Canadian StageHelen LawrenceConceived and Directed by Stan DouglasWritten by Chris Haddock

Fri, Oct 13 & Sat, Oct 14, 2017 | Royce Hall

Photo by David Cooper

CAP UCLA in association with LACMA presents

East Side, West Side, All Around LAWelcome to the Center for the Art of PerformanceThe Center for the Art of Performance is not a place. It’s more of a state of mind that embraces experimentation, encourages a culture of the curious, champions disruptors and dreamers and supports the commitment and courage of artists. We promote rigor, craft and excellence in all facets of the performing arts.

2017–18 SEASON VENUES

Royce Hall, UCLAThe Theatre at Ace Hotel

Freud Playhouse, UCLA Little Theater, UCLA Will Rogers State Historic Park

UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement of the contemporary performing arts in all disciplines—dance, music, spoken word and theater—as well as emerging digital, collaborative and cross-platforms utilized by today’s leading artists. Part of UCLA’s School of the Arts and Architecture, CAP UCLA curates and facilitates direct exposure to contemporary performance from around the globe, supporting artists who are creating extraordinary works of art and fostering a vibrant learning community both on and off the UCLA campus. The organization invests in the creative process by providing artists with financial backing and time to experiment and expand their practices through strategic partnerships, residencies and collaborations. As an influential voice within the local, national, and global arts community, CAP UCLA serves to connect audiences across generations in order to galvinize a living archive of our culture.

cap.ucla.edu #CAPUCLA

MESSAGE FROM THE CENTER

Welcome to UCLA’s Center for the Art of Performance at Royce Hall. Helen Lawrence marks the first production of our 2017-2018 Season at Royce, and we are thrilled to present this groundbreaking production conceived and directed by the artist Stan Douglas, written by Chris Haddock and brought to fruition by one of Canada’s leading contemporary performance companies—Canadian Stage.

CAP UCLA is no stranger to ambitious collaborations between artists working across art forms, particularly those at the intersection of visual art and live perfor-mance. Through a generous grant from the Andrew W. Mellon Foundation, CAP has initiated extensive collaborations with L.A. museums to support, present and exhibit major projects by artists whose creative output requires wide engagement with diverse arts organizations. Our Los Angeles presentation of Helen Lawrence is a joint effort between LACMA and CAP UCLA that began over two years ago. Both orga-nizations share a passion for supporting ambitious explorations by artists whose vision stretches beyond conventional limitations and Stan Douglas is certainly one such artist.

As a celebrated Canadian visual artist known for his photography, film and video installation, the work of Stan Douglas draws in technology and the social aspects of mass media to reexamine past events and particular locations. Helen Lawrence is an intricately rendered three-dimensional ‘film noir’ landscape created through computer-generated projections that seamlessly envelop the stage, with twelve acclaimed actors performing live and with extreme detail across both the cues and narrative. It is a ground-breaking feat of theater-making and digital technology in-tegration that is intentionally reminiscent of an earlier era in the history of cinema.

Film noir has its early roots in German Expressionist cinematography, and was later embraced in 1940’s-50’s Hollywood crime dramas. The visual style is marked by low key lighting along with black and white film stock that emphasized stark contrasts and sharp lines. The male protagonist was invariably hard-edged, while female

Photo by Ian Maddox

representation had an uncanny tendency to present women of questionable virtue. Sexual motivations and the seedier side of urban life featured within themes that tilt-ed heavily towards melodrama, alienation and cynicism. The clichés of film noir have inspired much parody, but in the hands of Haddock and Douglas Helen Lawrence is a commanding visual metaphor.

Set in 1948 during the boom period of post-WWII North America, Douglas examines the less visible, seedy underbelly of a society that is in free-form collapse as a result of the war years. The world economy is in recession, the banking system in shambles, and people are in a constant anxiety over a shadowy foreign threat. Through his unique use of computer technology, Douglas pulls the aesthetics of film noir into a more modern vernacular, creating a two-toned world where sketchy politics, simmering racial ten-sions, trauma and privation collide and result in wide-spread desperation among the population simply trying to make ends meet.

With the myriad of global concerns facing us today, the fictional and stylized world of Helen Lawrence serves to heighten our focus onto the unmistakable parallels to life in the 21st century. This highly stylized framework for looking back, packs-in a very real immediacy for the here and now.

CAP UCLA would like to extend our appreciation to the Los Angeles County Museum of Art, whose partnership made this presentation of Helen Lawrence in Los Angeles possi-ble. We also thank the Consulate General of Canada for their generous support, along with the Board and staff of Canadian Stage for their tireless effort.

Welcome to Royce Hall and CAP UCLA and, once again, thank you to our neighbors to the North for an unforgettable collaboration.

—Kristy Edmunds, Executive and Artistic Director

Art + Tech: Stan Douglas and Michael Govan in Conversation 

Tue, Oct 17 at 7 pm Los Angeles County Museum of Art (LACMA) 

Join artist Stan Douglas and LACMA CEO and Wallis Annenberg Director Michael Govan as they discuss Douglas’s innovative hybrid of cinema and theater, Helen Lawrence. They will talk about the making of Helen Law-rence, and the role of history, narrative, and temporal and spatial dis-placements in the artist’s practice. Sold out, standby only.

For more information, visit lacma.org/event/stan-douglas.

A Message From the Consul General of Canada The Consulate General of Canada in Los Angeles is proud to support Canadian Stage’s production of “Helen Lawrence” at CAP UCLA. The brain-child of Vancouver’s Stan Douglas and Chris Haddock, it represents the best of Canadian creativity – an innovative, immersive blend of theater and film.

As we celebrate our country’s 150th anniversary, Canadians are creating art that is pushing boundaries, moving audiences, and collecting critical acclaim as never before.

And we are eager to share these works with the world.

That’s why Canada is committed to promoting the arts. We be-lieve that our stories, shaped by our country’s immense diversity, deserve to be celebrated and experienced by audiences every-where.

We’re delighted to share this work with you.

Enjoy the show!

James Villeneuve Consul General

CAP UCLA in association with LACMA presents

Canadian StageHelen Lawrence

Fri, Oct 13 & Sat, Oct 14, 2017 @ 8pm

Royce HallRunning time: Approx. 95 mins. | No intermission

Conceived and Directed by Stan DouglasWritten by Chris Haddock

Canadian Stage tour supported by:

Photo by David Cooper

Canadian StageHelen Lawrence Conceived and directed by Stan DouglasWritten by Chris Haddock

Story by Stan Douglas and Chris HaddockScenery design by Kevin McAllisterCostume design by Nancy BryantLighting design by Robert SondergaardComposition and sound design by John GzowskiDirector of photography Brian JohnsonVideo programming by Peter Courtemanche

CAST

CREATIVE TEAM

Crystal BalintGreg EllwandRyan HollymanYvans JourdainNicholas LeaConrad CoatesAva Jane MarkusHrothgar MathewsHaley McGeeEmily PiggfordLisa RyderAdam Kenneth Wilson

Mary Jackson Inspector Leonard Perkins Chief James Muldoon Henry Williams Percy Walker Buddy Black Eva Banks Harry Mitchell Julie Winters Rose George Helen Lawrence Edward Banks

