Membership tag:www.jacobspillow.org,2008-12-17:/membership//10 2010-04-20T21:06:17Z Movable Type Pro 4.34-en PillowPages April 2010: New Members tag:www.jacobspillow.org,2010:/membership//10.759 2010-04-20T16:22:45Z 2010-04-20T21:06:17Z We extend our sincere thanks to the following individuals who have joined the Jacob's Pillow Member community since March 1, 2009. New Members not only provide critical support for our robust array of dance presenting, education, and preservation provided... Katherine
Ted Shawn Circle - Platinum
Wendy and Peter Gordon
Elizabeth Hilpman and Byron Tucker
Thomas Joergens
Olivia and Tim Parton

Ted Shawn Circle - Gold
Monique and Frank Cordasco
Sue-ann Friedman
Roslyn Goldstein
Dr. Andrew S. London and Dr. Alan E. Curle

Ted Shawn Circle - Silver
Joan and Richard Barovick
Joan Benjamin and Lawrence Cherkis
Stacy and Eric Cochran
Bonnie and Terry Burman
Noha and John Carrington
MaryAnn* and Scott* Goodell
Karen Gross and Stephen Cooper
John Hart
Diane Krane and Myles Slosberg
Dr. Maryalice Mazzara
Claudia and Steven Perles
Lauren Restrepo

Benefactors
Mercedes Ellington
Edith Greenwood
Mela and Paul Haklisch
Gail Hashimoto
Guilaine Jean-Pierre
Fajen and Adria Kyne
Jyllene Miller
Beverly and Arthur T. Shorin in honor of Irving Wolbrom
Marsha Soffer
Jeffrey Tannenbaum
William Short and Brian Tobin
Joann and Robert Werbel
Steven Wharton

Supporters
Angela Anthony
Jennifer Baum
Marie-Hélène Bernard
Ken Endelman
Douglas Engebretson
Brendan Ben Feeney
Eric Foner and Lynn Garafola
Toni and Sig Front
Stephan Green and Beth Sack
Joan Greenfield and Dominique Singer
Evie Gurney and Chris Bumcrot
Anne Guttman
Terre Blair Hamlisch and Marvin Hamlisch
Nick and Laura Ingoglia
Priscilla Fierman Kauff
Betsy Marcotte and Lloyd Feinberg
Michaella C. Morzuch
Kay C. Murray
Randall Perkins
Karyn and Jim Schwade
Andrey Shaw and Cynthia Florin
Christina Sticco
Carolyn Umlauf
Jolyn Unruh
Alden Warner
Anonymous

Contributors
Christine Bassett
Helene Becker
Warren Beckman
Robert Benton
David W. Bergeron
Melissa and John Bissell
Claire Braswell
Dr. Helene Breazeale
Jennifer Brilliant*
Ann and Robert Burger
Harold Bush
Donald Clark
Bonnie Primus Cohen
David Cohen
Matthew Curley
Lisa Cushman
Margot and Jon Davis
Andrew DeVries
Jody and Bruce Dewey
Patricia and Joel Ellis
Rita Feldman
Christine Fendley
Eric and Angela Firestone
Roberta and Eric Fliss
Win and Eben Gay
Amy and Ronald Goldberger
George Goldstein
Sandy and Jamie Hart
Gardiner Hartmann
The Homan Family
Jackie and Larry Horn
Barbara and Joe Hulbert
Mariclare Hulbert*
Linda and Burton Imberman
Andrea Jeffries
Tracy Julian
Claudia Kopkowski
Susan McLain Kellogg
Pommy and Jerry Levy
Geoffrey Locke
Talland Mahanthappa
Beth Minear
Jeff Murdock
Charles R. Norrell
Jeanette Nostra
Dr. Joseph Olzacki
Mary and Richard Palmer
Kristina and Steven Rowe
Barbara and Marc Salisch
Alexandra Semchenko
Linda Shelton
Serena and Arnie Sher
Laura Stillman
Karen Tucker
Charles Verrill
Catherine and Robert Walter
Karin A. Wiedenmayer
Alexandra and Matthew Wright
Anonymous (2)

