s centenary celebrations, among others). He was a permanent ensemble member with the Theater Madame Bissegger and the Origen Festival. Manuel’s theater engagements have included performances with the Stadttheater Freiburg, LAC Lugano, and Espace Nuithonie. Besides his activities as a performer, he also directs various stage productions and lectures at the Lucerne University of Applied Sciences and Arts. Manuel has been a member of MUMMENSCHANZ since the summer of 2022.

**ERIC SAUGE** (Swiss) is the technical director of the company. With more than 10 years of experience in the entertainment business, he now specializes in lighting and machinery effects. Back in Switzerland he continues to train in the field of lighting for theater and television. In 2014 he met MUMMENSCHANZ in Lausanne and, wishing to return to the theatre scene, he joined them as their technical director.


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Mummenschanz: 50 Years

Dance Exchange’s

# **OF EQUAL PLACE: ISOTOPES IN MOTION**

Inspired by Liz Lerman’s *The Matter of Origins*

**Keith Thompson**\
Creative Director

**Ami-Dowden Fant**\
Director of Creative Engagement

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Choreography by:\
**Keith Thompson**\
**Ami-Dowden Fant**\
**Elizabeth Johnson Levine** 

In collaboration with performers:\
**Tessa Barnett**, Everett High School Dancer\
**Eric Britt**, Women and Minorities in the Physical Sciences Dancer\
**Chelsie Boodoo**, Women and Minorities in the Physical Sciences Dancer\
**Clarence Brooks**, Dance Exchange Partnering Artist\
**Shawn Brush**, Dance Exchange Partnering Artist\
**Jourdyn Carter**, Everett High School Dancer\
**Brit Falcon**, Dance Exchange Partnering Artist\
**Esther Geiger**, Dance Exchange Partnering Artist\
**Chloe Gonzales**, Happendance Partnering Artist\
**Ella Gordon**, Everett High School Dancer\
**Rahul Hain**, Women and Minorities in the Physical Sciences Dancer\
**Sarah Lettau**, Everett High School Dancer\
**Channing Lewis**, Everett High School Dancer\
**Jazmin Monroe**, Everett High School Dancer\
**Jaida Moore**, Everett High School Dancer\
**Jennah Quinn Gray**, Happendance Partnering Artist\
**Daniel Puentes**, Women and Minorities in the Physical Sciences Dancer\
**Linda Reiff**, Happendance Partnering Artist\
**Liv Schaffer**, Dance Exchange Partnering Artist\
**Corina Seymour**, Everett High School Dancer\
**Laura Spitzfaden**, Happendance Partnering Artist\
**Bridget VanderHoff**, Happendance Partnering Artist

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**Dante Fields**, Stage Management\
**Kelly Colburn**, Original Projection/Media Design\
**Devin Kinch**, Projection/Media Design\
**Jeanette Christenson**, Original Costume Design\
**Channing Tucker**, Costume Design\
**Peter Leibold**, Lighting Design\
**Matthew Nielson**, Sound Design\
**Darron L. West**, Original Sound Design for Marie Curie and Genesis sections\
**Hope Still**, Study Guide Coordination\
**Sam Horning**, Project Management\
**Cassie Meador**, Creative and Partnership Advisement

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Creative Engagement Partners:\
**Rachel Miller**, Executive Director at Happendance\
**Missy Lilje**, Director of Development and Education at Happendance\
**Clara Martinez**, Dance Director of Everett High School

The creative team would like to acknowledge:

Elizabeth Johnson Levine’s contributions as a co-creative director on the project 2015-2020 and her stewardship of the project partnerships in her past roles as director of partnerships and associate artistic director at Dance Exchange. 

Juliana Ponguta’s contributions in her role as a performer, collaborator, and Dance Exchange partnering artist during the project’s development 2015-2020.  

Lena Granger, Alison Rhodes, Liam Shafer, and Audrey Spitzfaden in their roles as performers, collaborators, and Happendance partnering artists during the project’s development 2015-2020.

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In collaboration with:\
**Wharton Center Institute for Arts & Creativity**\
**MSU Women and Minorities in the Physical Sciences**\
**The Lansing School District**

Underwritten by:\
**Facility for Rare Isotope Beams at Michigan State University**\
FRIB is supported by the Office of Nuclear Physics in the U.S. Department of Energy Office of Science

Additional support by:\
**MSU University Outreach and Engagement**\
**Science and Society at MSU**\
**Office of the Vice President for Research and Innovation**

---

Credits

![isotopes-thank-you.jpg](https://res.cloudinary.com/wharton-center/image/upload/v1666982282/isotopes_thank_you_2a71621440.jpg)



Thank you

**CREATIVE DIRECTOR KEITH THOMPSON AND DIRECTOR OF CREATIVE ENGAGEMENT AMI DOWDEN-FANT**

Welcome to *Of Equal Place: Isotopes in Motion*, a 50-minute multi-media performance commissioned by the Facility for Rare Isotope Beams (FRIB). This work has grown out of a long-term partnership between Dance Exchange, Wharton Center, FRIB, Happendance and WaMPS. On stage and on video, you will see professional dancers from Dance Exchange and Happendance, scientists, and community youth performers. This dance work delves into some of the research being done at FRIB while exploring themes that resonate in both nuclear physics and dance: stability and instability, measurement, acceleration, fragmentation, and navigating mystery. Additionally, the performance investigates the contributions of women and people of color in science through a cast diverse in age, race, and cultural backgrounds. We hope this work will engage audiences who might be new to watching dance and/or new to thinking about physics. As you watch, resist the temptation to feel like you are not "getting it." Watching a dance is a creative process, much like the creative process of scientific research. You set up an experiment. You observe. From those observations, you collect data. Then, there's the key process of interpreting the data in a way that makes sense to you. Notice what you connect to, what meaning you are making, and let your own discoveries unfold. Then repeat this process. We invite you to revel in your own discoveries, to lean into curiosities. We hope the resources in the study guide and the opportunities on this campus will serve to launch you further into your understanding and curiosity of new areas for future research and creativity.

**DANCE EXCHANGE EXECUTIVE ARTISTIC DIRECTOR CASSIE MEADOR**

It has been thrilling to witness and support the creative team and partners on *Of Equal Place: Isotopes in Motion* to create a fully immersive and embodied experience for students, educators, and audience members to learn about and engage with physics and dance. At Dance Exchange, we harness the power of creativity and inquiry through dance to connect communities and to foster a more embodied, resilient, and just world. Through this project we are invested in helping to create new pathways and inspiration for women and people of color to engage with and contribute to the fields of physics and dance. 

**THOMAS GLASMACHER, DIRECTOR, FRIB LABORATORY**

As we operate what will be the world's most powerful heavy-ion accelerator right here at Michigan State University, we are excited to share with our community how FRIB works and how the research conducted with it will positively impact our lives. The Dance Exchange performance and this Wharton Center study guide provide us with a unique opportunity to showcase the scientific work and expand our connection with science, the arts, and our local community.

**MIKE BRAND, RETIRED EXECUTIVE DIRECTOR, WHARTON CENTER**

Wharton Center and its Institute for Arts & Creativity are proud and excited to facilitate this special and unique collaboration with FRIB. This is a powerful demonstration of the connections between the performing arts and the STEM group, dance and physics, and its application to the education and inspiration of our young people.

**ZACH CONSTAN, OUTREACH COORDINATOR, FRIB**

Every day, researchers at FRIB are doing amazing work to explore the unknown. Our laboratory couldn't be more excited to share those discoveries with our neighbors in the community! We are committed to sharing through tours, public talks, open houses, summer programs, the MSU Science Festival, the Isotopolis video game, and recently the *SMASH: A Nuclear Adventure *exhibit at Impression 5 Science Center. This dance performance and exploratory event is a brand-new opportunity for you to discover cutting edge nuclear science at MSU. We can't wait to show you. Many thanks to all our partners!