Directed by Associate Director Stage Manager Assistant Stage Manager Dramaturgy Scenery DesignerCostume Designer Lighting Designer Composer and Sound Designer Sound Operator Director of PhotographyVideo Programmer 3D Production Designer Lead 3D Artist 3D Artists Video OperatorAssistant Video Programmer Technical Director Tour ManagerFight Directors

Stan DouglasSarah Garton StanleyMaria PopoffPeter JotkusRachel Ditor, Matthew JocelynKevin McAllisterNancy BryantRobert SondergaardJohn GzowskiEmily PorterBrian JohnsonPeter CourtemancheStan DouglasJonny OstremMartin Gilbert, Prajay Mehta, Trent NobleJoel AdriaMatt SmithWendy ChurtonSherrie JohnsonPaul Gelineau, Jonathan Purvis, Simon Fon

MESSAGE FROM THE ARTISTS

The making of Helen Lawrence, as with that of any truly innovative artistic adventure, has been a long and multi-faceted process involving an exceptionally large number of collaborators, called upon to fulfill an exceptionally diverse number of roles. I would like to bring special attention to the collaborators in Stan Douglas’ studio who, have labored tirelessly not only to create the images you are about to see, but also to come up with the systems and logarithms necessary for these images to be proportionally, directionally, and dramatically configured.

I would also like to bow my head to the actors who, beyond honing their craft to be simultaneously dimensioned to the stage and screen, have each dedicated endless hours to becoming camera operators of a truly professional standing.

The designers and technical crews have proven themselves equally flexible, inventive, and resourceful. Without the commitment and dedication of all of these artists (on and off stage) to an unconventional development process, this production would nev-er have seen the light of day.

Since opening at the Vancouver Arts Club Theatre Company in the spring of 2014, Helen Lawrence has been presented at the Munich Kammerspiele, the Edinburgh International Festival, Canadian Stage in Toronto, the Next Wave Festival at the Brooklyn Academy of Music, and the deSingel Internationale Kunstcampus in Antwerp. The production marks an important new presence for English-Canadian artists on the international stage.

—Matthew Jocelyn, Artistic & General Director, Canadian Stage

The world economy is in recession, the banking system in shambles, people are ter-rorized by a shadowy foreign threat, and there is a housing crisis in virtually every city of the Northern Hemisphere. The year is 1948, and this is the context in which Helen Lawrence finds herself. It is a film noir world and as such it is populated by people who have experienced carnage abroad and privation at home, many of whom have had to resort to desperate measures in order to get by. Tough Guys and Femme Fatales all wear finely-tuned personas to protect themselves from further trauma and this con-dition is reflected in the visual polyphony of our play: no matter how spectacular the images projected onto the scrim that separates audience from actors, one remains keenly aware of the fragile human bodies on stage.

I would like to thank all of the collaborators whose skill and commitment made this play a reality and in particular I owe a debt of gratitude to Chris Haddock who kept the faith over the five years we discussed this project and ultimately lent his consid-erable talents to it, to Peter Courtemanche who spent two years building the hard-ware and software tools that seamlessly merge live and virtual realities, and to lead 3D artist Jonny Ostrem who at this point probably has a better understanding of the physical culture of mid-century Vancouver than I do. Finally I would like to thank Mina Totino whose love and support has always kept me going.

—Stan Douglas

All cameras are operated live by the cast.

Musicians (recorded music)—Bass: Andrew Downing; Drums: Davide Dorenzo; Piano: Dave Restivo; Baritone sax: Perry White; Tenor sax: Peter Lutek, Mike Murley; Alto sax: Andy Balantine, Tara Davidson; Trumpet: Kevin Turcotte, Lina Allemano, Jake Wilkinson, William Karn; Trombone: Tom Richards; Guitar: John Gzowski.

A co-production with Canadian Stage, Arts Club Theatre Company (Vancouver), The Banff Centre, Stan Douglas Inc., Festival TransAmériques and Canada’s National Arts Centre, with contributions from Arts Partners in Creative Development, Presentation House Gallery, BC Arts Council, and Canada Council for the Arts. Produced with the generous support of Canadian Actors’ Equity Association.

Special thanks to the team at the David Zwirner Gallery and the Stan Douglas Studio. Special thanks to Kim Collier for her participation in the development of Helen Law-rence, and to Kelly Robinson for his dedicated support.

For this performance, funds provided by The Andrew W. Mellon Foundation multi-year grant for Collaborative Intersections in the Visual & Performing Arts. A co-production by Canadian Stage, Arts Club Theatre Company, The Banff Centre, Stan Douglas Inc., Festival TransAmeriques and Canada’s National Arts Centre. Co-presented by the Los Angeles County Museum of Art, with technical support provided by the Art + Technolo-gy Lab at LACMA. The Los Angeles performance is sponsored by the Consulate General of Canada.

Pre-show Activities

Writing the Noir Landscape: The City of Angels is home to a particular kind of noir. Working with our partners in UCLA Library Special Collections we’ve prepared an exhibit featuring the papers of Raymond Chandler and other L.A. noir writers, photographers and comic book artists. Visit the exhibition in our pop-up space in the West Lobby before each show.

Feeling poetic? Stop by our Noir Poetry Bureau on the Terrace for a personalized, typewritten poem from one of our “hard-boiled” poets and wrap yourself in a trench coat and fedora. Stand under the lamp post for your noir close-up at our Noir Photo Booth. Live mood music on the Terrace by bassist Ramin Abrams.

Post-show Discussion (Sat, Oct 14)Join Stan Douglas and the company for a discussion about Helen Law-rence immediately following the Saturday evening performance.

continues to make her heart happy and keeps her feet on solid ground.

CONRAD COATES (Buddy Black) Since 1985, Conrad Coates has acted in theatre, film, television and radio. Conrad’s performed in more than 60 stage productions across the continent, including two seasons at The Stratford Shakespeare Festival. Mr. Coates has more than 120 television and film credits to his name. Since 1998, he’s been an associate drama teacher and director with SuiteLife: Arts For Youth, a not-for-prof-it educational and performance community outreach organization. For the past 8 years, along with his commitments to his continuing success as an actor, Conrad is a professor of acting at Toronto’s Seneca College and a member of the SAG, ACTRA and the CAEA.

GREG ELLWAND (Inspector Leonard Perkins) has appeared in productions including Travesties, Tribes, and Cabaret (Segal Centre); A God in Need of Help, and Democracy (Tarragon); Inexpressible Island (Necessary Angel); The Seagull (a Collective); Greg Ell-wand’s BREAD! (Toronto Fringe Festival); The Rocky HorrorPicture Show, The Graduate, and Feelgood(Theatre New Brunswick); The Open Couple (self produced); Night and Day (Dora Award, Toronto Free Theatre); Strong Poison, The Winslow Boy (Manitoba Theatre Center); A Funny Thing Happened... (Aquarius); Showboat (Livent, Vancou-ver); Romeo and Juliet, Kidnapped, and The Miracle Worker (Young People’s Theatre). Film and TV: Skins (US), Four Brothers, Jonestown, Lucky Girl, One True Love, The Man Who Might Have Been, and The Music Man.