Friends
Kelsie Acton
Josephine and John Anderson
Beverly and Larry Bader
Roz Balkin
Kristin Beckwith and Thomas Lee
Robin and Howard Benditsky
Bruce and Susan Berger
Patience and Richard Berkman
Barbara Berofsky
Eric Beube
Tom Blandy
Terry and Harold Bluestein
Susan Bokan
Libby Borden
Jonathan Borschow
Sherri and Mill Brecker
John W. Bugsch
Mary Bull
Suzanne Carbonneau*
Lewis Clark
Philippa Claude
Bruce Cohen
Deborah Colgan
Javier Corrales
Gee Costelloe
James Couchon and Michael Izdepski
David Couhig
Gretchen and Richard Courage
Thomas Cracovia
Sarah B. Cummer
Madeleine and William P. Cunningham
Cathy DeCou
Gail Faivre Delmolino
Sophie Dichter
Marcia Doron and Steven Neaz
Charles and Eileen Duggan
Diane Durgin
Laura Eisdorfer and Mark Friedlander
Rossie Feldman-Persoff and Peter Persoff
Pyllis Seidenberg Fischthal and Arnold Fischthal
Carolyn Fitzgerald
Katherine Floyd
Gwendolyn Franklin*
Sheila Waters Fucci*
Patricia and Alex Gabay
Robert and Irma Gal
Nancy Galeota-Wozny
Anne and Cope Garrett
Paula Gaynor
Joan and David Geetter
Marne and Peter Geller
Olivia Georgia
Mark Germanowski
April E. Gifford
Michele Gilligan
Judith Goldsmith
Kate Goodin
Beatrice and Carl Goodman
Naomi and Roger Gordon
Catherine Gorman
Harold and Carole Greenbaum
William Grinker
Martha R. Gross
Gloria Grossman
Mary Jean Guidette
Robert and Sandra Hall
Burt and Marjorie Hamrell
Tova Hartman and Marc Brettler
Bill Hastings*
Carol Hayes
Carol and Eric Haythorne
Diana Heard
Judith and Richard Heep
Frances Ingraham Heins
Mary and Chris Hoch
Sandra Hoover
Linda Horn
Nancy Howe
Carole I. Isgur
Dawn Jablonski and Gregory Paige
Betsy Jacobs-Biviano
Susan and John Jaquette
Phyllis Johnson-Smith
Kathy and Greg Jones
Jane and Roy Karlin
Neal Kass
Christianna M. Kavaloski*
Shona Keller
Susan King
Marcia Knutt
Wanda Krysil
Joyce Lack
Pat and Fred Lamarca
Kate Lamdin
Marilyn Lampert
Paula Lane-Major
Bernard Lepine
Rosalin Levitt
Carol Levy
Raymond Lucey
Maija Lutz
Maria Mackavey-Carls and David Carls
Caroline Malcolm
Claire Mallardi
Patricia McGarry
Kate McMahon
Rosemary McVicar
Jody and Mark Meier
Linda Merschdorf
Janet and Jeffrey Mestel
Shirley Miller
Barbara Myers
Ronnie and Ron Nadel
Mary Ellen and Bruce Nielsen
Jaquelyn Noss
Katie and Jonathan Oakleaf
Susan O'Brien
Ellen and Marvin Ochs
Yvonne Orr
Karen and Barry Oshry
Adrian and Barry Oster
Marsha Padwa and William Pollack
Glenn Patron
Elizabeth Parnes
Ellen Passage
Kate Pfifter
Barbara Piper
Christine and Gary Post
Brin Quell and Ray Tillman
Mary J. Ramsay
T. Norman Rea
Sharon Rio
Mr. and Mrs. Larry M. Robbins
Rhonda and Yale Robbins
Christine Roberts
Louise Rochin and Duncan Glover
Georgeanne and John Roe
Verdery Roosevelt
Larry and Alice Rothbaum
Carol and Zick Rubin
Lee W. Rumsey
Ellen and Lorne Runge
Sarah and Harvey Sabinson
R. Rosen and D. Saunders
Judy Scher
Luayne and Ed Schwartz
Robert Schwartz
Amanda Severin*
Stephen P. Shaak
Carol and Jim Shanbrom
Ruth and Stanley Shapshay
Brooke Shirley
Merry Ann and Brock Simon
Arnold Sivakoff
Rick Smith
Lynn C. Spector
Randi Stein
Wendy and Freeman Stein
Katherine Stern
Sarah Stoll
Dr. Claire E. Sylvan
Lynette Tulkoff
Elizabeth Van Vleck*
Renee D. Voltmann
Barbara Walvoord
Salena M. Watkins
Neil Webman
Susan Weiss
Ana Weissman
Christina Whitbeck
Anne and Arthur Wichman
Jack Wiesel
Abraham Woods
Rob and Meg Woolmington
Arnold Woulfin
Anonymous (2)

