Breaking Ground Dance Series

Brian Brooks Endures at the CFA (July 12 & 13)

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Pamela Tatge, Director of the Center for the Arts, talks to choreographer Brian Brooks about the works that will be performed by his dance company at Wesleyan (July 12 & 13).

Brian Brooks Moving Company performs "Big City" (2012). Photo by David Bazemore.

Center for the Arts staff members and I sat down recently with Brian Brooks, choreographer for Brian Brooks Moving Company, to hear him talk about his upcoming performances in the CFA Theater on Thursday, July 12 and Friday, July 13.

The Brian Brooks Moving Company will perform four pieces at Wesleyan as part of a ten-city tour that will take them straight from Middletown to the American Dance Festival in Durham, North Carolina. We are thrilled to invite Brian back to Wesleyan; he has been a dear friend of the CFA for many years. We gave the Brian Brooks Moving Company their first engagement outside of New York City as a part of the Breaking Ground Dance Series back in November 2002, and since then, Brian has made special trips to Wesleyan in March to teach Master Classes during DanceMasters Weekend.

As Brian explained to us, the four works he will present at Wesleyan are his most recent works – all created in the last three or four years. The collection will give audiences a strong sense of where Brian Brooks as an artist is in 2012. A common theme among the pieces is endurance – of the mind, of the body, of the artist.

The evening will start with I’m Going to Explode (2007), Mr. Brooks’ signature solo piece. Mr. Brooks has performed this piece — which he describes as “an entry point to who [Brian Brooks] might be” — more often than any other piece he has created.

Mr. Brooks describes the next piece, a group piece titled Descent (2011),  as “otherworldly,” “off balance,” “water-like” and “dense.” As the name suggests, the piece deals with a state of perpetual fall. Although the dancers constantly fall, they also support one another. This particular piece is designed, too, to showcase the partnering of the dancers in the piece. The dancers move in pairs and navigate the watery, dreamlike world together.

Next, we’ll be treated to the duet from Motor (2010), which was inspired by Mr. Brooks’ experience as a runner and racer. This work premiered in August 2010 at the Lincoln Center Out of Doors Festival in New York City, and is a testament to the endurance and athleticism of dancers.

And finally, after intermission, we’ll see the New England premiere of the company’s newest piece, Big City (2012), a 44 minute work for seven dancers. Mr. Brooks describes this last piece as “overwhelming” and “lavish – but not frivolous.” The scale is large and the audience will watch as hundreds of pieces of metal literally unfold throughout the piece, altering the landscape of the theater and the way the dancers interact with it and within it. But the piece is also cyclical and as we watch the construction of a “big city,” we marvel at our resilience and at our capacity to rebuild against all odds. We hope you’ll join us!

Brian Brooks Moving Company
Thursday, July 12 & Friday, July 13, 2012 at 8pm

CFA Theater

$22 general public; $19 seniors, Wesleyan faculty & staff; $10 students

A Busy Week

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Center for the Arts Director Pamela Tatge reflects on the many events that have taken place this week.

Monday, April 2, 2012: 

I had some wonderful conversations, emails and phone calls from students and community members who attended Chunky Move over the weekend.  I will say that I thought it was one of the most successful integrations of visual art and dance that I’ve ever witnessed, and I was particularly pleased that Gideon Obarzanek said he’s never seen Connected look better than it did in the CFA Theater.  For those of you who were there, thank you for supporting this important performance.

We sent out letters of acceptance to the Class of 2013’s Institute for Curatorial Practice in Performance the same day we found out that the program will be receiving its first grant from the National Endowment for the Arts!

Tuesday, April 3, 2012:

I had lunch with Gillian Goslinga in Anthropology and Jill Sigman, Center for Creative Research Visiting Artist to hear about “Ritual, Health, and Healing”, the course they are co-teaching in Dance and Anthropology as a part of the Creative Campus Initiative.  It’s also a Service Learning Course and so they are taking their students to St. Nicks Alliance in the Williamsburg neighborhood of Brooklyn on three Saturdays to conduct research with residents. It will culminate on Sunday, April 22, 2012 as a series of student performance works are presented alongside Sigman’s Thinkdance installation at St. Nicks.  See a reflection by one of the students in the class, Hannah Cressy ’13, here.

