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Wednesday–Friday Evenings, October 22–24, 2014, at 7:30
Post-performance discussion with Robert Hollingworth, Yaron Lifschitz, and
Ara Guzelimian on Thursday, October 23
How Like an Angel (U.S. premiere)
Created by Yaron Lifschitz and Robert Hollingworth
Circa
Yaron Lifschitz, Director
I Fagiolini
Robert Hollingworth, Director
This performance is approximately 70 minutes long and will be performed without
intermission.
Please join the artists for a White Light Lounge immediately following the
performance.
(Program continued)
The White Light Festival is sponsored by Time Warner Inc.
Generous support for the White Light Festival presentation of How Like an Angel is provided by
The Fan Fox and Leslie R. Samuels Foundation, Inc.
These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.
James Memorial Chapel,
Union Theological Seminary
WhiteLightFestival.org
Please make certain all your electronic devices
are switched off.
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Endowment support is provided by the American
Express Cultural Preservation Fund.
MetLife is the National Sponsor of Lincoln Center.
Movado is an Official Sponsor of Lincoln Center.
United Airlines is the Official Airline of Lincoln
Center.
WABC-TV is the Official Broadcast Partner of
Lincoln Center.
William Hill Estate Winery is the Official Wine of
Lincoln Center.
Artist Catering is provided by Zabar’s and
Zabars.com.
Circa acknowledges the assistance of the
Australian Government through the Australia
Council, its arts funding and advisory body, and the
Queensland Government through Arts Queensland.
How Like an Angel was originally produced by
Norfolk & Norwich Festival in association with
Circa and I Fagiolini, and commissioned by London
2012 Festival.
Upcoming White Light Festival Events:
Friday–Sunday, October 24–26,
in the Walter Reade Theater
White Light on Film: The Decalogue
Krzysztof Kies
´lowski, Director
The complete cycle of 10 films is screened over a
weekend.
Introduced by Annette Insdorf on October 24 at 7:30
Presented in association with the Film Society of
Lincoln Center
Saturday, October 25, from 3:45 to 5:15
in the Walter Reade Theater
White Light Conversation: The Evolution of
Morality
John Schaefer, Moderator
With John Luther Adams, Randy Cohen,
Alice W. Flaherty, and Elaine Pagels
Thursday–Saturday, October 30–November 1,
at 7:30 in Synod House, the Cathedral of
St. John the Divine
Curlew River (U.S. premiere production)
Ian Bostridge, Madwoman
Netia Jones, Director and Designer
BRITTEN: Curlew River
A co-production between the Barbican Centre,
London, Lincoln Center for the Performing Arts,
Carolina Performing Arts, and Cal Performances
Berkeley
Tuesday, November 4, at 7:30 in Alice Tully Hall
Mavis Staples
One True Vine
Sunday, November 9, at 5:00 in Avery Fisher Hall
Cathedrals of Sound
Gewandhaus Orchestra of Leipzig
Riccardo Chailly, Conductor
BACH: Orchestral Suite No. 4
BRUCKNER: Symphony No. 7
Pre-concert lecture by Scott Burnham at 3:45 in the
Stanley H. Kaplan Penthouse
For tickets, call (212) 721-6500 or visit
WhiteLightFestival.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light
Festival brochure.
Visit WhiteLightFestival.org for more information
relating to the Festival’s programs.
Join the conversation: #LCWhiteLight
We would like to remind you that the sound of coughing and rustling paper might distract the
performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must leave
before the end of the performance are asked to do so between pieces. The taking of photographs
and the use of recording equipment are not allowed in the building.
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How Like an Angel
(U.S. premiere)
Created by Yaron Lifschitz and Robert Hollingworth
Circa
Yaron Lifschitz, Director
Rowan Heydon-White, Bridie Hooper, Rudi Mineur, Kathryn O’Keeffe,
Paul O’Keeffe, Skip Walker-Milne, Billie Wilson-Coffey
I Fagiolini
Robert Hollingworth, Director
Anna Crookes, Charlotte Mobbs, Soprano
Clare Wilkinson, Mezzo-soprano
Robert Hollingworth, Countertenor
Matthew Long, Nicholas Hurndall Smith, Tenor
Greg Skidmore, Baritone
Christopher Adams, Bass
TALLIS Excerpt from Gaude gloriosa Dei mater
DANIEL-LESUR Dialogue, from Le cantique des cantiques
BHEKA DLAMINI Umsindisi
HILDEGARD O viridissima virga
JOSQUIN Agnus Dei, from Missa “L’homme armé” sexti toni
VICTORIA Alma Redemptoris mater (c. 1581)
RODERICK WILLIAMS Tallis/Hildegard Patterns (2012)
ADRIAN WILLIAMS Hymn to Awe (2011–12)
Lawrence English, Electronic composer
WhiteLightFestival.org
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Note from the Artistic Director
by Yaron Lifschitz
It begins with a phone call. It ends in voices and bodies and space. It starts with thought.