Students
Patricia Gay*
Kelly Smith* and Matthew Case

*Pillow alumni and staff
+ Deceased

Go back to the first article: Welcome to PillowPages April 2010]]> PillowPages April 2010: Opus Jazz Q&A tag:www.jacobspillow.org,2010:/membership//10.748 2010-04-15T18:58:40Z 2010-04-20T21:03:09Z In 1958, after the success of West Side Story, Broadway and ballet legend Jerome Robbins choreographed New York Export: Opus Jazz. In 2009, a bevy of stunning young dancers from the New York City Ballet resolved to recreate the piece... Katryn West Side Story, Broadway and ballet legend Jerome Robbins choreographed New York Export: Opus Jazz. In 2009, a bevy of stunning young dancers from the New York City Ballet resolved to recreate the piece as a film, and shoot it outdoors in multiple locations in New York City. Jacob's Pillow is thrilled to be sharing this unique project with its Members on Sunday, June 13 at our annual Members-only event.

PillowPages talks with Sean Suozzi who, along with fellow City Ballet dancer Ellen Bar, spearheaded the first film ever to be conceived, created, produced, and danced by dancers from the New York City Ballet.

Pillow Pages: How did the idea come about to remake this work in a film version?

Sean Suozzi: The idea came to me after we performed the piece for New York City Ballet. Once we were on stage, the entire cast felt a little goofy in the costumes compared to the way we felt when we were rehearsing the dance in our own clothes. I thought that the ballet would look great (and feel great) in contemporary street clothes, which made me automatically think of West Side Story. Then everything clicked and I thought... We should film this all over present-day NY, update the costumes, and add interludes between the movements! Ellen [Bar] and I developed the specific concept together and once we had a proposal finished, which Ellen wrote, we presented the idea to the Robbins Trust.

PP: Do you think the choreography for Opus Jazz is as relevant today as it was in 1958?

SS: I definitely think it's relevant. It's about youth and adolescence and all that goes along with that time in someone's life. I don't know why Robbins's choreography holds up so well. It's classic. The entire cast of Opus Jazz loved the ballet when we learned it and always felt that it was contemporary... which I think says it all.

PP: What locations did you choose in New York City?

SS: We wanted to choose "secret," almost hidden New York locations--places that were definitely "New York" but not places that people necessarily know about. Places where kids would go to be alone and hang out with each other, away from the older people. We shot in Brooklyn a lot: McCarren Pool, an abandoned warehouse in Red Hook, a gym in Carroll Garden, and of course the High Line in Manhattan.

PP: Your schedules at NYCB must be quite demanding. How did you find time to fit in making a film?

SS: It was very hard. Ellen had a serious neck injury for a year while we were fundraising, which gave her time to do a lot more work than me, but it's always a balancing act and it's very overwhelming at times--but definitely worth it.

PP: The film has aired on PBS, and will now be shown at the Pillow. What plans do you have for the film after that?

SS: We're doing the festival circuit, and hope to release it on DVD, as well as show it on television in Europe, and other countries around the world. We want as many people to see it as possible.

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Pillow Members can reserve their two free tickets to New York Export: Opus Jazz on Sunday, June 13, 2010 by calling the Box Office at 413.243.0745.