Wednesday, April 4, 2012:

I attended the opening of the beautiful exhibition, Provincial Elegance: Chinese Antiques Donated in Honor of Houghton “Buck” Freeman, a collection of objects donated by Anna Lee ’84, that’s at the Mansfield Freeman Center for East Asian Studies Gallery through Sunday, May 27, 2012. I was so moved by Patrick Dowdey’s story of how Anna made the contribution to Wesleyan in honor of the great spirit that was Buck Freeman, whose family made, and continues to make, so many great things possible at Wesleyan. Jean Shaw, former director of the Center for the Arts, told me that not only did Anna graduate the same year I did, but that Anna worked at the CFA when she was a student!

Reception for Senior Thesis Exhibition Week One (3/28/12). Photo by Nam Anh Ta '12.

I also attended the second week of the Senior Thesis Exhibitions in the Ezra and Cecile Zilkha Gallery. If you’ve never taken the time to attend one of the Wednesday receptions from 4pm to 6pm, then you are missing one of the great “scenes” at Wesleyan. Hundreds of students flock to Zilkha to see their fellow students’ capstone project.  All of us have the great opportunity to feel the pulse of contemporary art on our campus in all of its many manifestations, from JoAnna Bourain’s video animation installation [sometimes its hard 2 b a woman (i c u looking at me!!)] to Alex Chaves’ vibrant paintings [casual desire] in South Gallery. Exhibitions continue for the next two weeks, with receptions on Wednesday, April 11 and Wednesday, April 18, 2012.

Thursday, April 5, 2012:

Today I’m on a plane headed to Cleveland to do a site visit of Cuyahoga Community College’s Creative Campus project on behalf of the Association of Performing Arts Presenters.  The project features the prolific and generous violin virtuoso, Daniel Bernard Roumain (you may remember him downstage left playing solo violin for Bill T. Jones/Arnie Zane Dance Company’s performance in the CFA Theater in 2006). He’s written an opera based on Gilgamesh and the composition has been offered on the web to anyone who wants to create their own work using his composition. He has truly democratized the creation process and tonight I’ll have the chance to see his ensemble perform alongside faculty, students and community members.

And I want to wish our senior thesis students in dance the best of luck on their thesis presentations in the Patricelli ’92 Theater, tonight through Saturday, April 7, 2012 at 8pm.  Click here for more information about the concerts.

It’s been a busy week.

Pamela Tatge
Director, Center for the Arts

Kinetic Sculpture Meets Dance: Chunky Move (Mar. 30 & 31)

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Center for the Arts Director Pamela Tatge discusses Australian dance company Chunky Move, who present the Connecticut premiere of their hour-long work “Connected” on March 30 and 31.

The Center for the Arts has never hosted a dance company from Australia before, and it’s high time that we do, considering the strength of contemporary dance that is touring the world from down under.  And I can guarantee you’ve never seen anything like it.

Chunky Move: Connected. Pictured: Alisdair Macindoe and Marnie Palomares. Photo: Jeff Busby

Beginning with simple movements and hundreds of tiny pieces, the dancers build their performance while they construct a kinetic sculpture in real time. During the performance, these basic elements and simple physical connections quickly evolve into complex structures and relationships.  The work, Connected, is the brainchild of Chunky Move’s Artistic Director Gideon Obarzanek and California artist Reuben Margolin.  The two met at PopTech, the renowned conference that brings great minds together to focus on social change through current innovations in science, art and economics. The result is thrilling: athletic and agile dancers’ bodies twisting and hurtling through space, alongside movements from everyday life.  As Aldous Huxley wrote:  “All gods are homemade, and it is we who pull their strings, and so, give them the power to pull ours.”

Suzanne Sadler, the CFA’s Assistant Technical Director, said they’ve created two line sets that work in tandem, each with a truss, and the sculpture is attached with a circular pipe.  220 strings are suspended from there:  “I can’t wait to see it in the space. It’s going to look really beautiful.”

Chunky Move, along with Australian Dance Theater and Lucy Guerin’s company, have garnered great acclaim as they have toured the world.  The Dance Department and CFA were interested in bringing Connected because of its interdisciplinary nature.  When I was speaking with Kristy Edmunds, a faculty member in Wesleyan’s Institute for Curatorial Practice in Performance, and the Director of UCLA Live (formerly the director of the Melbourne Festival), she said: “What is particularly intriguing about Gideon is his fascination and willingness to explore and collaborate with design and technologies. Increasingly, he is able to forge unique collaborations with artists from other fields, and orchestrate that discourse into a work of art where dance is the central vehicle.”