**ARTEMIS SPYROU, PROFESSOR OF PHYSICS AND FACULTY ADVISOR, FRIB OUTREACH**

As a scientist, I have the unique opportunity to perform my research at a world-leading facility like FRIB. Together with more than 1000 other nuclear scientists from around the world, we design and run experiments that test the fundamental laws of nature and help us understand how the Universe works. As an educator, I'm passionate about finding ways to share these amazing discoveries with everyone in our community. As we all come from different backgrounds, and with diverse experiences, the way we learn is also different. It is for this reason that at FRIB we always look for new ways to share our excitement about the scientific discoveries with all of you. This project, *Of Equal Place: Isotopes in Motion*, will introduce you to the world of nuclear science through an unusual carrier: dance. We are very excited to share this unique experience with all of you, and hope that you will enjoy it as much as we do.

**BERT GOLDSTEIN, DIRECTOR, WHARTON CENTER INSTITUTE FOR ARTS & CREATIVITY**

It is really about vision. How do you successfully combine the complexities of dance and physics to extoll the virtues of both as an avenue for exploration and learning? It's a big concept and that's why it has taken us four years to reach this moment. It comes back to vision and the creative energies of Wharton Center, FRIB, Dance Exchange, Happendance and all the artists and scientists who have spent hours together to achieve what will be seen on the stage and experienced after the curtain comes down. As in both arts and science, this fascinating collaboration reminds us that with the right vision, anything is possible.

**MISSY LILJE, DIRECTOR OF DEVELOPMENT AND EDUCATION SERVICES, HAPPENDANCE INC**

Did you ever gaze up at the stars and feel small? Or, maybe you've turned your gaze inward and felt a connection to the universe somehow? There are so many mysteries in our understanding of how our world came to be, it can be overwhelming to consider. And, where do we fit in? Consider this: human creativity is the bridge between darkness of not knowing and the light of discovery. *Of Equal Place: Isotopes in Motion *is a project that seeks to shine that light with dance as the medium: time, space, force, human bodies in motion, and abstract concepts coming to life in movement. The dancers give a face and structure to ideas that cannot be seen. There is a creative drive that wills us to explore new questions, be brave enough to utter new ideas, and breathe life into new discoveries. Perhaps you can embrace questions that come to mind through witnessing this project, allowing those questions to lead you into creative thought and new conversations. And, maybe you'll find a new light shining on some discoveries of your own.

Fueled by generosity and curiosity, Dance Exchange expands who gets to dance, where dance happens, what dance is about, and why dance matters. Dance Exchange collaborates across generations, disciplines, and communities to channel the power of dancemaking as a means for dialogue, a source of critical reflection, and a creative engine for thought and action. Founded in 1976 by Liz Lerman and under the artistic leadership of Cassie Meador since 2011, Dance Exchange is a non-profit dance organization based in Takoma Park, Maryland. 

Much of Dance Exchange’s work across our 46-year history has focused on the intersection of art and science, leading to collaborations with scientists and educators in the fields of biology, physics, ecology, genetics, and more. In addition to FRIB, we’ve partnered with leading science organizations such as NASA, National Park Service, the U.S. Forest Service, the European Council for Nuclear Research (CERN), and more. By cultivating a sense of wonder, inquiry, and discovery in the dances we make and the workshops we lead, we celebrate the important role of both dance and science in moving us toward a deeper understanding of our world.

What inspires and fuels our work at Dance Exchange? 

Connecting across generations and communities.

Making art at the intersection of social relevance and community participation.

Deepening our relationships with scientists, educators, farmers, forestry specialists, creative aging experts, nonprofit and municipal leaders, independent artists, and families.

Growing partnerships with schools, universities, cultural institutions, traditional and non-traditional performing venues, and members of the philanthropic community.

Our work at the intersection of art and science offers an invitation to move as a way to notice our world, and to notice as a way to move our world. Discover ways you can move with us at danceexchange.org. 

**DANCE EXCHANGE PARTNERING ARTIST BIOGRAPHIES**

**Keith Thompson** (he/him) (*Creative Director*) danced for the Trisha Brown Dance Company from 1992-2001, served as Trisha's rehearsal assistant from 1998-2001, and currently performs with and is rehearsal director for Liz Lerman. He has taught master classes globally, and his company, danceTactics Performance Group, has been featured at Montpellier International Dance Festival, Dixon Place NYC, Triskelion Art Center, Edinburgh International Fringe Festival, Theater X (Tokyo), and Taliesin West.  Keith is associate professor and director of the dance department at Arizona State University, where he is also the inaugural faculty fellow at the Center for the Study of Race and Democracy.

**Ami Dowden-Fant** (she/her) (*Director of Creative Engagement*) of Richmond, VA, is the thriving owner/director of River City Dance & Performing Arts Theatre. She has worked with a variety of artists such as Jawole Willa Jo Zollar, Robert Battle, and Liz Lerman. She has been awarded the Outstanding Choreographer, Performer Award (VA), and *Style Weekly*'s Best Performing Arts Lessons (VA). Her work has been presented in the National American College Dance Festival (NYC) and Philadelphia Fringe Festival (PA). In 2009 she began her partnership with Dance Exchange, performing and leading workshops at Wesleyan University (MA), Department of Education (DC), and Belhaven University (MS). She was commissioned to choreograph for the William Penn School District (PA), Neighborhood Playhouse (NYC), and the Center of the Arts (VA). Ami Dowden-Fant is instilled with the gift to educate and inspire all willing movers of the many wonders of dance!

**Clarence Brooks** (he/they) (*Dance Exchange Partnering Artist*), Florida Atlantic University associate professor/director of dance, is a guest artist with Sokolow Theatre/Dance Ensemble, David Parker and The Bang Group, and their own company, FAU Repertory Dance Theatre Ensemble. Brooks can be seen in the video documentary *The World of Alwin Nikolais* and their essay "Dancing with the Issues" was published in *One Teacher in 10*(Alyson Books). The recipient of several fellowships and awards, Brooks holds an MFA (University of Washington), four certifications, and sits on the boards of danceTactics, Natural Movers Foundation, Sokolow Theatre/Dance Ensemble, Miami Dance Futures, Humphrey Foundation, and several university committees.

**Shawn Brush** (he/him) (*Dance Exchange Partnering Artist*) is a NY-based dancer and choreographer. He dances for danceTactics Performance Group (with whom he is also assistant to the artistic director), Falcon Dance, and is currently on project with Dance Exchange. Shawn has previously danced for Maya Orchin, Laura Peterson Choreography, Stefanie Nelson, The New Collectives, Meagan Woods company, and Hillary Pearson. Shawn's own choreography, under Brush/McGrath(works) with his partner and wife, Molly McGrath, has been presented at Judson Memorial Church, Triskelion Arts, Dixon Place and Raritan Valley Community College. He is also a teaching artist and has taught at Mason Gross School of the Arts at Rutgers University, Raritan Valley Community College, and public schools across New Jersey. He graduated Summa Cum Laude with a BFA in Dance from Mason Gross School of the Arts in 2015.

**Brit Falcon** (she/her) (*Dance Exchange Partnering Artist*) is a performer, choreographer/maker, bodyworker, and educator. She has had the pleasure of performing with William Evans, Kista Tucker Dance, Inc., Steeledance, Bryan Baira, Donnell Oakley, Renegade Performance Group, Keith Johnson & Adriane Fang, Kendra Portier, and David Dorfman Dance. She has taught at numerous universities and festivals nationally and internationally, sharing her research in the intersections of dance performance, wellness, science, and ecology. Brit holds a BFA from The College at Brockport and is currently an MFA candidate in dance at the University of Maryland. She is the artistic director of Falcon Dance.