Read the next article: Member Spotlight on John Gay]]> PillowPages April 2010: Member Spotlight on John Gay tag:www.jacobspillow.org,2010:/membership//10.747 2010-04-15T18:54:28Z 2010-04-20T16:14:09Z John Gay at the 2009 Gala; photo Stefanie Motta Name: John Gay Age: 47 Occupation: Regional Administrative Coordinator, District Court Department Member since: 2004 Member level: TSC Silver Favorite Pillow Performance: Off the top of my head, and in no... Katryn John Gay at the 2009 Gala; photo Stefanie Motta
Name: John Gay
Age: 47
Occupation: Regional Administrative Coordinator, District Court Department
Member since: 2004
Member level: TSC Silver
Favorite Pillow Performance: Off the top of my head, and in no particular order: Aszure Barton, Grupo Corpo, Inbal Pinto, Kitt Johnson, Batsheva, Shen Wei, Les Grand Ballet Canadiens...
Most looking forward to: The Göteborg Ballet and Lucy Guerin. And the bonus is they are both in the same week!

PillowPages: How did you discover Jacob's Pillow, and how many years have you been attending?

John Gay: After completing my first year of an acting program at NYU in 1982, and many auditions, I was dismayed not to receive any summer stock offers. Hoping to allay my parents' concern of a perpetually unemployed son, I decided to take the first skill-related position that was offered: Director of Theater at an all-boys sports camp in Pittsfield.

My schedule was simple. Write, cast and direct an original musical each week that would be performed by different age groups within the camp. We rehearsed Tuesday through Saturday, and performed the show each Sunday.

Mondays - blessedly - were my days off. This day would generally consist of doing laundry at a local Laundromat in the morning, having my car repaired shortly thereafter, and then playing 9 holes of golf. I would then treat myself to a Fribble at Friendly's before returning to my midsummer sleepover nightmare.

After a couple of weeks following this routine, I started to notice that two similarly aged women were frequently at Friendly's at the same time. Turns out, they were interns at Jacob's Pillow. They explained to me that the Pillow was a place for people (dancers and audiences alike) to celebrate dance, amidst a spectacular setting featuring world-class companies. I was captivated by the obvious love and passion these two possessed. They joyously described working long days for very little compensation, simply for the privilege of being part of the "Pillow" family.

Still, the intensity of those two interns stays with me. The love they had for dance and for Jacob's Pillow remain vivid memories. It is a passion I now happily and humbly share.

PP: It sounds like acting did not turn out to be your calling. What do you do for a living now?

JG: No, the acting didn't work out, so I enrolled at Bates College as a political science major. Not only did this choice greatly assist me in attaining a rewarding public service career in District Court Administration, I believe it also convinced my parents that based on my more pragmatic career choice, that there was, indeed, a God.

When I accepted my position to assist the judges and courts throughout Western Massachusetts, I was fortunate to become friends with longtime Jacob's Pillow Member, Robert Kumor. Though fifteen years had passed since my introduction to the Pillow, without his encouragement, I might not have made such an important rediscovery.

PP: I understand that sports are another passion of yours. What do you do with your leisure time when you aren't at Jacob's Pillow?

JG: I should have mentioned it above. In addition to my day job, I am also an on-call utility infielder for the Boston Red Sox. (Just kidding.)

In truth, I have many interests, but travel is my favorite use of leisure time. I especially look forward to trips in which friends join in the more exotic adventure. The combination of exploration and close friends is, for me, a perfect blend.

PP: You are a lay dance curator of sorts in that you look at each Pillow season and invite friends to specific shows. How do you decide who to bring to what?

It's really mixed. For instance, some of my friends are comfortable seeing a ballet-based program. Others want to see something abstract and modern. Then, there's that predictable group of devotees that wants to see every performance of Trey McIntyre's company!

To digress a little, as I mentioned before, one of my other passions is travel. And part of that love is the enjoyment I feel in the actual planning. I feel the same way about Jacob's Pillow. For me, it starts in early December. I pester (hopefully in a nice way) every staff member about the unannounced upcoming season. To Ms. Baff's credit, and despite my cajoling, her staff unwaveringly guards that precious information on the same level governmental officials still cling to the details of 1947 happenings in Roswell.

