Shakespeare depicts one of the world's greatest villains in Richard III, a chilling and darkly comic story of power and ambition. Richard, Duke of Gloucester, portrayed by Aaron Monaghan, sets about bending the world to his own desires, vanquishing his better angels in pursuit of the crown. The Bard's ruthless monarch resonates through the ages in this award-winning production from Ireland's Druid theater company and Tony Award-winning director Garry Hynes. A continuation of the company's exploration of Shakespeare's kings, the production reunites the creative team and members of the Druid ensemble behind the celebrated DruidShakespeare: Richard II, Henry IV (Pts. 1 & 2) and Henry V, which played Lincoln Center in 2015. Druid's acclaimed run of Waiting for Godot, also directed by Hynes and starring Monaghan as Estragon, was featured in the 2018 White Light Festival.
DruidShakespeare:Richard III (U.S. production premiere)
Thursday, November 7, 2019 at 7:00 pm (preview performance)
Friday, November 8, 2019 at 7:00 pm (preview performance)
Saturday, November 9, 2019 at 7:00 pm
Sunday, November 10, 2019 at 3:00 pm
Tuesday, November 12, 2019 at 7:00 pm
Wednesday, November 13, 2019 at 7:00 pm
Thursday, November 14, 2019 at 7:00 pm
Friday, November 15, 2019 at 7:00 pm
Saturday, November 16, 2019 at 2:00 and 7:00 pm
Sunday, November 17, 2019 at 3:00 pm
Tuesday, November 19, 2019 at 7:00 pm
Wednesday, November 20, 2019 at 7:00 pm
Thursday, November 21, 2019 at 7:00 pm
Friday, November 22, 2019 at 7:00 pm
Saturday, November 23, 2019 at 2:00 pm
Gerald W. Lynch Theater at John Jay College
Directed by Garry Hynes
Produced by Druid
Starring Aaron Monaghan as Richard III
Francis O'Connor, set and costume design
James F. Ingalls, lighting design
Gregory Clarke, sound design
Conor Linehan, music
David Bolger, movement and fight choreography
Doreen McKenna, co-costume design
Performance length: Three hours, including intermission
There will be a pre-performance discussion with Garry Hynes and Robert Marx on Sunday, November 10 at 1:45 pm in the John Jay College Lecture Hall.
Lincoln Center for the Performing Arts 2019 White Light Festival will run October 19 through November 24. For its tenth anniversary season, the multidisciplinary festival will feature events presented in eight venues across the city, including U.S. and New York premieres and the return of festival favorites.
“The resonance of the White Light Festival has only deepened during its first decade, as we have moved into far more challenging times here and around the world,” said Jane Moss, Ehrenkranz Artistic Director of Lincoln Center. “The Festival’s central theme, namely the singular capacity of artistic expression to illuminate what is inside ourselves and connect us to others, is more relevant than ever. This 10th anniversary edition spanning disparate countries, cultures, disciplines, and genres emphasizes that the elevation of the spirit the arts inspires uniquely unites us and expands who we are.”
in collaboration with Mari Meade Dance Collective
the World Premiere of
at Gerald W. Lynch Theater at John Jay College,
524 W. 59th Street, NYC
Friday, September 13, 2019 at 7:30pm
The CUNY Dance Initiative and John Jay College, in collaboration with Mari Meade Dance Collective/MMDC, present the World Premiere of immigration stories on Friday, September 13, 2019 at 7:30pm at the Gerald W. Lynch Theater at John Jay College, 524 W. 59th Street, NYC. Tickets are $20 ($15 for students and seniors) and can be purchased online at www.bit.ly/mmdc_immigrationstories or at the door the night of the performance.
immigration stories, a series of dances based on true experiences about relocating to the United States, opens up the vastly different paths people take to come this country. What began with a frustrating phone call for choreographer Mari Meade to U.S. Citizenship and Immigration Services has evolved into a full evening of personal stories, music and dance. From a young man who was born in Germany and lived in Ghana before making his way to New York, to a Russian woman who moved to Florida as a teenager, these individual stories expand the conversation around immigration in this highly politicized time. Weaving together interviews with original compositions by Rosana Caban, Domenico Curcio, and Eran Sabo, with additional music by Chino Amobi, immigration stories combines words and movement to question assumptions around cultural identity and what being "American" might really mean.
immigration stories is choreographed by Mari Meade with costumes by Emily Petry, and performed by Allison Beler, Breanna Gribble, Misuzu Hara, Sean Hatch, Morgan Hurst, Isaac Owens, Or Reitman, and Roza Savelyeva.