So we invite you to experience Chunky Move at the CFA this weekend – and if you come at 7:15pm on Friday in the CFA Hall, you’ll have a chance to hear dance scholar Debra Cash contextualize their work, and give you some things to look out for. Join us!

Chunky Move: Connected
Connecticut Premiere
Friday, March 30 and Saturday, March 31, 2012 at 8pm
CFA Theater
Pre-performance talk by dance scholar Debra Cash on Friday at 7:15pm in CFA Hall
Tickets: $21 general public; $18 senior citizens, Wesleyan faculty/staff, non-Wesleyan students, $6 Wesleyan students

Tell Us About It!

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From now through January 17, share your thoughts about the spring events at the Center for the Arts in one (or both!) of the following ways:

1) Like us on Facebook and write something about our spring events on our Wall.
2) Follow us on Twitter and compose a tweet about our spring events (be sure to mention @WesCFA).

Everyone who writes about our spring events on Facebook or Twitter will be entered to win some excellent prizes, including the following:

—three tickets to see UConn Women’s Basketball play St. John’s (Saturday, February 18, 7pm, Gampel Pavilion, Storrs) courtesy of WNPR
—gift cards to Javapalooza Cafe courtesy of the Hartford and New Haven Advocates
—movie vouchers courtesy of Destinta Theatres
—arts books courtesy of Wesleyan University Press
—earbud headphones courtesy of Wesleyan Information Technology Services
—vintage posters courtesy of the Davison Art Center
—picture frame Center for the Arts magnets

Spring Events include World, U.S., & Connecticut Premieres

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We hope that you will take advantage of all that the Center for the Arts has to offer in the coming months:

In keeping with our tradition of welcoming the world to Wesleyan at the CFA, you will have the opportunity to discover one of Australia’s most adventurous contemporary dance companies (Chunky Move); a sizzling jazz guitarist/vocalist from Benin (Lionel Loueke); and an Argentine quartet that celebrates the tango music of Buenos Aires (Fernando Otero).

And in keeping with our interest in the intersection of art and science, the CFA has commissioned two works that will have their first performances at Wesleyan in conjunction with Feet to the Fire: Fueling the Future. SPILL, by Leigh Fondakowski and Reeva Wortel, is a visual art/performance installation that explores the aftermath of the Deepwater Horizon oil spill. The work will debut at Beckham Hall in February. Composer Paula Matthusen, new to Wesleyan’s music faculty, will premiere work divided by time at the Van Vleck Observatory. The sound installation is a reflection of how the scientific definition of energy resonates and clashes with cultural and historical concepts.

Other highlights include the world premiere of a new multi-part suite by jazz vibraphonist and music faculty member Jay Hoggard; the U.S. premiere of Quicksand, a provocative new work by inDANCE, the highly acclaimed Toronto-based contemporary dance company directed by Wesleyan Artist in Residence Hari Krishnan; and a 21st-century examination of Gertrude Stein’s Doctor Faustus Lights the Lights, directed by Theater Department Chair Cláudia Tatinge Nascimento.

We invite you to stretch your imagination, contemplate new ideas and celebrate all that the CFA’s faculty, students, and visiting artists and companies have to offer.

Best wishes,

Pamela Tatge
Director, Center for the Arts

P.S. If you are looking for arts interaction over the holidays, please attend Middnight on Main, New Year’s Eve on Main Street in Middletown.

Big Weekend at the CFA (Nov. 18-19)

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Eugene O'Neill, Cape Cod, 1922

I was one of the lucky people to have a ticket for The Great God Brown last night, the Theater Department’s production directed by Associate Professor Yuriy Kordonskiy. I can tell you it’s a massive undertaking in which an extraordinary ensemble of our top student actors explore the duality of personalities: our struggles between indulgence and restraint; who people expect us to be and who we truly are; our rational and irrational selves.  All played out on an inventive, flexible set that is dramatically lit to move the action forward.  As of this writing, there are still tickets for the Saturday matinee.