So, like everyone else, I wait for the schedule to be announced. When it is finally released, it becomes a very happy day. A colleague and fellow patron of the Pillow says the announcement of the season achieves the same effect as receiving the season's first seed catalog. That is, the correspondence portends happy days of sunshine and warmth and in the suddenly less distant future.

Based on the schedule, I start researching the companies on the Pillow website and elsewhere, concentrating on those that are new to me. And when it all comes together, and I make the telephone call to place my large order, I feel elated that another summer in Becket is close at hand. The seeds not only have been ordered, but planted as well.

PP: In addition to attending shows, you frequent our cast parties. What keeps you coming back to those events?

I attend the cast parties for three reasons: The first is that they are fun!

The second motivation is that I enjoy the recognition that Ms. Baff lauds on the companies, commending them on their effort and vision. In addition to the applause they receive after their performances, it is gratifying to see them publicly appreciated by the extended Jacob's Pillow family.

And finally, I appreciate the access to the principals and directors of the companies. Their willingness to share their love of dance, to be so accessible and responsive, has taught me much about much of the art, the staging, and the business of dance.

PP: You are absolutely beloved amongst the Jacob's Pillow staff for being one of the consistently nicest patrons we work with. How did you go about building such great relationships with everyone from our Box Office Assistants to our Executive Director? And what did we do to deserve you (or are you that nice to the Red Sox staff too)?

Quite honestly, my relationship with Jacob's Pillow went to its current level the weekend that my Grandmother died. I had tickets to Inbal Pinto (I think), and couldn't use them because of Nana's service. When I called the Box Office to explain my absence, I was immediately offered the opportunity to trade my seats for the Sunday performance.

And when I arrived that Sunday, I was overwhelmed that so many people - from the Director to the Box Office Interns - all extended their condolences for my family's loss. It struck me that weekend that the Pillow was more than simply a venue at which one could watch dance. It was a caring, supportive family. It remains a family I hope to be part of for a long, long time.

PS- My relationship with the Boston Red Sox is not at the same level as with the Pillow. This is no doubt due to the fact that they knew my Grandmother was a Yankee fan...
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Read the next article: Gala Co-Chairs Q&A]]> PillowPages April 2010: Hunter and Helice Q&A tag:www.jacobspillow.org,2010:/membership//10.746 2010-04-15T18:50:34Z 2010-04-20T21:04:23Z Ballet Program students bow at the 2008 Gala; Hunter Runnette (top) & Helice Picheny's (bottom) Meet Hunter Runnette and Helice Picheny, two Jacob's Pillow Board Members on a mission to make the famous Pillow Season Opening Gala even more fun... Katryn Ballet Program students bow at the 2008 Gala; Hunter Runnette (top) & Helice Picheny's (bottom)
Meet Hunter Runnette and Helice Picheny, two Jacob's Pillow Board Members on a mission to make the famous Pillow Season Opening Gala even more fun and fabulous than ever. Here the Gala co-Chairs give us a sneak peak at what they've got in store for this year's bash.
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PillowPages: What do you think are the most important elements of a good party?

Hunter Runnette: I think the elements of a good party are threefold. When one enters a good party, the excitement and anticipation from a buzz generated over the preceding months sets a tone that is almost hypnotic. Secondly, the talent, the dance. and quality of an evening well spent makes the evening fly by. Thirdly, and I think most importantly, when all is said and done, it is so gratifying to know that each connection, each dollar, each moment of dance either on or off the stage has secured the future of Jacob's Pillow Dance Festival.

Helice Picheny: Yes. [chuckling] All that and great music to DANCE, DANCE, DANCE!

PP: If someone has never been to a Pillow Gala before, how would you describe the event to them? What's the most enjoyable aspect of the evening to you?

HP: The Pillow Gala is the Gala to expect the unexpected. A fabulous mix of people who get to experience what the Pillow represents: dance at its best. I always delight in the amazing, and I mean amazing performances by students who have been taught by a master dance artist for an extremely short period of time. Their performance is always an incredible highlight.