ABOUT THE ARTISTS
Founded in 2009, Mari Meade Dance Collective/MMDC creates intricate, fully-formed worlds with epic, abstract narratives. Highly physical, quirky movement forms tight-knit communities of exaggerated characters who are bound to complex narrative arcs. The company is driven by Mari Meade's choreographic inspiration but is shaped by interactions with and contributions from other visual art forms. MMDC has shown work nationally and internationally. Highlights include: the Clark Theatre at Lincoln Center; Dance: Access at Danspace/St. Mark's Church (NYC); STUFFED at Judson Memorial Church (NYC); Triskelion Arts (Brooklyn); FLICfest (Brooklyn); Battery Dance Festival (NYC); New Orleans Fringe Festival (LA); Asheville Fringe Festival (NC); Baltimore Dance Invitational (MD); Katlehong Arts Center (South Africa); and Lake Studios Berlin (Germany).
Mari Meade is an educator, choreographer, and the artistic director of Mari Meade Dance Collective / MMDC. Meade has received the New York Choreographic Institute (an affiliate of New York City Ballet), UNCSA Development Residency, the Kenan Fellowship at Lincoln Center Education and was an Artist in Residence at Chez Bushwick, Triskelion Arts, CUNY Dance Initiative, and Lake Studios Berlin. She has shown work at Clark Theatre at Lincoln Center; Danspace; Judson Memorial Church; Joe's Pub; Battery Dance Festival; Triskelion Arts; ChopShop: Bodies of Work (WA); New Orleans Fringe Festival; Asheville Fringe Festival; Baltimore Dance Invitational; Lake Studios Berlin; Katlehong Arts Center (South Africa). She was awarded a Brooklyn Arts Council regrant in 2010, and a "New Work" and Su Casa grant from Queens Council on the Arts in 2019. Mari Meade is also a board member of the Kenan Institute for the Arts and the associate director of the UNCSA's Choreographic Institute. She was recently commissioned by Amalgamate Dance Company, One Day Dance, and CounterPointe. She is a teaching artist for New York City Ballet and Dancing Classrooms. She is a graduate of UNC School of the Arts.
For more information, visit www.mmdcbrooklyn.com.
This project is made possible in part by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
MMDC's residency and performance at John Jay College is part of the CUNY Dance Initiative (CDI), a program that opens the doors of CUNY campuses to professional choreographers and dance companies. CDI receives major support from the Howard Gilman Foundation and the Mertz Gilmore Foundation. Additional support is provided by the Jerome Robbins Foundation, the SHS Foundation, the Harkness Foundation for Dance, and Dance NYC's New York City Dance Space Subsidy Program, made possible by the Andrew W. Mellon Foundation. CDI is spearheaded and administered by the Kupferberg Center for the Arts at Queens College.
Cultural, informational and visual arts presentations at John Jay College are made possible in part with funds allocated by Council Member Helen Rosenthal and the New York City Council.
John Jay College of Criminal Justice of The City University of New York, an international leader in educating for justice, offers a rich liberal arts and professional studies curriculum to upwards of 15,000 undergraduate and graduate students from more than 135 nations. In teaching, scholarship and research, the College approaches justice as an applied art and science in service to society and as an ongoing conversation about fundamental human desires for fairness, equality and the rule of law. www.jjay.cuny.edu.
The production is directed by Mannes faculty member Laura Alley and designed by the Mannes Opera design team of Roger Hanna (sets), Helen E. Rodgers (costumes), Jeff Davis (lighting), and Amanda Miller (wigs and makeup).