**Esther Geiger** (she/her) (*Dance Exchange Partnering Artist*) is interested in how things connect, and in finding connections by looking for essence. Links along her movement journey include modern dance (with a German Expressionist twist), Iyengar yoga, structured improvisation (mentored by master Richard Bull), and the Laban/Bartenieff Movement System (LBMS). Esther taught at Dance Exchange under Liz Lerman in the 1970s-80s and reconnected with the DX community in the 2000s.  She is a Certified Movement Analyst (CMA) and has applied that work to playground design, movement education, unschooling, personnel management, and audio description.  She has taught in LBMS certification programs in the U.S. and Israel.

**Liv Schaffer** (she/her) (*Dance Exchange Partnering Artist*) is a Bay Area artist and educator with a focus on intergenerational practice at the intersection of dance and social impact sectors. She holds a degree from Alonzo King's LINES Ballet BFA Program at Dominican University of California and has performed with AXIS Dance Company, DanceWorks Chicago, Robert Moses' Kin, and Dance Exchange. Liv is a community engagement artist with Jacob's Pillow and on faculty at the University of San Francisco's Performing Arts & Social Justice department, where she directs the Dance Generators, an intergenerational dance company. Liv's choreography has been presented by Jacob's Pillow Inside/Out, ODC State of Play Festival, Yerba Buena Gardens Festival/RAWDance SF, The Big Muddy Dance Company, and Western Michigan University.

Our mission: To stimulate support for the art of dance through performances and educational programs. To broaden the accessibility of dance to a diverse community and promote dance for lifelong physical and mental fitness. Known throughout Michigan and beyond for its long history of artistic excellence and exceptional community service, Happendance boasts three focus areas: performance, education, and engagement.

Founded in 1976, Happendance dancers and choreographers are known for their excellence in performance and service, evidenced by their commitment to education, mentorship of emerging artists, community leadership, and outreach and engagement. Happendance professionals bring modern dance to area schools with Happendance Education Exchange. Performing work that enhances academic curriculum, Happendance Education Exchange visits over thirty area schools and serves 6,000 children each year bringing professional, high-quality dance to mid-Michigan schools. Learn more at happendance.org.

**HAPPENDANCE BIOGRAPHIES**

Rachel Miller (she/her) (*Executive Director*) recently retired from performing with Wellspring/Cori Terry & Dancers, a professional modern/contemporary company in Kalamazoo, MI before moving to the Lansing area. Miller attended The Ohio State University as a dance major, holds a BA in creative writing through Western Michigan University, and an MFA in dance through Hollins University in partnership with the former Forsythe Company of Frankfurt, Germany. Miller has curated the internationally recognized Midwest Regional Alternative Dance Festival (RAD Fest) for over 13 years, is on the dance faculty at Grand Valley State University, and is the co-chair of the dance department at Blue Lake Fine Arts Camp. She has also served as the thesis coordinator for the Hollins University Dance MFA program, and her professional performance career spanned 20+ years. She has performed all over the country, and her choreographic and screendance works have been presented in the Midwest RAD Fest in Kalamazoo, Detroit Dance City Festival in Detroit, Big River Dance Festival in Huntington, South Bend, Chicago, Las Vegas, New Orleans, New York City, Prague, Frankfurt, Indianapolis, and she has had a piece of choreography commissioned as a work of study for the Lincoln Center Institute for Aesthetic Education Kalamazoo Chapter. Miller is a 2005 recipient of the Irving S. Gilmore Foundation Emerging Artist Grant and a 2010 recipient of the Kalamazoo Artist Development Initiative Grant. She has also sat on the adjudication panels for the Motor City Dance on Film Festival, Screen. Dance. Now., Screendance International, the Maggie Allesee New Choreography Award, and JOMBA! Contemporary Dance Festival in South Africa. Miller is thrilled to take the helm at Happendance as their new C.E.O. and is honored to be a part of its 45+ year legacy.

**Missy Lilje** (*Director of Development and Education Services*) earned her BFA in dance from the University of Michigan and her MFA in dance from Arizona State University; she currently serves as director of Development and Education Services for the Happendance organization. As a performer, she has performed the works of Martha Graham, Doris Humphrey, Paul Taylor, David Dorfman, Peter Sparling, Mark Haim, Diane Newman, Jane Gamble, and more. Creatively, she has choreographed over 30 works for the contemporary concert stage, musical theater productions, and children's concerts. Missy's research on dance communities and how they relate to business practice was published by ASU Press in 2008. She regularly travels to present this work throughout the U.S., in Europe, and at Michigan State University, where she is an adjunct faculty member in the Department of Theatre. In 2016 Ms. Lilje was elected to the Board of Education for the Lansing School District.

**Chloe Gonzales** (*Happendance Partnering Artist*) has been training in modern and ballet for over 20 years and attended the University of Michigan to pursue a BFA in dance (2017). She has had the opportunity to work with notable artists such as Meredith Monk (Quarry, restaged 2017), Richard Alston (Brisk Singing, restaged 2015), Peter Sparling (Vox Femina (Girl Talk), 2014) among others. She is also a current company member of Suttle Dance (Novi) and Happendance Velocity (Okemos). She is an assistant director for Impulse and is currently teaching Contemporary and Dance Composition at Happendance. She is always excited to share her experiences with other movers, whether that be in the studio or at a safe, virtual distance (though her cat-- whose credentials are unverified -- may insist on co-teaching).

**Jennah Quinn Gray** (*Happendance Partnering Artist*) is an Everett Dance alumna, graduated in 2007. She is currently the operations and financial manager for Happendance, and functional fitness coach at Redemption Fitness. Jennah is also a current dance company member of the INstitute of Dancers, where she continues her growth in knowledge, and training in dance. She also directs Happendance's Accelerant Competition Team. Her passion is in training, both in the gym and in the studio, and inspiring curiosity in others. FUN FACT: Before Jennah knew her career path would be in dance, she wanted to study astrophysics and astronomy!

**Linda Reiff** (*Happendance Partnering Artist*) received her BFA in dance from California Institute of Arts and MA in dance education from Teachers College. Linda pursued a career as an independent choreographer in New York City and Cincinnati and has received grants from the Ohio Arts Council and the city of Cincinnati. She also worked as a dance teaching artist in the schools and as choreographer of TADA! Theatre (co-founder) and First All Children's Theatre in NYC. Linda is currently a nationally certified pilates teacher and has worked in the pilates field as a studio owner of Pilates Zone Inc, and as a pilates instructor at the Michigan Athletic Club. She is also a licensed physical therapist assistant and has worked at The Willows of Okemos and Mindful Movement and Physical Therapy. Linda is proud and excited to be a community dancer with Dance Exchange and Happendance in the production *Of Equal Place: Isotopes in Motion*.

**Laura Spitzfaden** (*Happendance Partnering Artist*) is a member of the Happendance professional dance company, Velocity. She has studied tap, jazz, ballet, modern, and lyrical dance at several greater Lansing dance studios, including Assiff Dance Studio, Lansing Community College, The Dance Conservatory, Greater Lansing Academy of Dance, and Happendance. She participates each summer with the Dance Lansing Community Dance Project. Laura is also a board-certified lactation consultant, supporting families in Mid-Michigan. She is currently attending Lansing Community College to further her science education.

**Bridget VanderHoff** (*Happendance Partnering Artist*) graduated with a Bachelor of Arts in dance from Oakland University, where she performed with the Oakland Dance Theatre in *The Autumn of The Rite of Spring* as the lead role and won the Oakland University Honors College Thesis Award in Dance. She has participated in intensives with the American Ballet Theatre and Parsons Dance and has taught at various studios throughout mid-Michigan. She is also an Opportunity Arts affiliate and serves as the executive secretary for Michigan Dance Council. In addition to Happendance, she performs with Greater Lansing Ballet Company and Dance Uprising.

Women and Minorities in the Physical Sciences’ mission is to promote the diversity and inclusion of oppressed groups within the physical sciences. We promote equity and community building, encourage women and minorities to pursue the field, and provide support to women and minorities who are already members of the physical science community.