The Great God Brown
By Eugene O’Neill
Directed by Yuriy Kordonskiy
Designed by Jack Carr, Marcela Oteiza, and Leslie Weinberg
Wednesday, November 16 through Friday, November 18, 2011 at 8pm
Saturday, November 19, 2011 at 2pm & 8pm
CFA Theater
$8 general public; $5 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $4 Wesleyan students

Bebe Miller Company: "History"

The Dance Department and Center for the Arts welcome Bebe Miller Company to the Patricelli ’92 Theater this weekend for three performances. Bebe is a master contemporary dance choreographer who has influenced the work of numerous dance makers who have worked with her over the years. In her newest work, History, she asks the question: how are dances made and how can we give our audiences a window into our creative process? Audiences coming to the ’92 will be invited into an installation and then engage in a performance by veteran company members Angie Hauser and Darrell Jones.  In Bebe’s words:  “Dance works are made of a complex mix of ideas, physical practice, forgetting, remembering, minor epiphanies and daily discoveries, joined together piece-by-piece in the evolving circumstance of creative research over time. [History is] an archeological dig into our continuously evolving manner of asking questions about people, relationships, and the culture in which we live.” She’s collaborated with long-time dramaturg, Talvin Wilks, and video artist (and Wes alum!) Lily Skove, in the making of the work.  Wesleyan audiences will be invited to give Bebe feedback about the work in a Q&A session following each performance.

Bebe Miller Company: “History”
Friday, November 18, 2011 at 8pm
Saturday, November 19, 2011 at 2pm & 8pm
Patricelli ’92 Theater
Pre-performance talk with dance scholar Debra Cash on Friday at 7:15pm, Memorial Chapel
$23 general public; $19 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students

Joshua Roman. Photo by Jeremy Sawatzky.

Finally, tomorrow night, you’ll have the opportunity to see cello virtuoso, Joshua Roman, at Crowell Concert Hall.  Because of his charismatic presence, at age 27 he’s already been dubbed a “classical rock star” by the press. He was the principal cellist for the Seattle Symphony at the young age of 22 and since then has earned a national reputation for performing a wide range of repertoire with an absolute commitment to communicating the essence of the music at its most organic level. This year he was named a 2011 TED Fellow, joining a select group of Next Generation innovators of unusual accomplishments with the potential to positively affect the world.  You really have to hear this young man live to understand his power…and you can see what Yo-Yo Ma had to say about him here. 

Joshua Roman
Friday, November 18, 2011 at 8pm
Crowell Concert Hall
Pre-performance talk at 7:15pm by Julie Ribchinsky, Wesleyan Private Lessons Teacher
$22 general public; $18 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students

Hope to see you this weekend.

Pamela Tatge
Director, Center for the Arts

Kelsey Siegel ’13, Visiting Dance Instructor Clyde Evans on Hip Hop, Rennie Harris Puremovement (Sept. 30 & Oct. 1)

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Arts Administration Intern Joanna Bourain ’12 talks to Kelsey Siegel ’13 and Visiting Instructor in Dance Clyde Evans about Rennie Harris Puremovement.

On Friday September 30 and Saturday October 1, Rennie Harris Puremovement, a hip-hop group from Philadelphia, will showcase a performance in the Center for the Arts Theater. The company, started in 1992 by hip hop veteran Rennie Harris, aims to drive hip hop away from its current stereotypes and commercial manifestations and back to its urban street forms through lively performances. I sat down with dance major Kelsey Siegel ’13 and Visiting Instructor in Dance Clyde Evans to discuss the importance of this performance.

Kelsey Siegel, a member of Wesleyan’s Fusion hip hop dance group, sat down with me to talk about the significance of this performance. Kelsey explained that in her opinion, “hip hop is an important dance form because its expressiveness and liveliness can portray much more than just a narrative.”  She explained to me that Rennie Harris Puremovement is important because the group embeds a social message about hip hop within their dancing that battles stereotypes built up the media. “Hip hop is also a much more accessible dance form that allows for a hybridity of movements, dance styles, and cultures. This fusion of dance styles and culture is evident in Rennie Harris Puremovement’s integration of ballet-like moves, West-African body movements and gymnastic  break dance moves. They’ve taken a dance style developed in the street and have brought it into a theater, which allows for the dance form to be considered from a more critical perspective.”