It ends in emotion.
It was a typically humid Brisbane late afternoon when, mired in the Storey Bridge’s traffic, my phone rang. On the other end was a chuffed Jonathan Holloway, then artistic
director of Norfolk and Norwich Festival. “Yaron,” he enthused, “if I said we could get
funds to do a circus piece with vocal music in cathedrals for the Olympics, would you be
interested?” I can’t remember what I said next, though I’m pretty sure it shouldn’t be
repeated in a house of worship.
And now, years later, after many thousands of kilometers and hundreds of emails, we get
to show the fruits of that wonderful phone call.
Jonathan got us here. The insight, patience, and intelligence of Robert Hollingworth,
along with the talented musicians of his ensemble, I Fagiolini, created a wonderful musical journey. This is counterpointed by Lawrence English’s powerful sonic disruptions and
Libby McDonnell’s costumes, which pushed the visuals into wonderful new terrain. My
extraordinary delivery team of Jason Organ, Benjamin Knapton, and Danielle Kellie made
this happen. And of course our startling acrobats fill the stage with the impossible.
Certainly How Like an Angel is a show about belief, love, failure, ascent, humility,
endurance, passion, loss, death, life—about our capacity for belief and the challenges and
complexities of that belief. But I choose to work in a medium without words. So every
one of these program notes is a trial—a sort of betrayal. The director’s note carries with
it the promise to explain, “How Like an Angel is a show about...” But if we could say it
in words, it wouldn’t need enactment. Wittgenstein put it best: “Whereof one cannot
speak, thereof one must remain silent.”
We know for sure that tonight, bodies will lift and drag, suspend and drop, hurl and
recoil. Voices will soar and glide, delivering dense polyphony and intricate rhapsodies.
There will be ferocity and tenderness, hope and fear, tension and release.
At the heart of this work is a mystery. Something that eludes words. Maybe it is a form
of wonder.
I wanted to make something beautiful that makes you feel something, even if you can’t
exactly say why.
—Copyright © 2014 by Yaron Lifschitz
Please turn to page 68 to learn about the evolution of the circus.
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Note from the Music Director
by Robert Hollingworth
We’ve done some unusual things for a vocal ensemble, but working with Circa was a particular challenge. The basic energy of circus and music seemed to me (before meeting
and working with Yaron Lifschitz and Circa) so different. Much of the music we sing is fundamentally linear, whereas I thought that circus was a series of moments. One of the
biggest discoveries for I Fagiolini in this project was watching Circa rehearse and seeing
how their language is fundamentally linear and expressive: those “tada” moments are
points on a line and ones they work hard to iron into the line.
Back at the beginning though, I went to some live Circa shows in London and Berlin, sent
Yaron a lot of music (as he did me—he has very wide and informed musical tastes), and
we drank a lot of coffee together. He had a shape in his mind for the piece, and I started
to have ideas about music that could create some sort of relationship to the physical work
I had seen. This led to the first version of the show in Perth, which was performed in a
large hall.
The show was substantially re-imagined for UK cathedrals, building on our experience of
working together in Perth. Specifically, we wanted to avoid the live music merely being a
soundtrack and to play with how the energy could flow from one group to the other and
one piece could set up another. This was easier once we had the experience of working
together in Perth, and was fuelled by some interesting and slightly dangerous live improvisations there (artistically dangerous but also literally—I don’t think our soprano Anna
Crookes had actually expected to find herself standing on an acrobat’s shoulders without
warning at one moment).
As performances and rehearsals continued, both singers and acrobats started to have a
much stronger response to what the other was doing. Few of the acts are specifically
choreographed in a conventional sense, but all are inspired by the music, and that process
quickly started to flow back the other way.