**WOMEN AND MINORITIES IN THE PHYSICAL SCIENCES BIOGRAPHIES**

**Eric Britt** (*Women and Minorities in the Physical Sciences dancer*) is a graduate student in Astrophysics at MSU. He studies nuclear fusion on the surface neutron stars. Neutron stars are the extremely dense remnants of dead stars, so dense that the atoms dissolve away into a degenerate sea of mostly neutrons, essentially becoming a giant atomic nucleus the size of Lansing.  To study these exotic objects, he simulates the ignition of carbon on the surface of neutron stars that are accreting from a companion star.  Carbon fusion leads to particularly energetic flashes on neutron stars called superbursts. These superbursts may offer a way to see what is happening deeper in the neutron star and tell us about the physics of matter at densities far greater than we can observe on earth.

**Chelsie Boodoo** (*Women and Minorities in the Physical Sciences Dancer*) is a biosystem and agricultural engineering Ph.D. student at MSU in Dr. Alocilja's lab where she studies African swine fever. She also works to connect researchers around the world to save lives through the Global Alliance for Rapid Diagnostics. Along with fellow students, she has collaborated in designing a welcoming environment that fosters all aspects of science communication (scicomm) in a modern, dynamic, youthful way for all. Her passion for scicomm drives her to find unconventional and inspiring ways to mix science with the art of storytelling. This led her to be the founder and president of MSU SciComm. Chelsie co-hosts the award-winning show, *The Sci-Files*, with Daniel Puentes on Impact 89FM, where they explore various MSU student research topics.

**Rahul Hain** (*Women and Minorities in the Physical Sciences Dancer*) is a graduate student at Michigan State University (MSU), pursuing a dual Ph.D. in nuclear physics and computational science. He works in the Experimental Nuclear Astrophysics group at the Facility for Rare Isotope Beams (FRIB). His research interests include modeling the neutron star, simulating the nuclear processes in their crusts, and also measuring some of the nuclear reactions occurring in those extreme environments with the exotic isotopes produced at FRIB.

**Daniel Puentes** (*Women and Minorities in the Physical Sciences Dancer*) is a Ph.D. candidate in the Department of Physics and Astronomy at Michigan State University, where he researches experimental nuclear physics. His expertise focuses on performing high-precision mass measurements and analyzing their impact on astrophysical and nuclear structure studies. In addition, he has experience working with NGOs, like serving as a regional leader with the National Science Policy Network and interning with the Nuclear Threat Initiative. These experiences have inspired him to pursue a career in nuclear policy after completing his degree program in different government agencies. These aspirations include working in arms control with the Department of State or nuclear safeguards with the National Nuclear Security Administration.

Lansing Everett High School has a longstanding tradition of dance. The Everett Dance Program, founded in 1974 by Karen Sprecher, has served as a dance hub for students in the Lansing School District for generations. With nearly 50 years of dance education provided to Lansing students through this public-school dance program, access to dance has expanded and left a lasting impact on Lansing students and the Greater Lansing community. The legacy of dance at Everett led to the development of the kindergarten to 8th-grade program at Dwight Rich School for the Arts, formerly Pleasant View School. With a solidified and celebrated K-12 Dance Pathway in the Lansing School District, students are able to explore various trajectories within the dance field and are able to utilize dance as a method of embodied learning and point of collaboration within their other academic subject areas. Everett Dancers stay involved and in service to the Greater Lansing community as well as across the state and the region. Everett Dance is delighted to continue the strong partnership established with Wharton Center and the various endeavors to uplift and amplify student voices and opportunities together.

**EVERETT HIGH SCHOOL BIOGRAPHIES**

**Clara Martinez** (*Dance Director, Everett High School Dance Program*) is the Dance Director at Everett High School in the Lansing School District. She is chair of Michigan Dance Council, on the board of All of the Above Hip Hop Academy, Cultural Advocacy Network of Michigan, and the City of Lansing Arts & Culture Commission. In 2020 Clara was voted Best Dance Instructor in the City Pulse Top of the Top Awards. In 2021 Clara was selected for the Michigan Rising Leaders in the Arts Program. She is a fellow for the 2022-2023 National Leaders of Color Fellowship. Clara is pursuing her Master of Social Work degree at Michigan State University. Clara received her Bachelor of Fine Arts degree in dance from The Ohio State University.

**Tessa Barnett**  (*Everett High School dancer*) was named Quintessa, but most people call her Tessa. She is a junior at Everett High School. She has been dancing at Everett since she was in 7th grade. She loves dancing a lot, and she enjoys going to class and spending time with her friends. She has been looking forward to the Isotopes in Motion project since 8th grade. Dancing makes her happy because she learns something new every day; they all bring their personalities to it and incorporate their own style to it, no matter the genre of dance.

**Jourdyn Carter**  (*Everett High School dancer*) is a talented and experienced dancer in the Lansing area. She has studied many styles of dance and has experience in pre-professional dance companies. She is a competition dancer, as well. Jourdyn is excited to work with Dance Exchange and to participate in *Of Equal Place*.

**Ella Gordon**  (*Everett High School dancer*) is a junior at Everett High School in the Lansing School District. She is a dancer, volleyball player, and accomplished student athlete. She is looking forward to finally participating and performing in *Of Equal Place* this fall.

**Sarah Lettau**  (*Everett High School dancer*) is 16 years old and is currently a junior in high school. She has been dancing for 14 years and is a dance captain for Everett High School's Dance Company. Sarah has taken multitudes of classes in modern, ballet, jazz, hiphop and more. She has trained at Happendance, The Institute of Dancers, Children's Ballet Theatre, and Mark Taylor's School of Dance. She hopes to continue dancing through high school and college.

**Channing Lewis**  (*Everett High School dancer*) is in 11th grade. She has been dancing for a few years and has been a part of three school musicals. She enjoys being on stage and making people happy by performing.

**Jazmin Monroe** (*Everett High School dancer*) has been dancing for five years, and she enjoys acting and singing on the side. She looks forward to working with a talented group of young women from my school and making a name for us, all while teaching about science through dance to other students and working with other dancers and community members.

**Jaida Moore** (*Everett High School dancer*) is a junior at Everett High School. She has been dancing for the majority of her life, and she is also a cheerleader. Her passion for dance comes from listening to music all the time, and dancing honestly just makes her happy. The people she dances with always bring a smile to her face and make her laugh every single day. She is excited to be in the *Isotopes in Motion* project.

**Corina Seymour** (*Everett High School dancer*) is a senior at Everett High School. She has been dancing for 14 years and competing for six. She is excited to gain more unique dance experiences with this program.

Dance Exchange is grateful for the support from the National Endowment for the Arts for *Of Equal Place: Isotopes in Motion*. Additional major funders that support Dance Exchange's programming include the Montgomery County Maryland Government and the Arts & Humanities Council of Montgomery County, Maryland State Arts Council, the Morris and Gwendolyn Cafritz Foundation, the Chesapeake Bay Trust, the Dallas Morse Coors Foundation for the Performing Arts, the City of Takoma Park, the USDA Forest Service, and the National Park Service.

Dance Exchange extends a special thanks to Liz Lerman and the creative team and collaborators on *The Matter of Origins*, Dance Exchange staff and board of directors, Women and Minorities in the Physical Sciences (WaMPS), Bert Goldstein and Wharton Center for the Performing Arts, Clara Martinez, the Lansing School District, Missy Lilje, Rachel Miller, Happendance, and Zach Constan and Artemis Spyrou and the Facility for Rare Isotope Beams. 