Of the upcoming production, Colaneri said, “Little Women (1998) is the first opera written by American composer Mark Adamo to his own libretto, after Louisa May Alcott's tale of growing up in New England after the American Civil War. This work is a wonderful vehicle to showcase the talented young artists of The Mannes Opera, and highlights the Mannes School of Music’s mission to perform the widest possible range of repertoire, from established masterpieces to newer works by living composers.”.”
Of Little Women, Adamo has said that “the novel itself part classic, part mass-culture perennial — as well as its young, lively characters in their antique locale reminded me of opera itself these days: an art buzzing with new writing and thinking while still working with resources.” The opera “range[s] between abstract and tonal, poetic and vernacular, song and symphonic forms.”
The evening will feature Syncopated Ladies with creator and lead choreographer Chloe Arnold, with world-renowned tap dancers Sarah Reich, Maud Arnold, Anissa Lee, Pamela Yasutake and Melissa Tannus.
The Syncopated Ladies will also present a Master Class on Thursday, October 30, 2014 at 1:45pm.
CHLOE ARNOLD’S SYNCOPATED LADIES rehearsal and performance residency at the Gerald W. Lynch Theater is part of the CUNY Dance Initiative, supported by the New York Community Trust, with additional funding from the Mertz Gilmore Foundation. www.cuny.edu/danceinitiative
Chloé Arnold is an International Tap Star. She is fresh off of Season 11 of Fox’s So You Think You Can Dance as the winner of the first crew battle with her company Syncopated Ladies. As a leading lady in the art form of tap, Chloé has wooed audiences in over 21 countries and 35 states. Her work can be seen on film, television, and stages worldwide. Co-founder of DC Tap Festival and co-director of LA Tap Festival, Chloé's career highlights include choreographing Macy’s 2014 Back to School National commercials, HBO’s The Comeback and a commercial for Canon, performing at Madison Square Garden for the opening of the NY Knicks 2013-2014 season, working with Beyoncé, recurring role as an Onyx Girl on HBO's Boardwalk Empire, guest performing on NBC's America's Got Talent, ABC’s Dancing With The Stars and FOX's So You Think You Can Dance, a sold-out NY run of her One Woman show My Life. My Diary. My Dance. at La MaMa in New York City, Global Fusion Concert in Dubai, Jacob’s Pillow Dance, Broadway Cares/Equity Fights Aids Easter Bonnet at The Minskoff Theatre, numerous musical productions with the legendary Debbie Allen and performing with Chloé's Syncopated Ladies at the star-studded gala hosted by Diddy and Debbie Allen at the Howard Theatre in Washington, DC. Chloé is also an entrepreneur that holds an Ivy League degree from Columbia University. She and her sister co-founded Chloé and Maud Productions and DC Tap Festival. She currently produces a travel web series, Chloé's World, and is co-producing a documentary TAP WORLD with Hollywood Executive Producer Dean Hargrove.
Chloé Arnold’s Syncopated Ladies are a fierce crew of world-renowned dancers who more than hold their own in this male-dominated art form. Fresh off So You Think You Can Dance as the first winner of the Crew Battle, they have also appeared on the television shows Dancing With the Stars and Boardwalk Empire; Pepsi, Coca-Cola, and Toyota national commercials; the films Idlewild and GI Joe, as well as stages in more than 25 countries.
The CUNY Dance Initiative is a new residency program providing rehearsal and performance space to New York City choreographers and dance companies. CDI was developed in response to the Andrew W. Mellon Foundation’s 2010 report “We Make Do,” which cited the critical need for affordable dance rehearsal space in New York City, and mentioned available performing arts centers and other spaces on CUNY campuses. A successful pilot project in 2013 supporting choreographic residencies and performances on four CUNY campuses prompted CDI to expand its scope.
In CDI’s 2014 season, 11 CUNY colleges in all five boroughs will host a total of 20 residencies. The residency projects, which represent a diversity of ideas, approaches, and styles, will take place between July and December 2014. In addition to providing space for artists to create work and rehearse, all of the CDI projects include programs for students ― master classes, open rehearsals, etc.― and in most cases, public events such as lecture-demonstrations and performances.