Of course, the music you will hear was not intended to be performed for such an occasion, but neither was it intended to be performed to a partly atheist 21st-century public
who have paid for their tickets. Context is everything, and we hope that the juxtapositions
of the music, sounds, light, and physical work (both corporeal and vocal) take you somewhere interesting tonight and give you pause for thought.
—Copyright © 2014 by Robert Hollingworth
WhiteLightFestival.org
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Excerpt from Gaude gloriosa Dei mater
THOMAS TALLIS
Gaude gloriosa Dei mater
Virgo Maria vere honorificanda,
Quae a domino in gloria super caelos
exaltata
Adepta es thronum
Rejoice, glorious mother of God,
Virgin Mary truly honored,
who is exalted by God in glory above the
heavens
to attain your throne.
Dialogue, from Le cantique des cantiques
JEAN YVES DANIEL-LESUR
Text: Song of Solomon (1:9,13) (1:15) (2:2–4) (3:5)
À ma cavalle attellée au char de Pharaon je
te compare.
Mon bien-aimée est à moi comme un
bouquet de myrrhe
Qui repose entre mes seins.
Que tu es belle, ma bien-aimée;
Tes yeux sont des colombes.
Comme le lis entre les chardons,
Tel est ma bien-aimée entre les jeunes-filles.
Comme le pommier parmi les arbres du verger
Tel est ma bien-aimée parmi les jeunes
hommes.
placed between my breasts.
How fair thou art, my beloved;
your eyes are like doves.
As the lily among thorns,
so is my beloved among the maidens.
As the apple tree among the orchard trees,
so is my beloved among the young
men.
J’ai désirée son ombrage et m’y suis assise
Et son fruit est doux à ma bouche.
Il m’a menée au cellier du vin
Et la bannière qu’il dresse sur moi, c’est
l’amour.
I desired his shade and sat down there,
and his fruit is sweet to my mouth.
He took me to his wine-cellar
and the banner with which he dresses me is
love.
Filles de Jerusalem, n’éveillez pas la
bien-aimée
Avant l’heure de son bon plaisir.
Daughters of Jerusalem, do not wake
the beloved
before the hour of his choosing.
To the horses that pull Pharaoh’s chariot
do I compare thee.
My beloved is to me like a posy of myrrh
Umsindisi
BHEKA DLAMINI
Uma ngimbona loMsindisi
Efa esiphambanweni maa…
Ngingayisa ntoni kuye efanele ukumbonga,
Anginakho okwanele kodwa ng’zomnik’
uqobo lwami.
Uqobo lwami lugcwel’ isono lugcwele
konk’ ukonakala
When I see the savior
dying on a cross
What can I offer which will be worthy of
giving thanks to him?
I have nothing great enough but I’ll surrender
myself to Thee.
I am full of sin and unrighteousness.
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Awushwele Nkosi yami
Asenyuke siye Golgotha
Ziyohlanzwa zibemhlophe lee ngegazi
leMvana
Awu hlanz’ izono zami
O! gazi leMvana siyosindiswa
Siyosinda k’lelogazi; O kulelogazi…
Uzodinsa k’lelogazi; elaphum’emanxebeni
Ngegazi leMvana ma
Nxeba l’ka Jesu; ngiz’fihle kuwe;
Ng’thethelelwe.
Forgive, my Lord.
Let’s ascend to Golgotha.
They will be washed whiter there by the
blood of the lamb.
Please wash my sins.
O, by the blood of the lamb we will be saved.
We will be saved by that blood.
You will be saved by that blood; it has
flowed from the wounds.
With the blood of the lamb.
Wound of Jesus, let me hide myself
in thee and be forgiven.
O viridissima virga
HILDEGARD OF BINGEN
O viridissima virga ave,
Que in ventoso flabro sciscitationis sanctorum
prodisti.
Hail, o greenest branch,
sprung forth in the airy breezes of the
prayers of the saints.
Cum venit tempus
Quod tu floruisti in ramis tuis;
Ave, ave sit tibi,
Quia calor solis in te sudavit
Sicut odor balsami.
So the time has come
that your sprays have flourished;
hail, hail to you,
because the heat of the sun has exuded
from you
like the aroma of balm.