ACKNOWLEDGEMENTS

Brad Sherrill, FRIB Scientific Director\
Stefan Schwarz, Senior Research Physicist\
Jorge Pereira Conca, Research Staff Physicist\
Laura Popielarski, SRF and Superconducting Magnet Department Deputy Manager\
Guillaume Machicoane, Accelerator Operations Department Manager\
Alex Brown, Professor of Physics\
Paul Gueye, Associate Professor of Physics\
Jaideep Singh, Associate Professor of Physics\
Kyle Brown, Assistant Professor of Chemistry\
Wolfgang Mittig, Hannah Professor of Physics\
Filomena Nunes, Theory Alliance Director\
Karen King, Communications\
Will Whelton, Communications\
Mandy Zlotek, Communications\
Rahul Jain, Graduate Assistant\
Eric Britt, Graduate Assistant\
Chelsie Boodoo, Graduate Assistant\
Daniel Puentes, Graduate Assistant\
Letrell Harris, Graduate Assistant\
Pablo Giuliani, Research Associate\
Erin Good, Research Associate\
Andrea Richard, Research Associate\
Mallory Smith, Beam Physicist

Eric Olmscheid, Executive Director\
Sandy Thomley, Senior Production Manager\
Steve Heinrich, Production Manager\
Laurie Briseño, Institute Operations Manager\
Hope Still, Wharton Center Intern, Study Guide Coordination\
Lisa Rentz, Director of Marketing and Communications\
Ryonn Clute, Senior Marketing Manager\
Bob Hoffman, Public Relations Manager\
Kelsey Southwick, Social Media Manager\
Patti Roost, Program Book Coordination\
Natalie Puckett, Graphic Designer


Liz Lerman, Founder\
Cassie Meador, Executive Artistic Director\
Silvia Roberts, Managing Director\
Emily Macel Theys, Director of Development\
Amanda Newman, Director of Communications & Associate Director of Programs\
Stephen Clapp, Director of Racial Equity & Creative Producer\
Sam Horning, Operations Assistant\
Maggie Waller, Programs Coordinator and Takoma Park MOVES Lead Artist

**Dance Exchange Board**\
Erica Bondarev Rapach, Chair\
Elliot Maxwell, Secretary\
Deborah Riley, Treasurer\
Eleanor Kerlow\
John Urciolo\
Martha (Marti) S. Head\
Elliot Rosen, Chairman Emeritus

Clara Martinez, Everett High School for the Visual & Performing Arts\
Christopher Morgan, Dance Place\
All the families of those involved in the production

**MSU Center for Community & Economic Development, Outreach & Engagement Partnerships**\
John Melcher\
John Schweitzer

**MSU Office of Senior Associate VP for Research and Graduate Studies**\
Shobha Ramanand

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Alonzo King LINES Ballet

Of Equal Place: Isotopes In Motion

**Jorge Gomez**\
Piano & Musical Director

**Xavier Mili**\
Lead Vocal

**Wilber Rodriguez Guerra**\
Bass Guitar

**Luis Beltran**\
Saxophone & Flute

**Leandro González**\
Congas

**Roberto Consuegra Conde**\
Trumpet

**Yissy Caldazilla**\
Drums

Sound Engineers\
Oscar Sanchez/Manny Sotolongo



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Tonight’s program will be announced from the stage.

This performance will run approximately 105 minutes, including a 15-minute intermission.

Program

Three-time Grammy-nominated Afro-Caribbean music group Tiempo Libre is one of the hottest Latin bands today. Equally at home in concert halls, jazz clubs, festival stages and dance venues, Tiempo Libre is celebrated for its sophisticated tropical music featuring an irresistible, exhilarating mix of jazz harmonies, contemporary sonorities and seductive Latin rhythms. 

"The people in our audience are always a cultural mix. While our Spanish-speaking audience goes because they want to hear and feel Latin rhythms, we always have a lot of native English-speakers at our concerts. They appreciate this culture, this rhythm." —Tiempo Libre founder and musical director Jorge Gómez

One thing is for sure: the members of Tiempo Libre are living the American Dream, playing their exhilarating, joyful music to packed houses. The members of Tiempo Libre grew up studying together in the classical music conservatories of Havana. Dreaming of freedom and opportunity, the seven musicians moved to the U.S., getting together in their "free time" (tiempo libre in Spanish) to play Cuban timba music. Today, with worldwide concert tours and albums released by leading record companies, these world music troubadours feel lucky to have very little free time.

Tiempo Libre's 2009 groundbreaking recording *Bach in Havana* takes Bach as a starting point from which to explore a wide range of Cuban music forms and rhythms. The recording features guest tracks with Yosvany Terry and Paquito D'Rivera and earned the group its third Grammy nomination.  It was described as "A landmark recording in the sense that Miles Davis' *Kind of Blue* was approximately 50 years ago" by *The Latin Jazz Network*.  *Bach in Havana* is a true reflection of the two worlds of Tiempo Libre's Cuban musical upbringing.  Tiempo Libre's seven members led "double" lives studying classical music at Cuba's premier Russian-style conservatories by day and by night meeting up to play the music of Cuba including timba, Latin jazz, and the rumba.

Tiempo Libre's 2011 recording, *My Secret Radio,* pays homage to Tiempo Libre's teenage years in Cuba, a time when the government forbade its citizens to listen to American music, and Russia pulled its support from the island. Inspired by their Afro-Cuban tradition, but eager to catch the new trends and sounds coming from the U.S., Tiempo Libre's members would fashion homemade antennas to secretly listen at night to the music pulsating from Miami radio stations. These secret radio sessions fueled Tiempo Libre's dreams of living in America, free to perform their songs and build the careers they wanted, while helping them gather the strength that it took to leave it all behind—families, friends, a country, a life—to pursue those dreams. *My Secret Radio,* and the inspiring story behind it, have been featured on Fox News' *Real American Stories*, CNN *en Español*, PRI's *The World*, and in *Mother Jones* and *People En Español*.   

Signed in 2015 to Universal Music Latin Entertainment in partnership with Universal Music Classics, the group released *Panamericano.* Tiempo Libre premiered two singles from *Panamericano*: "Dime Que No" featuring guest artist Jean Rodriguez, and "Somebody to Love Me" with Yunel Cruz.   Additional guest artists include Descemer Bueno, Frankie J, and Luis Fernando Borjas. In 2018 Tiempo Libre followed up *Panamericano* with an independent release, *Lo Que Te Toca,* featuring their patented high-octane tracks and musical virtuosity.

"We have always written songs about our lives—both past and present. But *Panamericano* is truly about Tiempo Libre today—living a culturally rich and fulfilling life, personally and musically, in Miami. We are surrounded by people and influences from all over the U.S. and Latin America who inspire us. And the featured artists on the album reflect that amazing diversity and inspiration. This is possibly our most personal album yet—and to have it released by Universal Music Latin Entertainment is a dream come true," says band founder Jorge Gómez.

Ambassadors for Cuban music around the world, Tiempo Libre have gained new audiences through appearances on shows such as the *Tonight Show*, *Live from Lincoln Center* and *Dancing With the Stars* and through concerts worldwide including performances at Tanglewood, the New Orleans Jazz & Heritage Festival, the Playboy Jazz Festival at the Hollywood Bowl, Jazz at Lincoln Center, Jazz Cafe in London, Hong Kong's Kwai Tsing Theatre and Tuscan Sun Festival in Cortona, Italy. Tiempo Libre frequently draws on its classical training to play with leading orchestras, including the Cleveland Orchestra, and the San Francisco and Houston Symphonies. They have collaborated with artists such as Joshua Bell, Gloria Estefan, James Galway and Paquito D'Rivera.

Every Tiempo Libre concert is a party, a celebration and, regardless whether guests choose to enjoy their sophisticated sound from their seats or on the dance floor, all engage in an exhilarating shared experience of community.