RYAN HOLLYMAN (Chief James Muldoon) is an award winning actor and writer based in Toronto. He is an ensemble member of the Actors Repertory Company. For Canadian Stage: Macbeth, Taming of the Shrew, Fernando Krapp Wrote Me This Letter, Someone Who’ll Watch Over Me, The Overcoat. Select Theatre: A Few Good Men, Glory Days (Theatre Aquarius); Superior Donuts (Coalmine); Warhorse, Mambo Italiano (Mir-vish); Refuge (Nightwood); Our Class (Studio 180); Andromache (Necessary Angel); Scratch (Factory Theatre); Brave New World, Rochdale, Sparta, A Good Idea (Theatre Passe Muraille); Pomona, Moment (ARC). Select Film/TV: Georgetown (Miramax), The Strain (FX), X-Men Apocalypse (Fox), Othello, Murdoch Mysteries, Republic of Doyle, Unlocked (CBC), Saving Hope, Robber Bride (CTV).

YVANS JOURDAIN (Henry Williams) is grateful to become a part of the “Helen Lawrence,” family. Born in Port-au-Prince, Haiti, Yvans moved to Asbury Park, NJ and went on to get his BA at Rutgers University and MFA at Arizona State University under the wing of famed director Marshal Mason. Yvans is an extremely versatile actor who has appeared in film, television, commercials and theater. Yvans had a recurring role on Parks and Recreation as Councilman Howser, and has appeared on Criminal Minds Beyond Borders, Ghost Whisperer, Grey’s Anatomy, My Name Is Earl, Monk, The Riches, Will & Grace, Judging Amy, Alias, The Shield and The West Wing. Theatre credits include: Flags, Box, Uncle Tom’s Cabin, Cymbeline, Comedy of Errors, Macbeth, To Kill a Mockingbird, A Few Good Men, and Twelve Angry Men. Yvans gives thanks to Adline and Augustin Jourdain for creating the opportunity for him to pursue his life’s purpose.

NICHOLAS LEA (Percy Walker) is grateful to have the opportunity to present Helen Lawrence in Los Angeles. He wishes to thank Canadian Stage, UCLA and Stan for the chance to do so. He is very proud to be a part of this stellar cast and groundbreak-ing production. Lea’s stage credits include Fair Game (Arts Club), Bloody Business (Western Canada Theatre Company), and For What We Reap (Station Street). He is

The ambitious challenge of creating fiction out of history and bringing a veracity to the fiction, presenting a day, a slice of life in 1948 Vancouver, creating a dozen charac-ters in two distinct communities, with completely new and untried artistic and techno-logical aspects was irresistible to me.

It’s been a daunting, exhilarating commitment for actors and production crew from theater and film or television to join the expedition into unexplored territory: into the past for source and future for technology. It is in ways much like the post-war period of the story—stepping from the past into the uncertain and unfamiliar. It is an anxious atmosphere, where identities fall away, and new ones tested.

It’s kept me on the edge of my writer’s chair. My gratitude goes to Stan Douglas for the challenge, the actors for their sacrifices, commitments, talent, skills and patience, to the production crew for the same devotion, to the personnel of the Arts Club The-atre Company and Canadian Stage for having the nerve to risk the undertaking.

—Chris Haddock

ABOUT THE ARTISTS CRYSTAL BALINT (Mary Jackson) is thrilled to return once again to this unbelievable production for another adventure with this amazing family of cast and crew. Previous selected stage credits include Into the Woods, A Chorus Line, Dreamgirls, The Moun-taintop and most recently, the Vancouver Premiere of City of Angels. Crystal also continues to work extensively in film and TV, appearing in such shows as Psych, The L-Word, Fringe, Supernatural, Continuum, Arrow, Prison Break, Disney’s Mech X4 and ABC’s new fall drama The Good Doctor. Crystal remains grateful for this dream oppor-tunity and sends special thanks to her formidable cast mates & her supportive family and friends for their endless encouragement. And to Andy; whose solid, steadfast love

Photo by David Cooper

LISA RYDER (Helen Lawrence) As co-founder of Bald Ego Theatre, Lisa has created many original plays including: Café Naked (Theatre Centre); Panting of the Victors (Toronto/Winnipeg Fringe) and Put Me Away (Tarragon Theatre). Other theatre credits include: Zadie’s Shoes (Factory Theatre); Possible Worlds (Theatre Passe Muraille); Insomnia (Dada Kamera); Insignificance (Theatre Junction) and Neil Simon’s Proposals (MTC/Mirvish). She is currently working on her new play, Wild Oxen. Television and film credits include: five seasons as Beka Valentine on Gene Roddenberry’s Andromeda, one season on Forever Knight, Jason X, and guest roles on Mary Kills People, The Strain and most recently the feature film, Through Black Spruce.

ADAM KENNETH WILSON (Edward Banks) is a Toronto-based actor, best known for his portrayal of Charles Manson in the History Channel/5UK’s telefilm MANSON. Selected television credits include: Shadowhunters, 24 Hour Rental, Reign, 12 Monkeys, The Expanse, Darknet, Lost Girl, The Listener, and Flashpoint. He narrated the series Alien Mysteries, and has voiced characters in both animation and commercials. Adam has starred in the short films Attention of Men, Ending the Eternal, No More, and Black Goat, and appeared in the feature film SUCK. His theatre credits include: Terminus (Outside the March/Mirvish); The Life of Jude (Falling Hammer), and Half-Life (The-atre Northwest). He is proud to be and have been a part of the international tour of Helen Lawrence for Canadian Stage.

Photo by David Cooper

a SAG Award nominee and Gemini and Leo Awards Best Actor nominee. His TV and film credits include The X-Files, NYPD Blue, CSI Las Vegas, V, Continuum, The Killing, Vertical Limit, Shattered, and Crimes of Mark Recket, and an appearance on Saturday Night Live. Lea is grateful for the never-ending support of his friends and his family and longtime agent M.A. He would liketo dedicate this performance to his hometown, Vancouver. Much love to Cheryl for making a wonderful adventure more wonderful.Words cannot express how thankful he is for the enduring and unending love and sup-port of Mary. She is the icing on the cake.

AVA JANE MARKUS (Eva Banks) is an actress-producer-musician from Toronto. She’s acted in theaters across Canada including: the Centaur Theatre, Vancouver Playhouse, ArtsClub, Citadel, Alberta Theatre Projects, Globe Theatre, Catalyst Theatre, and has performed internationally in Munich, Edinburgh, and Belgium. She co-produced and performed in the Canadian premiere of Mark O’Rowe’s Terminus and recent-ly premiered Erin Shield’s Beautiful Man at SummerWorks Performance Festival in Toronto. Upcoming work includes playing Honey in the Citadel Theatre’s Who’s Afraid of Virginia Woolf?. As a musician Markus has played in festivals and venues all over Canada (NXNE, CMW, COCA, LabCab). She’s half of Indietronic Pop duo Apartments. avamarkus.ca | @avamarkus

HROTHGAR MATHEWS (Harry Mitchell) has a recurring role in the Hallmark series When Calls the Heart. His notable theater credits include The Wild Guys, Dancing at Lughnasa, and Becky’s New Car for the Arts Club Theatre Company; The Wars at Theatre Calgary and the Vancouver Playhouse; and A Rare Day In June for the Alum-nae Theatre, Toronto. He worked for Stan Douglas 20 years ago on Pursuit, Fear and Catastrophe: Ruskin B.C., and his previous collaborations with Chris Haddock include Da Vinci’s Inquest and Da Vinci’s City Hall. He appears in the upcoming Casey Affleck film, Love of My Life and has won Leo and Gemini Awards, as well as a Peabody Award.