Nam in te floruit pulcher flos
Qui odorem dedit omnibus aromatibus
Que arida erant.
For the beautiful flower sprang from you
which gave the aroma to all perfumes
which were parched.
Et illa apparuerunt omnia
In viriditate plena.
And they have radiated anew
in their full freshness.
Unde celi dederunt rorem super gramen
Et omnis terra leta factus est,
Quoniam viscera ipsius
Frumentum protulerunt,
Et quoniam volucres celi
Nidos in ipsa habuerunt.
Whence the skies bestowed dew upon
the pasture,
and all the Earth was made joyful
because her womb
brought forth corn,
and because the birds of the firmament
built their nests in her.
Deinde facta est esca hominibus,
Et gaudium magnum epulantium;
Unde, o suavis virgo,
In te non deficit ullum gaudium.
Then there was harvest ready for Man
and a great rejoicing of banqueters,
whence, o sweet Virgin,
no joy is lacking in you.
Hec omnia Eva contempsit.
Eve rejected all these things.
Nunc autem laus sit altissimo.
Now let there be praise to the Highest.
WhiteLightFestival.org
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Agnus Dei, from Missa “L’homme armé” sexti toni
JOSQUIN DES PREZ
Text: Based on John (1:29)
Agnus Dei, qui tollis peccata mundi,
Miserere nobis.
Agnus Dei, qui tollis peccata mundi,
Dona nobis pacem.
O Lamb of God, that takes away the sins of
the world,
have mercy on us.
O Lamb of God, that takes away the sins of
the world,
give us peace.
Alma Redemptoris mater
TOMÁS LUIS DE VICTORIA
Alma Redemptoris mater,
Quae pervia caeli porta manes,
Et stella maris, succurre cadenti,
Surgere qui curat populo.
Tu, quae genuisti, natura mirante,
Tuum sanctum Genitorem:
Virgo prius ac posterius,
Gabrielis ab ore sumens illud
Ave, peccatorum miserere.
Gracious mother of the Redeemer,
who remains the ever-open gate to heaven,
and star of the sea, help your people who fall
but try to rise again.
You who gave birth, while nature marvelled,
to your Holy Creator:
a virgin before and after,
who heard from the mouth of Gabriel that
“Ave”: have mercy on sinners.
Hymn to Awe
ADRIAN WILLIAMS
Text: Based on the poem “Cathedral” by Gillian Clarke, with permission
Before
Before
Before
Before
Before
Before
the Saints
bishops, builders and stonemasons;
artists and sculptors,
music, organists and choirs;
architects
the poetry of psalm and hymn and common prayer;
Before there was a word for “cathedral”
Before there was a word for “architecture”
Before there was a word for “art”
When our first house was the great original forest
Before there was a word for “cathedral”
Before there was a word for “architecture”
Before there was a word for “art”
When our first house was the great original forest
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Before the Saints
Before bishops, builders and stonemasons;
Before there was a word for “wonder,”
Names for stars or footprints on the moon;
Before a man looked at a tree and made a cross
And felt the hammering rain and thought of nails
and made a cross
And felt the hammering rain and thought of nails
and made a cross.
Hammering rain.
Hammering nails.
Before…
First mark, first word, first hymn to awe,
First vision of a building taller than a forest,
Aisled, vaulted, clerestoried with sunlight.
h
WhiteLightFestival.org
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Meet the Artists
Yaron Lifschitz
Yaron Lifschitz, the artistic director and
CEO of Circa, is a graduate of the
University of New South Wales, University
of Queensland, and National Institute of
Dramatic Arts (NIDA), where he was the
youngest director ever accepted into its
graduate directors’ course. Since graduating, Mr. Lifschitz has directed more than 60
productions, including large-scale events,
opera, theater, physical theater, and circus.
His work has been seen in 30 countries
and across six continents.
DANNY HIGGINS
He was the founding artistic director of the
Australian Museum’s Theatre Unit, the
head tutor of directing at Australian Theatre
for Young People, and has been a regular
guest tutor in directing at NIDA since 1995.
With Circa, Mr. Lifschitz has created works
such as by the light of stars that are no
longer..., CIRCA, Wunderkammer, How
Like an Angel, “S,” Beyond, Opus, and,
most recently, Carnival of the Animals,
which premiered in 2014. Mr. Lifschitz lives
in Brisbane, Australia, with his son, Oscar.