About the Gerald W. Lynch Theater at John Jay College
Since opening its doors in 1988, the Gerald W. Lynch Theater has been an invaluable cultural resource for John Jay College and the larger New York City community. The Theater is dedicated to the creation and presentation of performing arts programming of all disciplines with a special focus on how the artistic imagination can shed light on the many perceptions of justice in our society. The Theater is also a member of CUNY Stages, a consortium of 16 performing arts centers located on CUNY campuses across New York City.
The Theater has hosted events in the Lincoln Center Festival since its first season in 1996, as well as, New York City Opera, Great Performers at Lincoln Center, Gotham Chamber Opera, Metropolitan Opera Guild and Alvin Ailey American Dance Theater/Ailey II. The Theater has also been the site of many television and film specials including A&E's Live by Request, Comedy Central Presents and Premium Blend, Robert Klein in Concert and VH1's Soundtrack Live.
For directions to the venue and more information, visit www.jjay.cuny.edu/theater
Alexandre bis & Comedy on the Bridge features music by Bohuslav Martinů with Neal Goren, conductor; James Marvel, stage director; Cameron Anderson, set designer; Fabio Toblini, costume designer; and Clifton Taylor, lighting designer.
A bridge to nowhere. A singing painting. An intermittent beard. Take a dip into the 20th-century absurd as Gotham Chamber Opera begins its 13th season with a double-bill of short comic operas by Czech composer Bohuslav Martinů. Alexandre bis (Alexander twice) is a surrealist comedy about a man who decides to test his wife’s fidelity by shaving off his beard and posing as his own cousin from San Francisco. She recognizes him but falls in love anyway. Martinů’s answer to Mozart’s Così fan tutte observes the conventions of comic opera while tweaking them, thus proving that a composer, if not a husband, can have it both ways. Comedy on the Bridge tells the story of two rival principalities separated by a river. A woman returning from one side gets caught in the middle by a bureaucratic snafu; soon she’s joined in this absurdist limbo by a letch, a fiancé, a vengeful wife, and a schoolmaster with a riddle. Everyone has a secret, but no one has a clue – except the composer, who gets them all happily sorted by the end. Featuring Jenna Siladie, Abigail Fischer, Cassandra Zoé Velasco, Jason Slayden, Jarrett Ott, Joseph Beutel.
Gotham Chamber Opera previously presented a Martinů double-bill of Les larmes du couteau and Hlas lesa in 2003, a hit with the press and the public, resulting in lines around the block for returned tickets.
ABOUT THE 2002/2003 MARTINU DOUBLE-BILL:
"Both works were done with a startling combination of sensitivity and panache."
- Paul Griffiths, The New York Times
The 2014-15 season continues with El gato con botas (Puss in Boots), with music by Xavier Montsalvatge.
Neal Goren / Geoff MacDonald, conductors; Moisés Kaufman, stage director; Andromache Chalfant, set designer; Clint Ramos, costume designer; David Lander, lighting designer; and Sean Curran, choreographer.
A co-production with El Museo del Barrio and Works & Process at the Guggenheim and produced in co-operation with Tectonic Theater Project.
December 6 – 14, 2014, El Museo del Barrio, NYC
Tickets $30-175, 212-279-4200, www.ticketcentral.com
This fall, the cat in the spats is back, when Gotham Chamber Opera revives El gato con botas (Puss in Boots), Xavier Montsalvatge's take on the classic story of a mangy feline with magical talents. Can Puss win the princess's hand for his master? Can he outwit the evil ogre? Don't miss the amazing Bunraku puppetry that turns a fairy tale into an eveing of "tuneful," "magical," "exquisite," and eye-openig opera. Gotham’s production will be directed by Moisés Kaufman (The Laramie Project, 33 Variations) and features puppetry from London’s Blind Summit Theater. Featuring Andrea Carroll, Ginger Costa-Jackson, Karin Mushegain, Craig Verm, and Kevin Burdette.
Gotham Chamber Opera is the nation’s leading opera company dedicated to vibrant, fully staged productions of works intended for intimate venues. Its high quality presentations of small-scale rarities from the Baroque era to the present have earned Gotham an international reputation and unanimous critical praise.