HALEY McGEE (Julie Winters) is a writer and performer now based in London, UK. Her solo shows, OH MY IRMA and I’m Doing This for You & Kitchener + Waterloo, have toured extensively internationally, winning awards and critical acclaim, with stops in the UK, USA, Netherlands, Canada, Japan, Finland, Germany, Bulgaria, Kosovo and Mongolia. Some recent acting credits include The Hours (BBC4 Radio), Made Visible (Yard Theatre, London UK), Helen Lawrence (Brooklyn Academy of Music, Edinburgh Intl Festival, Munich Kammperspiel, Canadian Stage) and numerous productions across Canada. Haley is developing a new show, The Ex-Boyfriend Yard Sale, with Cam-den Peoples’ Theatre (UK). This piece smashes together personal divulgences, math, recorded interviews, and the politics of auctions, to determine the cost of love. She holds a BFA in acting from Ryerson Theatre School and was a member of The Second City Conservatory. haleymcgee.ca.

EMILY PIGGFORD (Rose George) is Vancouver Island-born and Toronto based. She has previously toured with Helen Lawrence at Canadian Stage, the Brooklyn Academy of Music, and deSingel in Antwerp. Select TV credits include Killjoys, Michael: Every Day, Lost Girl, and Netflix Original series, Hemlock Grove. Emily earned a Best Actress Canadian Screen Award nomination for her role as Meagan in D.W. Waterson’s web series, That’s My DJ. She holds a BFA in theatre from the University of Victoria and is a recent graduate of the Canadian Film Centre’s CBC Actors Conservatory. Catch her in the upcoming season of The Girlfriend Experience, premiering Nov 5th on STARZ.

national tours), Wit, and The Threepenny Opera. Recently at the Arts Club Theatre Company, he stage managed David Sedaris’ Santa Land Diaries, and was the ASM on One Man Two Guvnors and Next to Normal. He lives in Vancouver and is a graduate of the National Theatre School of Canada.

RACHEL DITOR (dramaturg) is the literary manager at the Arts Club Theatre Com-pany in Vancouver where she commissions and develops plays for production with the company. Ditor began work in new play development in 1992 at Playwrights Workshop Montreal and has since worked in the field with companies across the country includ-ing the National Arts Centre, Saskatchewan Playwrights Centre, a faculty dramaturg at the Banff PlayRites Colony, and Playwrights’ Theatre Centre. Ditor was awarded the Bra D’Or by the Playwrights Guild of Canada in 2012 for her work in premiering and promoting the work of women playwrights.

MATTHEW JOCELYN (dramaturg) is artistic and general director of Canadian Stage. Jocelyn has worked extensively as an arts administrator; producer and director of theater, dance, and opera; as an opera librettist; a translator of plays; and as an edu-cator. From 1998—2008, Jocelyn was the artistic and general director of the Atelier du Rhin in Colmar, a national drama center in France. He was named Chevalier des Arts et des Lettres by the French Minister of Culture in July 2008. He was named artistic and general director of Canadian Stage in 2009, and has transformed the company into a creative home for many of Canada’s principal contemporary theater and dance practitioners, putting their work in an international context of performing arts. He continues his work in the opera, with recent projects including writing the libretto for and directing a new opera by Oscar Strasnoy based on Requiem for a Nun by William Faulkner for the Theatre Colón in Buenos Aires, voted best opera of the year in Argenti-na in 2014, and writing the libretto for a new opera based on Shakespeare’s Hamlet for the Glyndebourne Festival.

KEVIN McALLISTER (scenery designer) has recent theater credits including Singin’ in the Rain, The Gifts of the Magi, and Amadeus for the Chemainus Theatre Fes-tival, British Columbia; Xanadu and Glengarry Glen Ross at the Arts Club Theatre Company, Vancouver; Sisters at the Gateway Theatre, Vancouver; The Taming of the Shrew, Macbeth, As You Like It, and The Merchant of Venice for the Bard on the Beach Shakespeare Festival, Vancouver; and The Magic Flute for Vancouver Opera. His current projects include the exhibition Rewilding Vancouver at the Museum of Vancouver; A Midsummer Night’s Dream for Bard on the Beach; and Equivocation for the Belfry The-atre, Victoria and Bard on the Beach. He was associate designer of the opening and closing ceremonies of the Vancouver 2010 Winter Olympics and his theater work has earned nine Jessie Award nominations.

NANCY BRYANT (costume designer) was born in Sherbrooke, Quebec, and studied at the Emily Carr College of Art and Design, Vancouver. Recipient of 12 Jessie Awards, she has designed for numerous dance companies in Canada, as well as for the Neder-landsDans Theatre, Ballet de Monte Carlo, Stuttgart Ballet, Dance Theatre of Harlem and, most recently, The Tempest Replica for Kidd Pivot. Her notable theater credits include The Overcoat, Tear the Curtain!, and The Constant Wife. She has designed numerous productions for the Arts Club Theatre Company, Canadian Stage, the Shaw Festival, the Vancouver Playhouse, and the Belfry Theatre, Victoria. Her designs for Pacific Opera include Der fliegende Holländer, Rodelinda, and The Rake’s Progress. Her costume design creditsfor film include Snow White, The Legend of Earthsea (for which

CREATIVE TEAM

STAN DOUGLAS (conception, director) is a visual artist who lives and works in Van-couver and Los Angeles. His films, videos and photographs have been seen in exhibi-tions internationally, including Documentas IX, X and XI (1992, 1997, 2002) and three Venice Biennales (1990, 2001, 2005). A survey of his recent work, Stan Douglas: Mise en scène, will travel in Europe from 2013 until the end of 2015. Between 2004 and 2006 he was a professor at Universität der Künste Berlin and since 2009, has been a member of the core faculty in the Grad Art Department of ArtCenter College of Design in Pasade-na.

CHRIS HADDOCK (story, playwright) is a multiple award-winning screenwriter, director, and producer, internationally acclaimed for his Vancouver-based television drama creations Da Vinci’s Inquest and Da Vinci’s City Hall, and the cult favorite Intel-ligence. Most recently he served as the writer-producer on Martin Scorsese’s HBO pro-duction Boardwalk Empire, for which he was nominated for a Writers’ Guild of America Award. Helen Lawrence is the result of his collaboration with his long-time friend Stan Douglas, and is his first exploration of theatrical drama. He is currently writing and developing films and television dramas in Canada and abroad.