About

[tiempolibremusic.com](https://tiempolibremusic.com/) 

Worldwide Management Iconique Music Group\
Guy Eckstine  310-350-4040\
guy@iconiquemusicgroup.com\
iconiquemusicgroup.com

USA/North American Booking – Kosson Talent\
Larry Kosson  717-227-0060\
larry@kossontalent.com\
kossontalent.com


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Black Violin

Delta Dental of Michigan

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Emergent Biosolutions

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Jackson National Life Insurance Company

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delta dental

Tiempo Libre

# **Soweto Gospel Choir**

## **Hope**

### **It’s Been A Long Time Coming**

A Concert of HOPE featuring songs from South Africa’s Freedom and the U.S. Civil Rights Movements

**The Choir**\
(alphabetical order)

- Nobuhle Dhlamini
- Philisiwe Faya
- Phello Jiyane 
- Shimmy Jiyane 
- Bongani Mabaso
- Warren Mahlangu
- Jeanette Mazibuko 
- Siyabolela Mkefa 
- Thabang Mkhwanazi
- Nersia Mofokeng 
- Jabulile Mola 
- Zinhle Mpofu 
- Hlengiwe Msomi 
- Mary Mulovhedzi
- Bongani Ncube 
- Diniloxolo Ndlakuse 
- Magdeline Ndindwa 
- Sipho Ngcamu 
- Zanele Ngwenya
- Phumla Nkhumeleni 
- Xholani Ntombela 
- Fanizile Nzuza 
- Linda Sambo 
- Vusi Shabalala 
- Hlamarisa Sidum

1. **Choir Master**\
Shimmy Jiyane
2. **Musical Director**\
Diniloxolo Ndlakuse

&nbsp;

**Management**
- Mary Mulovhedz
- Shimmy Jiyane 
- Bongani Ncube

**Production Manager/Stage Manager**

- Allan Maguire

**Tour Managers**
- Toni Rudov 
- Madge Fletcher

**Set & Lighting Design**

1. Zachary Ciaburri

- **Audio Engineer**\
Chet Nordskog		   
- **Touring Lighting Designer**\
Tyler Goddard
- **Senior Producer/Company Manager**\
Toni Rudov
- **Producer**\
Andrew Kay
- **Tour Marketing and PR**\
SoloShoe Communications, LLC

&nbsp;

*HOPE—It’s Been a Long Time Coming* was commissioned by the University of Iowa Hancher Auditorium.

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**MELODIES**\
Traditional

NONKONYANE KANDABA\
Wathint’ abangasokufa, Wathinta thina

UMANDELA
Welcome Duru

BAWO XANDILAHLEKAYO\
Traditional

JUDGEMENT DAY\
Sipho Gumede

LITSHONILE LILANGA\
Traditional

PASOPA VERWOERD\
Vuyisile Mini

JOH LEFIFI\
Traditional

SECHABA
Mbongeni, Hugh Masekela & Stanley Myers\

UMHLABA WONKE\
Traditional

MBAYI MBAYI\
R. Khemose, S. Khemose, C. Khemose, M. Muguni, O. Beggs

JIKIJELA\
Traditional

**INTERMISSION**

OPENING DANCE AND CHANT\
Traditional

AMEN
Curtis Mayfield, Johnny Pate

A CHANGE IS GONNA COME\
Sam Cooke

HEAVEN HELP US ALL\
Ronald Miller

I’LL TAKE YOU THERE\
Alvertis Isbell

RESPECT\
Ottis Redding

THE LIVING YEARS\
Mike Rutherford and B.A. Robertson

WHATS GOING ON\
Marvin Gaye, Renaldo Benson, Al Cleveland

STAND UP\
Joshuah Campbell, Cyntha Echumuna-Erivo

STAND BY ME\
Ben E. King, Jerry Leiber & Mike Stoller

Program is subject to change.


---
This performance will run approximately 110 minutes, including a 20-minute intermission.

Run Time

Hailing from Soweto (South West Township), a town outside of Johannesburg and home of Nelson Mandela and South Africa’s democratic movement, Soweto Gospel Choir continues to inspire audiences around the world with their powerful blend of African gospel, freedom songs and international classics.

Comprising a lineup of some of South Africa’s best vocalists, these uplifting performers have shared the stage and collaborated with the biggest names in contemporary music including Aretha Franklin, Stevie Wonder, Beyonce, U2, Diana Ross, Peter Gabriel, Chris Martin, John Legend, Pharrell Williams, Jimmy Cliff, Ben Harper, Angelique Kidjo, Robert Plant, Celine Dion, Red Hot Chili Peppers, Hugh Masekela and Josh Groban.

Soweto Gospel Choir was formed in 2003 at the end of the apartheid era and during South Africa’s inspiring return to democracy. Taking part in some of the major historical events in the new democratic South Africa, Soweto Gospel Choir are proud to have performed on many occasions for the father of their nation, former President Nelson Mandela, and sadly at his state funeral in South Africa and at the subsequent commemorative service at Westminster Abbey in London. They were similarly invited to perform at the funeral service for the late President’s first wife, Winnie Mandela. The Choir’s patron is human rights activist and Nobel Peace Prize winner Archbishop Desmond Tutu, and they are proud to act as ambassadors for the Nelson Mandela Foundation.

“HOPE—it’s Been a Long Time Coming” offers as a heartfelt message of hope to all people. It combines South African struggle songs sung by communities fighting the oppressive apartheid regime and the songs of America’s Civil Rights Movement. These are the songs of a people all praying for a better life. They are songs of resistance. They come from the soul. Theirs is a heartfelt message of both resilience and of hope. We trust that this powerful music will not only reach you and cheer you but will give you inspiration that we can rise above all ills, that we can climb the mountain and emerge from the darkest valleys and into the sun, victorious.

**—Soweto Gospel Choir, 2022**

&nbsp;

"God has wrought many things out of oppression. He has endowed his creatures with the capacity to create - and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations."

**—Martin Luther King**\
1964 Berlin Jazz Festival (Article)

&nbsp;

 “… the political use of music in South Africa changed from being a ‘mirror’ in the 1940s and 1950s to becoming a ‘hammer’ with which to shape reality in the 1980s. In South Africa, music went from reflecting common experiences and concerns in the early years of apartheid, to eventually function as a force to confront the State and as a means to actively construct an alternative political and social reality.”

**—Anne Schumann**\
*The beat that beat apartheid: the role of music in the resistance against apartheid in South Africa.*\
2008 Vienna Journal of African Studies (Article)




Program Notes

**Dean Shultz**\
Senior Vice President Tour and Artist Management\
Direct Tel: +1 212 994 3533\
dshultz@imgartists.com\
North & South America

**IMG Artists**\
7 West 54th St\
New York, NY 10019\
Tel: +1212 994 3500\
imgartists.com

*Tour Management and General Enquiries*\
**Andrew Kay and Associates**\
Toni Rudov\
toni@akaaustralia.com.au


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arts mid west

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Michigan Arts and Cultural Council

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National Endowment of the Arts

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Comprehensive Psychological Services, PC, Sponsor

Comprehensive Psychological Services, PC

 Michigan Radio

Soweto Gospel Choir

- # **Scottish Chamber Orchestra**

Maxim Emelyanychev, Principal Conductor

Nicola Benedetti, Violin

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**ANNA CLYNE (1980)**\
*Stride*

**MAX BRUCH (1838 – 1920)**\
Violin Concerto No. 1 in G minor, Op. 26\
Vorspiel: Allegro moderato\
Adagio\
Finale: Allegro energico

**INTERMISSION**

**FELIX MENDELSSOHN (1809 – 1847)**\
Symphony No. 3 in A minor, Op. 56, ‘Scottish’\
Andante con moto - Allegro un poco agitato\
Vivace non troppo\
Adagio\
Allegro vivacissimo - Allegro maestoso assai

---

This performance will run approximately 105 minutes, including a 20-minute intermission.