Clyde Evans, Jr. is a Visiting Instructor in the Dance Department and is teaching two hip hop classes this semester.  Also from Philadelphia, he was a founding member of Rennie Harris’ company.  “This [event] will not only broaden the experience of the traditional theater-goer, it may also inspire or even prompt artists to rethink presentation/choreography of their art.”  Evans is excited to have his students see the company, and remembering what it was like to go on tour with the company, he’s also excited for the dancers. “The experience of traveling as a dancer and the well-rounded perspective of the world as seen through the eyes of an artist – it’s priceless. It’s amazing. It’s flying without wings. So my excitement is really for them.”

The company will present repertoire that spans its 20 year history set to music by the Headhunters, Marvin Gaye, Nina Simone, Parliament Funkadelic, Groove Collective, and others.

Rennie Harris Puremovement
Friday, September 30 & Saturday, October 1, 2011 at 8pm
CFA Theater
Pre-performance talk with dance scholar Debra Cash on Friday at 7:15pm in CFA Hall
$23 general public; $19 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students
Rennie Harris will give the Cynthia Novak Lecture entitled “Hip Hop History and Culture: Rage, Resistance and Regeneration” at 7pm on Thursday, September 29 at The Russell House, 350 High Street. There will also be a dance masterclass for intermediate to advanced students on Saturday, October 1 at 11am in the Bessie Schönberg Dance Studio, 247 Pine Street.

Fall events include U.S. & New England Premieres, Navaratri Festival, Lucier Celebration

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Center for the Arts Fall 2011At a time when so many of us are turning to YouTube to see performances by our favorite artists, we can lose sight of what it’s like to experience live performance. This fall, the Center for the Arts offers you a wide range of performances and exhibitions that will connect you with some of the brightest minds in contemporary art-making, transport you to foreign lands, and inspire you to think about the world in new ways—and the performers will never be more than 69 feet away!

We recognize that it has become increasingly difficult to classify a work as strictly music, dance, theater, visual art, or film as more artists are blurring the boundaries among disciplines. So we have merged our visiting artist performances into a single Performing Arts Series. We hope this will lead you to cross the boundaries of your own comfort zone and discover new artists and art forms.

Highlights of the fall season include the American premiere of the ground-breaking Italian movement theater collective Dewey Dell and the return of Philadelphia’s Rennie Harris Puremovement, that has been a trailblazer in taking hip hop forms from the street to the concert stage for nearly twenty years. We’ll also host two New England premieres: the astoundingly brilliant throat-singers and musicians from Inner Mongolia, AnDa Union and, continuing our collaboration with the College of the Environment, we’ll welcome Water is Rising, a breathtaking performance by a group of 35 dancers and musicians from the Pacific Island atolls, the first islands predicted to be submerged due to climate change. In November, the Music Department and CFA join forces to celebrate Alvin Lucier, internationally renowned composer who has just retired after serving on our faculty for four decades. Alvin Lucier: A Celebration features a major symposium, concert series, film screenings and an exhibition curated by Andrea Miller-Keller.

With performances and exhibitions by visiting artists, students and faculty, there is an extraordinary amount of good work to see at Wesleyan this fall, with 60% offered free to the public or at ticket prices that make us one of the most affordable venues in the state. Tickets are on sale now online. Starting at 10am on Tuesday, August 16, you can call or visit the Wesleyan University Box Office at 860-685-3355 to receive a 10% discount on your purchase of four or more Performing Arts Series events (and if you buy six or more “Performing Arts Series” events, you’ll save 15%!) Starting August 16, you will also be able to buy subscription packages for both the 35th annual Navaratri Festival (a 15% savings) as well as the Alvin Lucier Celebration (a 25% savings!)

Please join us. We appreciate that you believe, as we do, in the power of the arts to add meaning to our lives and to remind us of the capacity of the human spirit. Thanks for making Wesleyan’s CFA your center for the arts.

Pamela Tatge
Director, Center for the Arts

Launch of the Science Choreography Website

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Many of you know that Wesleyan was the lead commissioner of Liz Lerman’s Ferocious Beauty: Genome, her groundbreaking work about the repercussions of genetic research.  But I’m not sure how many of you know that one of Liz’s Wesleyan collaborators, Professor of Biology Michael Weir, wrote to her after the world premiere with an idea:

“Imagine a biology or genetics course that begins and ends with students experiencing [the Ferocious Beauty: Genome] piece, and imagine during the semester, when issues like Mendel or gene regulation or bioethics are covered, related parts of the piece were shown to the class. I am imagining that this experience would cause many students to build a new kind of framework in their minds causing them to be more inquisitive and thoughtful about the biology and its significance. They would make associations with the choreography and dance, and I wonder whether their thinking would be qualitatively richer?”