SARAH GARTON STANLEY (associate director), originally from Montreal, lives in Ottawa and Kingston. Canadian Stage credits include: The Taming of the Shrew and Helen Lawrence. Stanley co-founded The Baby Grand in Kingston, co-created Women Making Scenes in Montreal, and Die in Debt Theatre in Toronto. Stanley is a former ar-tistic director of Buddies in Bad Times Theatre, co-helmed the National Theatre School Directing Program, and was associate artist with both the Magnetic North Theatre Festival and Factory Theatre in Toronto. She makes work with Michael Rubenfeld including The Book of Judith, The Failure Show, Mothermothermother, and the upcom-ing We Keep Coming Back. Next, she directs The December Man by Colleen Murphy at Canada’s National Arts Centre, and Caught by Jordi Mandat Theatre Passe Muraille. Stanley is the artistic director of SpiderWebShow.ca and the associate artistic director of English Theatre at Canada’s NAC.

MARIA POPOFF (stage manager) has stage management credits including Canadi-an Stage (Ain’t Misbehavin’, Omnium Gatherum, Urinetown, Good Night Desdemona (Good Morning Juliet), The Queens, Richard III, Edward IV, Henry V, Twelfth Night, Unless (assistant director), and New Play Development Group as a writer. Also, Theatre of Marionettes’ tour of 10 Days on Earth; Stratford Festival (Hamlet, Comedy of Errors, Long Day’s Journey Into Night). Selected assistant director film and TV credits: A&E (Nero Wolfe); CBC (Twitch City; Roxana; From Time to Time; Rhombus Media, Yo-Yo Ma: Inspired by Bach). Popoff produced two award-winning short films: Interviews With My Next Girlfriend (HBO Award, Best Short Comedy) and Don’t Think Twice (Sun-dance, Toronto International Film Festival). She has been on National Theatre School of Canada’s production faculty (stage management coach, mentor).

PETER JOTKUS (assistant stage manager) has worked in many of the country’s regional theaters including the Vancouver Playhouse (14 consecutive seasons), Pacific Opera Victoria, The Belfry, Theatre Calgary, The Citadel, Manitoba Theatre Centre, Factory Theatre, Opera Atelier, National Arts Centre, Centaur, and the Stratford and Shaw Festivals. Canadian Stage credits include: The Overcoat (national and inter-

JOEL ADRIA (Video Operator) is a multimedia designer and technologist based in Montreal, Canada. He has toured internationally with Canadian Stage’s Helen Lawrence. Select production credits include: The Curious Incident of the Dog in the Night-Time (Citadel Theatre), Cockroach (Alberta Theatre Projects), The Little Mermaid (SCA Fine Arts), A Little Too Cozy (Banff Centre/Against the Grain), Mary Poppins (Globe Theatre), Category E (The Maggie Tree), and TED Summit. Joel is a founding member ShowStages collective, an alumnus of the University of Alberta’s theatre production program and has taught at MacEwan University. He is currently a System Integrator at Moment Factory and a developer at CdnStudio.

ABOUT CANADIAN STAGEFounded in 1987, Canadian Stage is one of Canada’s leading not-for-profit con-temporary performing arts companies, sharing new, innovative stage work from Canada and around the world. Led by Artistic & General Director Matthew Jocelyn, Canadian Stage produces and presents a new hybrid of multidisciplinary perfor-mance that pushes the boundaries of form and style, integrating theatre, dance, music, multimedia and more. Based in Toronto, Canadian Stage is dedicated to reinforcing the presence of Canadian art and artists within an international cultural dialogue, by acting as a home, incubator and exporter of leading Canadian and global performance. For more information, visit canadianstage.com.

she won a Leo Award), and The Snow Queen.

ROBERT SONDERGAARD (lighting designer, tour lighting director) is based in Vancouver. His work spans all genres of the entertainment industry including designs for theater (Canadian Stage, Arts Club Theatre Company), dance (Kidd Pivot, Royal Swedish Ballet, NederlandsDans Theatre, Ballet BC, Movent, 605 Collective), cere-monies (2010 Vancouver Paralympic Winter Games, Canada Winter Games, Arctic Winter Games), music (Rankin Family Canadian Tour, Barrage Vagabond Tails World Tour), theme parks (Legoland Windsor, Orlando and California), television (Grey Cup Halftime Show, Anne Murray: Friends & Legends, 21st Annual Gemini Awards), and film (Catwoman, Deck the Halls). Sondergaard is a member of the Associated Designers of Canada.

JOHN GZOWSKI (composer and sound designer) is a composer, sound designer, musician, and instrument maker. Gzowski has played the banjo for opera in Banff, studied Carnatic classical music in India and played the oud and the guitar in jazz and folk festivals throughout Canada and Europe. His theater work, which uses live music, acoustic instrumentation, foley, and electronic sources, has won him five Dora Awards and another seven nominations, and includes nearly 200 productions for such compa-nies as the Shaw Festival, Luminato, Mirvish Productions, Canadian Stage, Soulpepper, Dancemakers, Red Sky, Tarragon Theatre, Factory Theatre, and the Young People’s Theatre, Toronto. He has played on numerous recordings, including recent releases by Patricia O’Callaghan, Tasa, Autorickshaw, and Maza Meze. He has run Canada’s first microtonal group, touring and playing the works of Harry Partch; he has composed and performed with several new music groups and was the co-artistic director of the Music Gallery, Toronto.

BRIAN JOHNSON (director of photography) has received numerous awards and accolades for his work as a director and cinematographer. He has exhibited at such festivals as the Toronto International Film Festival and the Clairmont- Ferrand Interna-tional Short Film Festival. He has won two Golden Sheaf Awards and two Leo Awards, and has been nominated for a Gemini Award for his work as a cinematographer on feature films such as On the Corner, The Delicate Art of Parking, and Camera Shy. His current projects include writing and directing a feature film about troubled youth in the Pacific Northwest for Screen Siren Pictures.

PETER COURTEMANCHE (video programmer) creates custom technologies that en-able artists to explore aspects of sound, video, film, and gadgetry that are not readily accessible. As an artist and programmer, he uses new technologies and ideas in ways not tied to any particularform or medium. He was media director at the Western Front contemporary art center, Vancouver, from 1997 to 2007. He has worked with numer-ous artists to create film and video installations, wearables (embedding electronics in clothing and accessories), network art, sound sculpture, and large-scale museum pieces. He has worked with Stan Douglas for many years, developing technologies for film and video installations.

JONNY OSTREM (lead 3D artist) graduated from Emily Carr University, Vancouver, in 2010 and works as a visual and technical artist in the Canadian film and interactive industries. He won a Leo Award in 2012 for his work as a 3D artist and set designer for the short film The Tron Lebowski. Last year he served as the lead artist for the iOS app Circa 1948, produced by the National Film Board of Canada and Stan Douglas. Photo by David Cooper

Art in Action

“Art in Action is somewhere between an academic symposium and the

vibrancy of an eagerly awaiting coloring book. This is where we explore in

public to release the energetic potential of sharing ideas together.”

—Kristy Edmunds

Art in Action, our free public engagement program, offers a wide range of experiential art activities around the ideas emanating from the work of artists on our season. Through workshops, lectures, master classes, films, salons and art-making forums, Art in Action provides a platform for our UCLA and Los Angeles communities to exchange ideas and participate in shared cultural experiences.