His passion is for creating works of philosophical and poetic depth while drawing
from the traditional languages of circus.
Robert
Hollingworth
Robert Hollingworth specializes in Renaissance and contemporary repertoire (notably
Monteverdi), and creates groundbreaking
projects that present music to audiences in
innovative ways. He founded I Fagiolini in
1986; with the ensemble he has presented
signature projects such as Simunye, The
Full Monteverdi, Tallis in Wonderland, and
How Like an Angel with Circa. He has also
directed Accentus (France), Norddeutscher
Rundfunk Chor, Nederlands Kamerkoor,
Wrocław Philharmonic Choir, Sinfonieorchester Wuppertal (Judas Maccabeus),
English Concert (Purcell), and the Academy
of Ancient Music (Bach).
Mr. Hollingworth writes and presents for
BBC Radio 3 (CD Review, The Early Music
Show, The Choir, and Discovering Music).
In 2010 he delivered the Lufthansa Lecture
entitled “Monteverdi the Modern Man” and
spoke at the European Early Music Network
conference. Mr. Hollingworth has worked
on a number of films, including Quills. In
2011, his world premiere recording of
Striggio’s (until recently) lost Mass in 40
Parts was released on Decca with an all-star
UK lineup. His latest recording, 1612 Italian
Vespers, was released on Decca Classics in
2012, was chosen as Gramophone CD of
the month, and was performed at the 2012
BBC Proms at the Royal Albert Hall to critical acclaim. He recently arranged the music
for the album Shakespeare: The Sonnets
and appeared extensively on BBC TV and
radio discussing the disc.
Mr. Hollingworth is a regular guest conductor at the Dartington International Summer
School and gives master classes and residencies throughout Europe. He ran a conducting master class and lecture for the
American Choral Directors Association at their
2012 conference, and recently organized a
new master of arts degree in solo-voice
ensemble singing at the University of York.
Circa
From Brisbane, Australia, comes a bold
new vision of contemporary circus. A
blending of bodies, light, sound, and skills.
A place where acrobatics and movement
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meld into a seamless whole. A celebration
of the expressive possibilities of the
human body at its extremes.
Circa has established an international reputation as one of the most innovative circuses on the planet. Since 2006 Circa has
toured to 30 countries across six continents. Circa’s work has been rapturously
received by audiences, presenters, and critics around the world. Circa’s current touring
shows span diverse contexts from works
for families in traditional arts centers to
European contemporary arts festivals. Its
performances are highly innovative, genrebending pieces that stretch the practice
and perceptions of circus. Circa features a
full-time ensemble, a concentrated administrative team, and a dedicated circus studio. In 2013 Circa gave over 400 performances to over 150,000 audience members locally, nationally, and internationally.
ERIC RICHMOND
Circa also runs a training center with a workshop program in Brisbane at its professional
studio, in schools, and with partners throughout Queensland and beyond. Circa has an
impressive track record of producing quality
workshops for children, young people, and
adults in a range of community contexts.
masks. In 2004 I Fagiolini premiered The
Full Monteverdi, a dramatized account of
the composer’s Fourth Book of Madrigals
by John La Bouchardière, which has since
been turned into a highly successful film.
In 2011 I Fagiolini celebrated its 25th anniversary with the successful release of a
world premiere recording of Striggio’s
Mass in 40 Parts on Decca. The recording
stayed at the top of the specialist classical
chart for nearly four months, and won the
2011 Gramophone Early Music Award and
a Diapason d’Or de l’Année. In 2012, the
ensemble gave a UK tour of the Striggio
project, made its Royal Albert Hall Proms
debut, and released 1612 Italian Vespers
(Gramophone CD of the month). The same
year, I Fagiolini launched yet another
unlikely collaboration, this time with
Australian contemporary circus company
Circa. How Like an Angel premiered as
part of the Perth International Arts Festival,
and toured the UK as part of the London
2012 and 2013 Festivals.
I Fagiolini is now presenting Carnevale
Veneziano: A Night on the Piles and The
Boat from Venice to Padua, which featured
in the inaugural season at the Sam
Wanamaker Playhouse in London’s Globe
Theatre. In the spring of 2015, I Fagiolini
will premiere its latest music theater
project, Betrayal: A Polyphonic Crime
Drama, at the Barbican. I Fagiolini has
recorded 19 CDs and three DVDs, and has
given live performances around the world.