Runtime

**Anna Clyne** was born in London in 1980 and resides in the Hudson Valley in upstate New York.  She is a Grammy-nominated composer as well as a choreographer, filmmaker, performance artist, and cellist. She was educated at the University of Edinburgh (B.M.) and the Manhattan School of Music (M.A.). She has won many prizes and commissions, including the co-commission for *Stride* from the Australian Chamber Orchestra, the Lausanne Chamber Orchestra, the River Oaks Chamber Orchestra (Houston, Texas), and the Scottish Chamber Orchestra. The work had its world premiere in Wollongong, Australia, with the Australian Chamber Orchestra, and its U.S. premiere with the River Oaks Chamber Orchestra, both in 2020.

The year 2020 marked the 250th anniversary of the birth of Ludwig van Beethoven, which was the inspiration for many compositions in a variety of genres.  Clyne's *Stride*, for string orchestra, is based on selected rhythms, themes and harmonies from Beethoven's Piano Sonata No. 8 in C minor, Op. 13, popularly known as the "Sonata Pathétique." The work is in one movement, with sections that echo the general character of Beethoven's three individual movements. As in the piano sonata, a solemn introduction introduces a series of energetic motives. The work's title and most prominent theme are based on the wide leaps in the bass line of Beethoven's first movement. This octave-spanning technique, which is also common in jazz music's popular "stride piano" style, provides a driving rhythm that recurs multiple times, often against scales and imitative fragments. The second section, despite some dissonant and energetic passages, has a more yearning and peaceful melody, much like Beethoven's second movement. A rondo corresponds to Beethoven's third movement, leading to an energetic conclusion. *Stride* has received acclaim for its blend of recognizable references to the Beethovenian original as well as for the intriguing contemporary techniques that have helped make it a favorite with audiences.

**Max Bruch** (1838-1920) was born in Cologne, Germany, where his musical studies began at an early age. His wealthy musical family encouraged his efforts, and he studied with the famous German composers Ferdinand Hiller and Karl Reinecke while still a young man. Bruch wrote over 200 compositions, while also accepting many conducting engagements and a decade-long professorship in Berlin. This concerto is a highlight of German Romantic concerto composition.

Bruch began composing the Violin Concerto No. 1 in G minor, Op. 26, in 1864. By 1865, he had met the outstanding Hungarian violin virtuoso Joseph Joachim (1831-1907), who was to become an important mentor and performer for Bruch, Brahms and many other contemporary composers. After consulting Joachim and other violinists, and making many revisions to the concerto, Bruch conducted the final version in Bremen in 1868, with Joachim as soloist. Although he wrote two additional concertos and other works for solo violin and orchestra, it was the first concerto that brought him the most fame.

The three-movement concerto is performed without breaks. A low timpani roll begins the first movement, followed by a soft entrance in the woodwinds. By the sixth measure, the solo violin enters with a dramatic upward sweep. The delicate dynamics of this section are succeeded by the full orchestra's entrance. A persistent rhythmic pattern (quarter note, eighth rest, eighth note, quarter note) appears in the lower strings and winds. It then forms a consistent backdrop for much of the movement, even appearing in the solo part. The movement is in sonata form, with two main themes, but lacks a lengthy recapitulation of the themes ˗ hence Bruch's designation of it as a prelude. A beautiful theme for the soloist leads into the equally beautiful adagio movement, which is in sonata form with three main themes. The third movement is also in sonata form, with two exciting themes introduced by the orchestra. There are slight indications of Hungarian musical traditions in the solo violin part, likely a nod to Joachim. Bruch's use of sonata form in each movement is unusual and innovative. It was unfortunate for Bruch's later fortunes that he sold the copyright on this work to his publishers at a very low price, which meant that its tremendous popularity did not benefit him financially in later life. Bruch did not consider this concerto to be his best work, but its reputation and success certainly eclipsed that of all his other compositions.

Like Max Bruch, **Felix Mendelssohn-Bartholdy** (1809-1847) came from a wealthy musical family and had become a successful composer while in his teens. He traveled widely, including an extended trip to Scotland in July 1829 with a friend. They even visited Sir Walter Scott, whose romantic novels of Scotland were extremely popular. They found him to be "grouchy and distracted," but nothing spoiled their enthusiastic letters home. While visiting the ruins of Holyrood Abbey, where Mary Stuart had been crowned Queen of the Scots, Mendelssohn was inspired to jot down sixteen measures of a solemn melody which became the introduction to his Symphony No. 3 in A minor, Op. 56, the so-called "Scottish Symphony."

Despite his early start on the symphony, Mendelssohn worked on it only intermittently for the next few years. Although published as the third symphony, it is actually the last of the five to be composed; the final version was completed in 1841. Mendelssohn conducted its premiere at the Leipzig Gewandhaus in March 1842 and the English premiere in 1843. The score is dedicated to his friends Queen Victoria and Prince Albert.

Mendelssohn wanted the symphony played without pause. Although written programs for instrumental music were common at the time, he preferred instead to let the audience imagine the beauty, ruggedness and history of Scotland. The first section portrays a number of different moods, from solemn to exhilarated. In the recapitulation, the cellos introduce a new melody, while other instruments repeat earlier themes. Although Mendelssohn was said to dislike "bagpipes and folk music," the lively scherzo has a Scottish feel, with horn calls and a persistent rhythmic figure reminiscent of the "Scottish snap" (a syncopated short, accented note followed by a longer one.) This fleet and exciting section leads to a beautiful adagio melody for strings and woodwinds, alternating with strongly rhythmic passages for full orchestra. The finale has two main themes for the orchestra, followed by a passage in which the horns proclaim a stirring melody. The climactic ending uses the entire orchestra to stunning effect. The "Scottish Symphony" is among Mendelssohn's most popular works.

—Mary Black Junttonen, MSU Music Librarian Emeritus

- **1st Violin**\
Stephanie Gonley\
Elizabeth Wexler\
Kana Kawashima\
Aisling O’Dea\
Siún Milne\
Fiona Alexander\
Amira Bedrush-McDonald

- **2nd Violin**\
Irina Simon Renes\
Gordon Bragg\
Sarah Bevan-Baker\
Stewart Webster\
Catherine James\
Gongbo Jiang\
Kristin Deeken

- **Viola**\
Martin Kelly\
Zoe Matthews\
Brian Schiele\
Steve King

- **Cello**\
Philip Higham\
Su-a Lee\
Donald Gillan\
Eric de Wit

- **Bass**\
Nikita Naumov\
Ben Burnley

- **Flute**\
André Cebrián\
Emma Roche         

- **Oboe**\
Katherine Bryer\
Mary James 

- **Clarinet**\
Maximiliano Martín\
William Stafford            

- **Bassoon**\
Cerys Ambrose- Evans\
Alison Green                

- **Horn**\
Steve Stirling\
Jamie Shield\
Huw Evans\
Ian Smith      

- **Trumpet**\
Peter Franks\
Shaun Harrold           

- **Timpani**\
Louise Goodwin


Orchestra

At the Scottish Chamber Orchestra, Maxim Emelyanychev follows in the footsteps of just five previous principal conductors in the orchestra’s 48-year history: Roderick Brydon (1974-1983), Jukka-Pekka Saraste (1987-1991), Ivor Bolton (1994-1996), Joseph Swensen (1996-2005), and Robin Ticciati (2009-2018).

Highlights of his 2021/22 season include his debut with some of the most prestigious inter-national orchestras: Accademia Nazionale di Santa Cecilia, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Deutsches Symphonie-Orchester, Toronto Symphony, and the Swedish Radio Symphony Orchestra. They include returns to the Antwerp Symphony, the Orchestre National du Capitole de Toulouse, the Royal Liverpool Philharmonic and a European tour with the Scottish Chamber Orchestra, followed by appearances at the Radio-France Montpellier Festival and the Edinburgh International Festival.