Founded by conductor and Artistic Director Neal Goren, Gotham debuted in 2001 with the American premiere of W.A. Mozart’s Il sogno di Scipione. In subsequent seasons, the company has produced many more local and world premieres, including Bohuslav Martinů’s Les Larmes du Couteau and Hlas Lesa (U.S. premiere 2002); Heinrich Sutermeister’s Die schwarze Spinne (U.S. premiere 2004); G.F. Handel’s Arianna in Creta (U.S. stage premiere 2005); Ottorino Respighi’s La bella dormente nel bosco (U.S. premiere 2005); Ariadne Unhinged, with music by Claudio Monteverdi, Joseph Haydn, and Arnold Schoenberg (World premiere 2008); Hadyn’s L’isola disabitata (New York stage premiere 2009); Xavier Montsalvatge’s El Gato con Botas (U.S. stage premiere 2010); Nico Muhly’s Dark Sisters (World premiere 2011); Lembit Beecher’s I Have No Stories To Tell You (World premiere 2014); and Toshio Hosokawa’s The Raven (U.S. premiere 2014).
Gotham has partnered with notable New York and national institutions, including Lincoln Center Festival and Spoleto USA (La bella dormente nel bosco) in 2005; the Morgan Library and Museum for Scenes of Gypsy Life (an evening of song cycles by Janáček and Dvořák) in 2008; the American Museum of Natural History and the American Repertory Theater for Hadyn’s Il mondo della luna (2010); Brooklyn Botanic Garden and the Broad Stage, Los Angeles for Daniel Catán’s La hija de Rappaccini (Rappaccini’s Daughter, 2013); Trinity Church Wall Street for Marc-Antoine Charpentier’s La descente d’Orpheé aux enfers (2013); The Metropolitan Museum of Art for Monteverdi’s Il combattimento di Tancredi e Clorinda and Beecher’s I Have No Stories To Tell You (2014); and the New York Philharmonic for Hosokawa’s The Raven (2014).
Gotham has earned a reputation for showcasing outstanding young singers alongside established directors and choreographers such as Mark Morris (the 2009 production of Hadyn’s L’isola disabitata), David Parsons (the New York stage premiere of Astor Piazzola’s tango opera, María di Buenos Aires), Karole Armitage (the world premiere of Ariadne Unhinged), Basil Twist (La bella dormente nel bosco), Robin Guarino (Gioachino Rossini’s Il signor Bruschino and Il combattimento di Tancredi e Clorinda/I Have No Stories to Tell You), Christopher Alden (Il sogno di Scipione and Arianna in Creta), Diane Paulus (Il mondo della luna), Moisés Kaufmann (El gato con botas), and Rebecca Taichman (Dark Sisters and La hija de Rappaccini.)
In recent years, Gotham Chamber Opera has been recognized as a pioneer in creating opera productions in alternative venues, beginning in 2010 with its production of Haydn’s Il mondo della luna at the Hayden Planetarium, followed in 2013 with the U.S. professional stage premiere of Francesco Cavalli’s Eliogabalo at New York’s notorious late night club The Box, Catán’s La hija de Rappaccini on the Cherry Esplanade of Brooklyn Botanic Garden and at the Greystone Manor in Beverly Hills, and the double-bill of Monteverdi’s Il combattimento di Tancredi e Clorinda in the Metropolitan Museum of Art’s Bloomberg Arms and Armor Gallery and Beecher’s I Have No Stories to Tell You in the Medieval Court.
For more information, visit www.gothamchamberopera.org.
The mission of the Gerald W. Lynch Theater is to provide diverse artistic and scholarly events that will educate, entertain and involve our academic and public communities. These events shall resonate with the goals and mission of John Jay College: EDUCATING FOR JUSTICE; to provide a source of free or low cost cultural and artistic presentations to the John Jay community and the surrounding neighborhood of Clinton; to provide a venue for John Jay College academic and community events.
For more information about the Gerald W. Lynch Theater, please visit: www.jjay.edu/theater.