HKR: I find it indescribable in many ways, because to say that it is all about dance narrows it to the listener's preconceived ideas of dance, so I much prefer to say it is a place where you will experience a worldly expression of dance, theatre, a celebration of movement, of great celebrity, and young students of dance that have extraordinary merit. You will leave knowing why the Pillow is the National Landmark for dance.

PP: The Gala kicks off with an amazing performance in the Ted Shawn Theatre, programmed by Ella Baff. What are you particularly looking forward to at this year's show?

HKR: Every year that I have gone to the Gala performances, I have been told it gets "better and better," so I am always looking for the performance, or the speech, or the combination of events that make it a cut above the last year. Like Helice, I can without doubt say that I am always, always, always enthralled by our students' performances, there is an energy that is unequaled for that moment in their lives, which sends a chill of exhilaration down the audience's collective spine.

HP: That is an extremely difficult question to answer, but I am really looking forward to seeing the amazing Nina Ananiashvilli dance.

PP: Do you have a favorite Gala memory?

HKR: It seems to happen every year. Watching dance come alive on the stage, then later on the dance floor. Seeing the art and the sharing of the art form between students, professionals, and all lovers of the dance is always a joy.

HP: I love that too! I also love the excitement of the live auction. What could be better? Witnessing so much generosity to ensure a future for dance, dancers, and Jacob's Pillow itself is a true thrill.

PP: Who are you hoping to dance with at this year's Gala?

HP: Besides my husband, I love interacting with all the young people at the Pillow. They bring great life to the party.

HKR: I'm hoping to dance with first-time Jacob's Pillow Gala attendees!

--
To purchase tickets to the Season Opening Gala and secure your place on Hunter's dance card, call 413.243.9919 x126.

Read the next article: New Pillow Members]]> PillowPages April 2010: Welcome to a full season of special events at Jacob's Pillow tag:www.jacobspillow.org,2010:/membership//10.745 2010-04-15T18:07:42Z 2010-04-20T21:02:15Z Cast Party attendees watch as 2009 hip-hop program students tear up the dance floor As this edition of PillowPages attests, there is a terrific array of special events on the horizon this summer. From our Season Opening Gala to A... Katryn
Cast Party attendees watch as 2009 hip-hop program students tear up the dance floor

As this edition of PillowPages attests, there is a terrific array of special events on the horizon this summer.

From our Season Opening Gala to A Jazz Happening, and every Cast Party and Alumni gathering in between, the Pillow's special events put the festive in Festival by bringing together artists, students, Members and Alumni for mixing, mingling, and always, dancing!

Read on to learn more about what's in store, and email our Events Coordinator Gwen at the email address below (scroll to bottom) or 413.243.9919 x126 to RSVP to any of our upcoming special events.

Members Only Event
New York Export: Opus Jazz
plus, preview Lois Greenfield: Imagined Moments
Sunday, June 13
3pm
FREE to Pillow Members

The Special Events season gets underway with a film screening of New York Export: Opus Jazz, a remake of the Jerome Robbins classic produced and performed by current members of the New York City Ballet--including Sean Suozzi who is interviewed in this edition of PillowPages. Following the screening, Members are invited to preview Lois Greenfield: Imagined Moments a new photography exhibit in Blake's Barn, and meet the celebrated photographer and award-winning filmmakers at an exclusive reception.

Season Opening Gala
Saturday, June 19
6pm
Tickets available

Our Season Opening Gala will provide a dazzling start to our season with a spectacular performance featuring ballet great Nina Ananiashvili; rising star Monica Bill Barnes; soulful powerhouse Camille A. Brown; extraordinary performer and choreographer Kyle Abraham; and the much anticipated performance of a new ballet by Karole Armitage performed by dancers of The School at Jacob's Pillow. The evening also includes a sumptuous dinner, silent and live auctions, and dancing under a tent on the Great Lawn.