This season, we’re continuing two ongoing initiatives and introducing a third. Writing the Landscape returns with new takes on the Poetry Bureau and special activities with our library partners, exploring how the impulse to make something results in an altered land-scape, or new view. Hearing Beyond Listening devises ways to “listen better,” with artist- curated playlists, personalized music maps, intimate salons, and the now popular, CAP Listening Lab. A new series of programs, Facing the Blank Page, takes direct inspiration from this season’s the theater is a blank page. Activities throughout the season will investigate how we transmit traces of ourselves through the written word, movement, sound and imagery. cap.ucla.edu/ArtInAction

Photo credit: David Cooper Photo Credit: Christophe Dessaigne

Funds provided by the Sally & William A. Rutter Endowment for the Performing Arts and Fariba Ghaffari.

@CAP_UCLA

Philip Miller Dada Masilo, Catherine Meyburgh, Peter Galison

Fri, Nov 17 & Sat, Nov 18Royce HallOnly two performances

cap.ucla.edu310-825-2101

South African artist William Kentridge offers a phantasmagoric investigation of time in this multimedia chamber opera.

Refuse the Hour

W i l l i a m Kentridge

CODA21 CODA21 is a pilot initiative that supports dialogue, research, and collaboratively designed experiments between UCLA’s Center for the Art of Performance and leading research cen-ters and labs across campus. Collaborating labs include Denise Cai and Silvalab, a leading neuroscience research lab studying molecular and cellular cognition; Hakwan Lau and the Consciousness & Metacognition Lab; the Tennenbaum Center for the Biology of Creativity; and the Design Media Arts Lab.

Informing CODA21’s design is the belief that the students at UCLA represent the conditions emblematic of society at large. Economic anxiety, homogeneous living arrangements, and media saturation imposing gender and racial stereotypes have seriously eroded the acade-my’s critical role in fostering a pluralistic, tolerant, progressive, and socially interdependent community. Curriculum is increasingly limited in its ability to play this historic role. The remaining antidote is a thoughtfully curated arts presenting program like CAP UCLA, an interdisciplinary learning experience offering students and the extended audience exposure, through live performance to artists who represent the diversity of traditions, ethnicities, gender roles, and aesthetics reflective of the demographic terrain in which we all work and live. Through its experimental collaboration, CODA21 seeks to confirm, amplify, and enhance this crucial role.

Ann Carlson: Doggie HamletWill Rogers State Historic ParkFebruary 3–4, 2018

Okwui Okpokwasili Poor People’s TV RoomPresented in association with REDCAT February 8–11, 2018

Kyle Abraham/Abraham.In.MotionDearest HomeFreud Playhouse, UCLAApril 5–7, 2018

Jennie Liu: Autobiography of the Kimono on the Western StageCODA21 Development Residency

CODA21 is funded in part by The Surdna Foundation. The Surdna Foundation seeks to foster sustainable communities in the United States—communities guided by principles of social justice and distinguished by healthy environments, strong local economies, and thriving cultures.

CODA21 ARTISTS & PROJECTSLeading artists and choreographers will participate in CODA21 through full presentations of their work, development residencies, and pilot experiments.

Design for Sharing

“Design for Sharing enriches and supports learning, social awareness and

responsible cultural arts citizenship creating a new generation of artists

and audiences.” —Kristy Edmunds

Design for Sharing (DFS) is our free K-12 arts education program that provides public school students from across the Los Angeles metro area access to the performing arts, both at UCLA and in their own classrooms. The arts provide a gateway for students to explore shared ideas across communities and culture–sparking their curiosity and imag-ination. Since 1969, Design for Sharing has provided performances, workshops and school residencies to almost a million public school students, offering a diverse array of music, contemporary dance, and innovative theater. cap.ucla.edu/dfs

This season, the following CAP artists will participate in Design for Sharing programs:

Dancenorth/Lucy Guerin IncAteNineONIX EnsambleKronos Quartet

Gabriel KahaneJoão DonatoAntonio Sanchez & MigrationKyle Abraham/Abraham.In.Motion

CAP UCLA BOARD OF DIRECTORS

EXECUTIVE COMMITTEEBradley Tabach-Bank, PresidentDeborah Irmas, Interim Executive Vice PresidentKathleen Quisenberry, Vice President, EventsAnne-Marie Spataru, Vice President, EducationValerie Cohen, Vice PresidentFariba Ghaffari, Vice PresidentAnn Harmsen, Vice PresidentDiane Levine, Vice President

BOARD MEMBERSGail AndrewsMurray HidaryRoslyn Holt SwartzGeorgina HuljichAnne JarmainRenee LuskinGinny ManciniKatie MarsanoKaryn Orgell WynneEdie ParkerAlan M. SchwartzStephanie SnyderLeslie WhitePatty WilsonLori J. Wolf

DESIGN FOR SHARING (DFS) BOARDStephanie Snyder, President Diane ApplebaumSue EisnerLinda EssakowBillie FischerAudrée Fowler Suzanna Guzmán Lois Haytin Sandra Kanengiser Bob Kay Joanne V.C. Knopoff * Martha Koplin Joan Lesser * Diane Levine Merle MeaserMuriel Fine Sherman Laurie Raskin Shuman Anne-Marie SpataruBonnie TaubSheila WeismanKaryn Orgell WynneMimi Wolfen Bonnie Yaeger *

LIFETIME HONORARY BOARD MEMBERSPhyllis Johnson Adelman * Marjore Chronister *Barbara Dobkin * Carol Greines * Leona Mattoni * Theodora Carras Primes * David S. Rodes *

IN MEMORIAMMrs. Herbert Witherspoon, Founder Mimi Perloff, Co-Founder * Past Presidents

CONNECT WITH US

Join the Conversation!

We want to hear from you – share thoughts about the arts and performances you experience with #CAPUCLA

House Rules

PHOTOGRAPHYPhotography, video and the use of any recording equipment is strictly prohibited at all times during performances at all UCLA campus performance venues and at The Theatre at Ace Hotel. Any/all press photography must be approved in writing in advance by the Center for the Art of Performance representative. For press inquiries and to make a request to cover an event, visit cap.ucla.edu/press/

CAMERAS & SMART PHONESThe use of cameras, smart phones, cell phones and recording equipment of any kind is strictly prohibited at all times during performances at all UCLA campus performance venues and at The Theatre at Ace Hotel. All devices must be silenced before the start of the performance. Please be considerate to those around you and refrain from texting, emailing or surfing the web during performances.

LATE SEATINGLate seating will be subject to company approval and will occur only at a suitable time at the discretion of the house staff. Latecomers may not be able to be seated in their assigned seats to avoid disruption or distractions during the performance. Some events have no late seating by request of the artist, and refunds on parking and tickets for latecomers will not be accommodated. Please check the event detail page of our website for late seating policies for specific performances or opt in to our email data-base by signing up for our newsletter and pre-show emails with helpful information about pre-show activities, parking, late seating, running time, nearby dining oppor-tunities and more at cap.ucla.edu/enews/

CHILDRENChildren over age 5 are welcome to most events and, regardless of age, must have a ticket. Infants on laps are not permitted. Inquire when purchasing tickets of age appropriateness for specific events and check out website for specific performance information.