Five years later, with the support of the Howard Hughes Medical Institute, Wesleyan and the Liz Lerman Dance Exchange developed Science Choreography – a website that’s a digital textbook  with a plethora of tools for teachers who are teaching genetics, evolution and other related issues.  The site will be officially launched at a celebratory reception this Thursday, April 21 at 5pm at Beckham Hall on the Wesleyan campus, to which the public is invited. Liz Lerman and scientists who work in Wesleyan’s Hughes Program in the Life Sciences will discuss their findings about using choreography in the classroom and its effects.

We do hope you will join us.

Thursday, April 21, 5pm-6:30pm
Fayerweather Beckham Hall
Wesleyan University
Free admission; please RSVP to Maureen Snow, msnow@wesleyan.edu

Pamela Tatge
Director, Center for the Arts

Viver Brasil performances to feature sacred and secular Brazilian dance, capoeira, and percussion

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An interview with Eric Galm (Ph.D.’04)  by Center for the Arts Intern and Music Major Lucia Strother ’11

In anticipation of this weekend’s upcoming performances by Viver Brasil, I spoke with Eric Galm, Wesleyan graduate and professor of music and ethnomusicology at Trinity College. Galm is an expert in Brazilian music, and provided some valuable background information for Friday and Saturday’s performances.

Viver Brasil
Photo by Jorge Vismara

A large portion of Brazilian music and dance has emerged from the music and dance of the African diaspora, and in Brazil, music and dance are virtually inseparable. Eric highlighted two categories of Brazilian tradition that illustrate this connection and will be represented in this weekend’s performances. Sacred music and dancing, known as candomblé, expresses African-derived religion that is still found in Brazil. There is also a lot of African-derived social dancing, generally known as batuque (the generic label applied by the Portuguese during early years in Brazil).

Later, the samba emerged through a mix of European dance styles and variants of these African dances, and is now the most popular form of music and dance in Brazil. Samba and its accompanying music was popularized in the 1930s, when dictator Getúlio Vargas made it the “official dance” of Brazil in an attempt to unify the regionally segmented nation.

Viver Brasil’s performance this weekend will extract motifs, phrases and elements from these traditional forms, and transpose them to the stage using the choreography and storytelling of modern dance. Eric previewed the program of Viver Brasil’s performance and identified that the first half will be based on sacred dance forms, while the second half will feature several types of secular dance.

In the first half, dances will invoke specific deities from Afro-Brazilian religious tradition. Eric elaborated on the way the religious storytelling is incorporated in Brazilian music and dance:

“Each of the spirits have their own set of songs and musical rhythms. For example, Xango is the god of thunder and guardian of the drums. He’s represented by the colors red and white, and dances with a double-headed hatchet or axe. There are a certain set of markers that identify him, and a strict set of songs and rhythms that make up his music.”

Therefore, anyone steeped in these religious expressions would be able to identify a particular deity and follow the storyline.

Each of the secular traditions that will be featured in the performance’s second half has its own extensive body of work with songs to choose from and adapt to the stage. One piece, In Motion, will feature capoeira, an “Afro-Brazilian martial arts dance game.” Eric mentioned that he has seen other modern dance representations of capoeira and been disappointed by the decision of those companies to eliminate the one-on-one, combat element that is so central to the art.

Audiences should expect a lot of percussion, much of it improvised. Sometimes, as in the case of the berimbau, a one-stringed percussion instrument, the percussion will actually inform the dancers’ movement. The music will also feature female vocalists and melodic instruments like flute or saxophone. I’m excited to see the variety these performances will offer, and happy to have the opportunity to experience a category of world music that is under-represented at Wesleyan.

Friday, March 25 & Saturday, March 26, 8pm
Pre-performance talk by Debra Cash in the CFA Hall at 7:15pm before the Friday performance
CFA Theater
$23 general public, $19 seniors, Wesleyan faculty/staff, non-Wesleyan students, $8 Wesleyan students