Weekly Cast Parties
Saturdays, June 26 - August 28
Following the 8pm performance

Cast Parties happen every Saturday evening after the performance in the Ted Shawn Theatre, and there is no better place to feel the energy and vibe of the Festival. Whether or not you are attending a show on a Saturday night, please let us know if you'd like to attend a Cast Party. We would love for you and your guests to join. Starting at the Supporter level, Members and their guests, and all Alumni are invited to attend at least one Cast Party a year. Ted Shawn Circle Members are welcome to all ten.

Let's Dance! at the Pillow
Sunday, July 4, 10am-1pm
FREE, Everyone Welcome

A new community event featuring performances, dance workshops for teens and adults, music, food, drink, and more! Free and open to the public.

Alumni Day
Saturday, July 17
5pm
FREE to all Alumni

The Pillow is honored to have hundreds of alumni from all generations, all corners of the world, and working in every aspect inside and outside of the dance field. Alumni Day is the opportunity to bring these interesting and talented individuals together to meet and reunite. This year's Alumni Day will include a PillowTalk about Joseph Pilates and his association with Jacob's Pillow. We hope you will join us to learn more about the man who devoted his life to physical conditioning--especially if you have your own memories of Pilates to share. Armitage Gone! and Pichet Klunchun will perform over the Alumni Day weekend.

Ted Shawn Circle Dinner
Friday, July 23
5:30 pm
Tickets available for TSC Members and guests

Ted Shawn Circle Members will receive a formal invitation to this elegant evening under a tent on the Great Lawn. Bill T. Jones/Arnie Zane Dance Company will be performing in the Ted Shawn Theatre this night and Jacoby & Pronk will be in the Doris Duke Theatre. Tickets to these performances should be purchased separately. Call the TSC Ticket Concierge at 413.243.9919 x125 to make arrangements.

Member Day
Friday, August 13
Time TBD
FREE to Pillow Members

Sure to be a rollicking good time, the second Members-only event of the season will feature the men of Les Ballets Trockadero de Monte Carlo. The day also offers special discounts to Members at the Pillow Store, and the opportunity to meet and mingle with fellow Pillow Members.

A Jazz Happening
Sunday, August 22
8pm
Tickets available

Each August the Pillow gathers together some of Broadway's biggest stars for A Jazz Happening. This annual fundraiser for The School at Jacob's Pillow puts talented young artists attending The School on stage with veterans of Broadway for a thrilling revue of song and dance. Gold ticket buyers are invited to a post-show dessert reception with the performers to mingle with today's and tomorrow's stars of the Broadway stage.

Read the next article: Member Event: New York Export: Opus Jazz

]]> PillowPages February 2010:The Pillow Remembers tag:www.jacobspillow.org,2010:/membership//10.732 2010-02-08T17:55:48Z 2010-02-11T20:38:43Z Compiled and written by Director of Preservation Norton Owen, "The Pillow Remembers" is an illustrated collection of profiles of people who made a lasting impact on the dance world and/or the Pillow community who passed away this year. The year's... Katryn
Please click here to view "The Pillow Remembers" (PDF).

Next Article: Alumni Updates]]> PillowPages February 2010: Reader Survey tag:www.jacobspillow.org,2010:/membership//10.731 2010-02-05T20:27:52Z 2010-02-08T21:44:21Z We email you PillowPages to provide more information about the work that takes place at Jacob's Pillow and to put readers in contact with fellow Members and Alumni. Now we want to know more about why you read PillowPages, and... Katryn
We ask you to fill out a 5 minute survey. As a thank you, participants may enter a drawing to win two tickets to Jacob's Pillow and MASS MoCA's co-presentation of Stephen Petronio Company, taking place at MASS MoCA's Hunter Center, April 9 & 10, 2010.

Click here to go to SurveyMonkey.