ACCESSIBILITY The Theatre at Ace Hotel offers ADA access-ible seats and restrooms. You can buy ADA seating on our ticketing site or by calling AXS at 888-9-AXS-TIX (888-929-7849). When buying tickets over the phone, please let the ticket agent know if you require accessible seating, and s/he will issue you an ADA seat.

In addition to wheelchair spaces, The Theatre at Ace Hotel is equipped with select aisle seats that have folding armrests on the aisle side to make transfer easier for those with mobility limitations. For such seating, please request a “transfer seat.”

If you need accessible seating the night of the event and don’t have a special ticket, we’ll do our best to accommodate you once you arrive at the theater.

SPECIAL THANKS TO OUR DINING PARTNERS

Fundamental LA LA ChapterPalamino Restaurant & BarPlateia Pruex & ProperShibumiWEST Restaurant

CAP UCLA SPONSORS & SUPPORTERS

ENDOWMENTSOver time, many generous indi-viduals have initiated leadership gifts to establish endowments that support the performing arts at UCLA in perpetuity.

Arthur E. Guedel Memorial Lectureship FundBeatrix F. Padway Endowed Fund for Design for Sharing Design for Sharing Endowment Doris Duke Charitable Foundation Endowment FundEvelyn & Mo Ostin Endowment for the Performing ArtsGeorge C. Perkins FundGinny Mancini Endowment for Vocal PerformanceHenry Mancini Tribute FundJames A. Doolittle EndowmentJosé Luis Nazar Endowment for the Performing Arts Kevin Jeske Young Artists FundThe Lloyd E. Rigler Emerging Arts FundMerle & Peter Mullin Endowment for the Performing ArtsMimi Perloff Endowment for Design for SharingMimi & Werner Wolfen Endowment for Design for SharingNational Endowment for the Arts Challenge Grant Endowment Plitt Theaters Fund for Design for SharingRoslyn Holt Swartz & Allan J. Swartz Endowment for the Performing ArtsRoyce Center Circle Endowment Fund Royce Gala EndowmentSally & William A. Rutter Endowment for the Performing ArtsShirley & Ralph Shapiro Director’s Discretionary Fund Shirley & Ralph Shapiro Endowment for Design for Sharing

DIRECTOR’S FUNDWe are grateful to list the follow-ing individuals whose support to the Director’s Fund bolsters the vision behind the major initia-tives at CAP UCLA. Their support galvanizes our leadership efforts and is the sole resource through which the Director is able to make advance commitments.

Good Works FoundationJackie and Stanley GottliebAudrey and Sydney Irmas Charitable Foundation

Sponsors and FoundationsAnonymous Andrew W. Mellon FoundationAnother Planet EntertainmentAVK ArtsAntonia & Vladimer Kulaev Cultural Heritage FundColburn Foundation Doris Duke Charitable FoundationI.H. and Anna Grancell FoundationLibrary Foundation of Los AngelesMid Atlantic Arts FoundationNational Endowment for the Arts New England Foundation for the ArtsNicholas EndowmentRalph M. Parsons FoundationRing Foundation Samuel Goldwyn FoundationSurdna Foundation, Inc. UCLA Student Fees Advisory Committee

INDIVIDUALSCAP UCLA is pleased to acknowl-edge our individual members and donors whose gifts directly support arts education and the art of performance at UCLA. Thank you!

$50,000-$149,999Deborah Irmas/Audrey and Syd-ney Irmas Charitable FoundationSusan & Leonard NimoyLaura & Gregg Perloff/ Perloff Family Foundation

$25,000-$49,999Fariba GhaffariRenee & Meyer LuskinVirginia ManciniAnne-Marie & Alex SpataruSheila & Walter Weisman

$10,000-$24,999Leon Birnberg TrustKatie Marsano & Greyson BryanValerie & Bradford CohenLaura Donnelley/ Good Works FoundationFeintech FamilyAudree FowlerLinda Essakow & Stephen GuntherAnn & Bill HarmsenAnne JarmainDiane KesslerDiane LevineKathleen John QuisenberryCynthia Miscikowski/ Ring FoundationRoslyn Holt Swartz & Alan SwartzDee Dee Dorskind & Bradley Tabach-BankStephanie Snyder & Micahel WarrenRon WatsonLeslie White & Al LimonCarol Leifer & Lori WolfKayrn Orgell WynneBeth DeWoody & Firooz Zahedi

$5,000-$9,999Anna Wong Barth & Donald BarthAndrew Rhoda & J. Ben BourgeoisBillie & Steven FischerKiki & David GindlerMurray HidaryJoanne KnopoffJoan Lesser & Ronald JohnstonLinda Gach Ray & Stephan RayMichael Stubbs & Bill ResnickRichard RossAlan SchwartzBonnie & Paul Yaeger

$2,500-$4,999Barbara AbellDiane & Noel ApplebaumHelen & Alexander AstinSylvia & Joseph BalbonaKathleen Flanagan

This listing represents accumulative contributions from July 1, 2016-August 1, 2017

CAP UCLA STAFF

DIRECTOR’S OFFICEExecutive and Artistic Director - Kristy Edmunds Deputy Director and Program Manager - Fred FrumbergAssistant to the Director - Yuko SaegusaArtist Liaison - Zarina Rico

PRODUCTION & EVENT OPERATIONSDirector of Operations - Steve KeeleyPatron Services Manager - Ron JarvisVenue Manager - Lorrie Snyder Production Manager - Bozkurt “Bozzy” KarasuCustodian Supervisor - Steve JarnaginHouse Manager - Ernie YbarraProduction Stage Manager - Kevin PongEvent & Crew Coordinator - Don KiddHouse Electrician - Jessica WodinskyMaster Carpenter - Ron GreeneAudio / Video Supervisor - John ColemanHouse Electrician - Antony GutierrezHouse Crew - Robert OryHouse Crew - Katie BakerHouse Crew - Patrick TraylorHouse Usher - Pia ShekerjianCustodian - Elsie ConroyCustodian - Chancy Dawson

FINANCIAL MANAGEMENTManager of Finance and Accounts – Stephanie TarvydFinance Analyst - Jodi Klein

MARKETING & COMMUNICATIONSDirector of Marketing & Communications – Kathy Budas Communications Manager - Holly WallaceIntegrated Marketing Specialist - Phinn SriployrungMarketing Associate - Baha Ebrahimzadeh

DEVELOPMENTAssistant Director of Development - Alexander Barrera Foundations and Individual Initiatives Development Associate - OpenDevelopment Assistant - Christina Garcia Artist Circle Box Office Liaison - Monica Contreras

EDUCATIONDirector of Education & Special Initiatives - Meryl FriedmanEducation Program Coordinator - Theresa Willis PetersStudent Arts Coordinator - Theo Bonner-Perkins

HUMAN RESOURCESHuman Resources Manager - Bernie MacapinlacHuman Resources Assistant - Erah Lulu

TICKETINGAssistant Director Central Ticket Office - Gerardo GaleanoBox Office Manager - Annabel Flores

RENTAL EVENTSRental Events Manager - Anthony JonesRental Events Coordinator - Christina Montaño

CAP UCLA Administrative offices:B100 Royce Hall, Box 951529Los Angeles, CA 90095-1529Tel: 310.825.4401Fax: 310.206.3843info@cap.ucla.edu

Office of Kristy Edmunds:310.206.7408director@cap.ucla.edu

UCLA Central Ticket OfficeTel: 310.825.2101Fax: 310.206.7540tickets@cap.ucla.edu

Press Inquiries:Holly WallaceTel: 310.206.8744hawallace@cap.ucla.edu

Development Office:Tel: 310.267.4463devinfo@cap.ucla.edu

Design for Sharing Office:Tel: 310.825.7681dfs@cap.ucla.edu

Become a MemberYour membership with the Center for the Art of Performance is more than ticket discounts, priority seating, invitations to additional programs and special member gatherings—it is sup-port for what we are able to champion within the wider cultural landscape. When you make a gift to the Center for the Art of Performance or to our Design for Sharing program, you join a community of advocates inspired by artistic exploration and new ways of knowing. We belong to a culture of the curious, and by supporting great artists, we land on new perspectives.