The ensemble was recognized for its
achievements in 2005 with the prestigious
Ensemble Prize from the Royal Philharmonic Society. I Fagiolini is currently the
ensemble-in-residence at the University of
York in England.
I Fagiolini
I Fagiolini is renowned for its innovative
staged productions of vocal music from the
Renaissance to the present day. The group
has staged Handel with masks, Purcell with
puppets, and madrigal comedies with more
WhiteLightFestival.org
Ara Guzelimian
Ara Guzelimian is provost and dean of The
Juilliard School in New York City, having
been appointed to the post in August
2006. At Juilliard he oversees the faculty,
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curriculum, and artistic planning of the distinguished performing arts conservatory in
all three of its divisions—dance, drama,
and music. Prior to the Juilliard appointment, he was senior director and artistic
advisor of Carnegie Hall from 1998 to 2006,
where he was also host and producer of
the acclaimed “Making Music” composer
series. In recent seasons he has been
heard both on the Metropolitan Opera radio
broadcasts and, as a guest host, on public
radio’s Saint Paul Sunday. Previously Mr.
Guzelimian was the artistic administrator of
the Aspen Music Festival and School in
Colorado and artistic director of the Ojai
Festival in California. He was associated
with the Los Angeles Philharmonic from
1978 to 1993—first as producer for the
orchestra’s national radio broadcasts and
subsequently as artistic administrator. He
is editor of Parallels and Paradoxes:
Explorations in Music and Society
(Pantheon Books, 2002), a collection of dialogues between Daniel Barenboim and
Edward Said. In 2003 Mr. Guzelimian was
awarded the title Chevalier des Arts et des
Lettres by the French government for his
contributions to French music and culture.
White Light Festival
I could compare my music to white light,
which contains all colors. Only a prism can
divide the colors and make them appear;
this prism could be the spirit of the listener.
—Arvo Pärt. Celebrating its fifth anniversary,
the White Light Festival is Lincoln Center’s
annual exploration of music and art’s
power to reveal the many dimensions of
our interior lives. International in scope, the
multidisciplinary festival offers a broad
spectrum of the world’s leading instrumentalists, vocalists, ensembles, choreographers, dance companies, and directors
complemented by conversations with
artists and scholars and post-performance
White Light Lounges.
Lincoln Center for the Performing
Arts, Inc.
Lincoln Center for the Performing Arts
(LCPA) serves three primary roles: presenter of artistic programming, national leader
in arts and education and community relations, and manager of the Lincoln Center
campus. A presenter of more than 3,000
free and ticketed events, performances,
tours, and educational activities annually,
LCPA offers 15 programs, series, and festivals including American Songbook, Great
Performers, Lincoln Center Festival, Lincoln
Center Out of Doors, Midsummer Night
Swing, the Mostly Mozart Festival, and the
White Light Festival, as well as the Emmy
Award–winning Live From Lincoln Center,
which airs nationally on PBS. As manager of
the Lincoln Center campus, LCPA provides
support and services for the Lincoln Center
complex and the 11 resident organizations.
In addition, LCPA led a $1.2 billion campus
renovation, completed in October 2012.
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Circa
Rowan
Heydon-White
Bridie Hooper
Paul O’Keeffe
Rudi Mineur
Skip
Walker-Milne
Billie
Wilson-Coffey
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Acting Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Nasrene Haj, House Seat Coordinator
Utsuki Otsuka, Production Assistant
Reshena Liao, House Program Intern
For the White Light Festival
Avancy Inc., Production Services
Andrew Hill, Production Electrician
Jessica Barrios, Wardrobe
For Circa
Yaron Lifschitz, Director
Ben Knapton, Associate Director
Jason Organ, Technical Director/Lighting Designer
Libby McDonnell, Costume Designer
Jennifer Cook, Director of International Partnerships
WhiteLightFestival.org
Kathryn
O’Keeffe
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Circa’s U.S. representation:
Thomas O. Kriegsmann (ArKtype)
I Fagiolini’s representation:
Percius Artist and Project Management
www.percius.co.uk
WhiteLightFestival.org