In 2022/23 Maxim is touring the U.S. with the Scottish Chamber Orchestra. He will make his debut with the New Japan Philharmonic, the Osaka Kansai Philharmonic, the Bergen Philharmonic Orchestra, the Helsinki Radio Symphony Orchestra, the Czech Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, and the Berlin Philharmonic, and will return to the Orchestre National du Capitole de Toulouse and to the Royal Opera House in Mozart's Die Zauberflöte.

He regularly collaborates with renowned artists such as Max Emanuel Cenčić, Patrizia Ciofi, Joyce DiDonato, Franco Fagioli, Richard Goode, Sophie Karthäuser, Stephen Hough, Katia and Marielle Labèque, Marie-Nicole Lemieux, Julia Lezhneva, Alexei Lubimov, Riccardo Minasi, Xavier Sabata, and Dmitry Sinkovsky.

Maxim is also a highly respected chamber musician. His most recent recording of Brahms Violin Sonatas with long-time collaborator and friend Aylen Pritchin, was released on Aparté in December 2021 and has attracted outstanding reviews internationally. With the Scottish Chamber Orchestra, Maxim has recorded Schubert’s Symphony No 9 – the symphony with which he made his debut with the orchestra – which was released on Linn Records in November 2019.   Further recordings of works by Mendelssohn and Schubert are planned.

Nicola Benedetti is one of the most sought-after violinists of her generation. Her ability to captivate audiences with her innate musicianship and spirited presence, coupled with her wide appeal as a high-profile advocate for classical music, has made her one of the most influential classical artists of today.

Nicola begins her 2022-2023 season with a performance of the Marsalis Violin Concerto with the Royal Scottish National Orchestra at the BBC Proms and Mendelssohn's Violin Concerto with Kazuki Yamada and the City of Birmingham Symphony Orchestra. Further engagements include the world premiere of James MacMillan's Violin Concerto No. 2 with the Scottish Chamber Orchestra, a tour to Japan with the BBC Symphony Orchestra and performances with the Boston Symphony Orchestra, Hallé, DSO Berlin, St Louis Symphony, Netherlands Radio Philharmonic, Gothenburg Symphony and Orchestre de Paris amongst others.

Nicola is also a devoted chamber musician and collaborates with cellist Leonard Elschenbroich and pianist Alexei Grynyuk, who have been performing as a trio since 2008.  Past performances include Wigmore Hall, London, Concertgebouw, Amsterdam, Edinburgh International Festival, Alte Oper, Frankfurt, Ravinia Festival, 92nd Street Y, New York and City Hall, Hong Kong and most recently, a tour of Europe in early 2022.

Winner of the GRAMMY Award for Best Classical Instrumental Solo in 2020, as well as Best Female Artist at both 2012 and 2013 Classical BRIT Awards, Nicola records exclusively for Decca (Universal Music). Her most recent recording of a new Baroque album entered at number one in the UK's Official Classical Album Chart and received critical acclaim including a 5* review in The Times. Other recent recordings include her GRAMMY award-winning album written especially for her by jazz musician Wynton Marsalis: *Violin Concerto in D* and *Fiddle Dance Suite for Solo Violin*. The Foundation unites those who believe that music is integral to a great education and demonstrates ground-breaking teaching by producing and delivering innovative and creative musical experiences accessible to all. In 2021 BBC Music Magazine named her 'Personality of the Year' for her online support of many young musicians during the pandemic.

Nicola was appointed a Commander of the Order of the British Empire (CBE) in the 2019 New Year Honours list, awarded the Queen's Medal for Music in 2017, the youngest ever recipient, and was appointed as a Member of the Most Excellent Order of the British Empire (MBE) in 2013 in recognition of her international music career and work with musical charities throughout the United Kingdom.  In addition, Nicola has received nine honorary degrees to date.

In March 2022, Nicola became the Director Designate of the Edinburgh International Festival, becoming Festival Director on 1 October 2022. In taking the role she will be both the first Scottish and the first female Festival Director since the Festival began in 1947.

The internationally celebrated Scottish Chamber Orchestra is one of Scotland’s National Performing Companies.

Formed in 1974 and core funded by the Scottish Government, the SCO aims to provide as many opportunities as possible for people to hear great music by touring the length and breadth of Scotland, appearing regularly at major national and international festivals, and by touring internationally as proud ambassadors for Scottish cultural excellence. Making a significant contribution to Scottish life beyond the concert platform, the Orchestra works in schools, universities, colleges, hospitals, care homes, places of work, and community centers through its extensive Creative Learning program. The SCO is also proud to engage with online audiences across the globe via its innovative Digital Season. 

An exciting new chapter for the SCO began in September 2019 with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor. 

The SCO and Emelyanychev’s first album, Schubert Symphony no.9, ‘The Great’ (Linn Records), has received widespread critical acclaim. Further recordings, of Mendelssohn and Schubert, are planned.

The SCO also has long-standing associations with many eminent guest conductors including Conductor Emeritus Joseph Swensen, François Leleux, Pekka Kuusisto, Richard Egarr, Andrew Manze, and John Storgårds.

The Orchestra enjoys close relationships with many leading composers and has commissioned almost 200 new works, including pieces by the late Sir Peter Maxwell Davies, Sir James MacMillan, Sally Beamish, Martin Suckling, Einojuhani Rautavaara, Karin Rehnqvist, Mark-Anthony Turnage, Nico Muhly, Anna Clyne (a composer on the program tonight), and Associate Composer Jay Capperauld.   

The Scottish Chamber Orchestra’s US tour 2022 is kindly supported by the Chapel & York US Foundation, Erik Lars Hansen and Vanessa C.L. Chang, Edison International Matching Gift Program, Helen B Jackson, Gavin and Kate Gemmell and Kenneth and Martha Barker.

[sco.org.uk](https://www.sco.org.uk/)

Ms. Benedetti appears courtesy of Askonas Holt and Primo Artists. 

Tour Management:
Opus 3 Artists
470 Park Avenue South, 9th Floor North, New York, NY 10016
www.opus3artists.com

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**SCOTTISH CHAMBER ORCHESTRA STAFF**

Gavin Reid - Chief Executive

**CONCERTS**\
Judith Colman - Concerts Director\
Louisa Stanway - Concerts & Projects Manager\
Laura Kernohan - Orchestra Manager\
Ronnie Herd - Stage Manager, USA Tour\
Fiona Noble - Orchestra Librarian\
Susan White - Chorus Manager

**MARKETING**\
Derek Gilchrist - Marketing & Communications Director\
Elsa Morin - Projects and Administrative Assistant (maternity leave)\
Gordon Strachan - CRM and Ticketing Manager\
Lainey Bridge - Marketing and Digital Communications Officer (temporary)\
Sophie Ward - Marketing and Digital Communications Officer (maternity leave)\
Anthony Mudge - Marketing and Customer Communications Officer\
Magnus Fraser - Design & Publications

**CREATIVE LEARNING**\
Laura Baxter - Creative Learning Director\
Atzi Muramatsu - Education Officer\
Anna Work - Community Engagement Officer (temporary)

**DEVELOPMENT & SPONSORSHIP**\
Martin Lawlor – Director of Development\
Mary Clayton - Individual Giving Officer\
Position vacant – Trusts Officer

**FINANCE**\
Ian White - Finance & Administration Director\
Position vacant - Operations Manager\
Mary Gibson - Finance Officer\
Heather Baird - Finance Officer p/t\
Nicola Duncan - Finance Officer p/t

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**OPUS 3 ARTISTS STAFF LIST FOR SCO**

Scottish Chamber Orchestra\
For Opus 3 Artists\
Robert Berretta, Managing Director\
Benjamin Maimin, Chief Operating Officer\
Grace Hertz, Manager, Artists & Attractions\
Jemma Lehner, Managerial Assistant

For the Scottish Chamber Orchestra Tour\
Leonard Stein, Consulting Producer\
Tania Leong, Associate Producer\
Carol Patella, Company Manager