Our members are committed to groundbreaking contemporary performance locally, globally and everywhere in between. Your support is how we ensure that artistic expression will thrive on stage, on the UCLA campus and in the Los Angeles community for years to come. Mem-bership dollars provide the means for us to interact with the leading artists of our time, and to share what we discover with as many people as we can.

With your involvement, we can provide young audiences with the chance to experience life through the lens of the modern stage, offer fans and aficionados the recent work of artists who propel us boldly forward, and enhance the public mission of one of the nation’s leading research universities.

Your membership dollars are the primary financial resource that sustains us. We need your support now more than ever. Please become a member today.

cap.ucla.edu/membership

& Keenan BehrleCarol & Frank BiondiNadege & Jay CongerEdie & Robert ParkerSue & David EisnerCaryn Espo & David GoldIrene GoldenbergJudy Abel & Eric GordonAdam Grancell/I. H. & Anna Grancell FoundationSandra & Lewis KanengiserFiona & Michael KarlinJoseph KaufmanMilly & Robert KayyemJoan & Warren KesslerMartha KoplinCameron Jobe & Gerald MarkovitzClaude PetiteRonnie Rubin & Marty PiterNancy & Brad RosenbergSuzie & Michael ScottMuriel & Neil ShermanLaurie & Rick Shuman/Raskin Family FoundationJennifer SimchowitzSrila & Man Jit SinghPamela SmithDebra Vilinsky & Michael SopherCarolyn & Lester SteinLaila & Mehran TaslimiJessica Kronstadt & William TurnerSusanne & Douglas UpshawPatty & Richard WilsonMimi WolfenCarla Breitner & Gary Woolard

$1,500-2,499George AllenRosanne BogartHelene & Edwin CooperMarie & Steve FeigMary & Stanley FriedmanLori & Robert GoodmanJackie GottliebPeggy & Bernard LewakPatricia RosenburgJane SchiffhauerSuzie & Laurence Swerner

$500-$1,499Anonymous x 3Sara & James AdlerNatsuko AkiyamaSusan Stein & David AlperMichael AmbrosePatti & Harlan AmstutzRobert AndersonGail & James Andrews

Barbara BarryPamela & John BartkoCharlene & John BaskinLinda Engel & Alan BenjaminLynn & Leslie BiderCarol & Frank BiondiJames BlakeleyMarjorie BlattRonda & Stanley BreitbardSigrid Burton & Max BrennanLily & Thomas BrodRona Elliot & Roger BrossyMarilyn McKnight Browning & Roger BrowningMadelynne & Glenn CardosoEllen Hoffman & Neal CastlemanRichard CohenRoberta ConroySherri CrichtonLynne & James DeWittRachel Knopoff & Russell DickersonThe Walt Disney Company FoundationAbida & Ray DiwanFeris Greenberger & David DolinkoRos Warby & Kristy EdmundsOlga Garay-English & Kerry EnglishMary & Robert EstrinNancy & Jerome FalkIrwin & Helgard FieldElodie & Bruce FortuneZoe FriedlanderThomas GarvinLinda GoodmanElizabeth Gray & Randall GordonPattikay & Meyer GottliebJennifer Wells Green & Randall GreenSusie Edberg & Allen GroganAdam GuntherWilliam HarperLois HaytinHanna & Manfred HeitingBarbara & Daniel HorwitzHelene Des Ruisseaux & Marcus HorwitzJoan & Howard JaffeJaclyn KannerLauren KasmerWendy & Stephen KramerMaria Arispe & Timothy LaneSusan LevichDiane & Desmond LevinMorelle & Norman LevineJanell Thornton-Lewis & Randall LewisSherrill Luke

Chan LuuBea & Leonard MandelJonathan Marmelzat/Willard L. Marmelzat FoundationSandra Klein & Donald McCallumMerle & Gerald MeaserDeborah & Etan MilgromSusan & Joseph MillerJessica Cahen & Ronald MintzRuth & Robert MirvisLeslie MitchnerPhilip MortonDori & Charles MostovPaulette & Ronald NessimMary Montella & Jeffrey NewmanJami O’BrienRichard PowellMarilyn & Jerome PrewoznikLinda Peterson & Arthur PriceGloria & Samuel ReyesJames RodneyWendy-Sue RosenLinda McDonough & Bradley RossBernice & Lawrence RudolphMark SaltzmanLela & Gerard SarnatJudy & George SavitskyJose SegundoLinda & B. Thomas SeidmanGena SelmontMarjorie Kagawa Singer & Peter SingerLouise Nelson & David SmithMary & Alan SnyderGeorgina Huljich & Marcelo SpinaGary StewartCarol & Joseph SullivanJoanne TakahashiSuzanne TaylorCatherine & Leonard UngerSarah & Sydney VinnedgeToby & Robert WaldorfRuth Roberts & Dennis WasserSally & David WeilTerry & John WelshJames WetmoreNancy Englander & Harold WilliamsJames Sie & Doug WoodMarilouise & Albert ZagerMarcie & Howard ZelikowLaurie Ziegler

IN-KIND CONTRIBUTIONS

Tickets on Sale Now!310-825-2101 | cap.ucla.edu

#CAPUCLA

CAP UCLA 2017-18

Theater Series

Photo Credit: Christophe Dessaigne

Photo Credit: Christophe Dessaigne

Théâtre de la Ville – Paris L’État de siege (The State of Siege) by Albert CamusDirected by Emmanuel

Demarcy-Mota

Oct 26–27, 2017 | Royce Hall

Funds provided by the National Endowment for the Arts Challenge Grant Endowment with additional support from Anne-Marie Spataru, Deborah Irmas and Diane Levine. Support comes from The Cultural Services of the French Embassy in the United States

Photo by Christophe Dessaigne

@CAP_UCLA

by Albert CamusDirected by Emmanuel Demarcy-Mota

Thu, Oct 26 & Fri, Oct 27Royce Hallcap.ucla.edu | 310-825-2101

In a nightmarish future, a city is reduced to silence and submission under a ruthless dictator.

L’État de siege( T h e Sta te o f S i e g e )

Théâtre de la Ville – Par i s