Next article: "The Pillow Remembers" ]]> PillowPages February 2010: Choosing the Future tag:www.jacobspillow.org,2010:/membership//10.730 2010-02-04T21:41:36Z 2010-02-11T20:55:31Z Choosing the Future: A Conversation with Choreographer, Stephen Petronio In an art form known for ephemerality, Stephen Petronio has staying power. 2010 marks the 25th Anniversary of Stephen Petronio Company. One of the engagements marking this milestone is the Pillow's... Katryn Choosing the Future: A Conversation with Choreographer, Stephen Petronio

In an art form known for ephemerality, Stephen Petronio has staying power. 2010 marks the 25th Anniversary of Stephen Petronio Company. One of the engagements marking this milestone is the Pillow's co-presentation of Petronio's newest work, I Drink the Air Before Me at MASS MoCA in North Adams, Massachusetts. PillowPages talks with Petronio about how dance has changed, and why he keeps looking forward.
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PillowPages: Twenty-five years of making dances is quite a feat. What are the biggest changes you've seen take place in dance during that time?

Stephen Petronio: It remains a roller coaster but as dance breaks into the mainstream through television competitions and talent contests, the concert dance network that presents dance seems to be collapsing along with the rest of our economy. There seems to be a real poverty of original language makers coming up in America and a move toward more conceptual, physical performance that I find by turns depressing and exciting.

PP: Many companies choose to celebrate big anniversaries with a retrospective; you seem to be doing the opposite and making new work. Why this approach?

SP: While I would be thrilled to rest on the wealth of my considerable achievement and remind everyone why I am still here [laughs], I find it thrilling to resist looking back. In many ways I feel like I have just gotten started and, as it is increasingly tight even for a successful company like my own, choices must be made. I chose the future.

PP: I Drink the Air Before Me was inspired by Shakespeare's The Tempest. What did you see in that work that reminded you of contemporary life, and how do those ideas appear in your new piece?

SP: The title was lifted from Ariel in The Tempest for its sharp expression of just how fast Ariel can move. "I drink the air before me and return / Or ere your pulse twice beat." (Ariel can accomplish tasks in the space between two beats of your pulse.) I was really looking to literature and imagery that addresses storms, both internal and external. The Tempest was one of the starting points in my research but the sense of tumultuous power and the architecture of storms was my deeper interest.

PP: Throughout your career you have teamed up with an impressive list of collaborators from a variety of genres including Laurie Anderson, Rufus Wainwright, Anish Kapoor, and Berkshires native Steve Hannock. What have you learned from your collaborators?

SP: Everyone ups the ante in the collaborative process when they are engaged in a new work and I choose artists who push me with their work to begin with. More than anything, collaboration has been a lesson in flexibility and willingness to go in a creative direction that I just could not have anticipated at the onset of a project. Sometimes infuriating and sometimes a delight. I believe dance is ultimately a social form, and learning to engage other artists can be a refreshing eye opener.

PP: You've recently created the Stephen Petronio Pop Up School. What is the Pop Up School, and why have you chosen that method of sharing your technique to other dancers?

SP: I got tired of waiting for somebody to drop a building on Stephen Petronio Company so I could have a school. Turns out, part of the reason SPC has survived is the lack of financial overhead a building brings with it. That being said I was eager to continue formalizing the idea of a school dedicated to my language and technique so I formulated a mobile school. Classes will move into a host studio, established or not, for a few weeks, then move on to another space down the line. Students that follow me are learning that they just have to keep their eyes and ears open and they will find our classes pretty easily. My work is often about a moving continuum and shifting architecture. I decided to take that literally for the school, so we pop-up where we are able.

PP: You're one of the few true fashionistas of the dance scene. What can we look forward to seeing your dancers wearing in I Drink the Air Before Me?

SP: New York designer Adam Kimmel made our gear and it includes several different groups that run a gamut of weather-related clothing. He is one of my favorite designers, a friend, beautiful spirit, and the first menswear designer I have ever worked with.

PP: The upcoming co-production at MASS MoCA isn't your first time engaging with Jacob's Pillow. How has the Pillow influenced your life in dance?

SP: I was really given a serious boot up by my early days as a young choreographer at the Pillow. Liz Thompson was Artistic Director then and she got behind me, started me at Inside/Out, cultivated an audience for my work and grew me up into the Ted Shawn Theatre with great success. It built my confidence enormously. I felt like an outsider in those days and my experience at the Pillow helped me relax into the artist I am today.

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Performances are Friday and Saturday, April 9 & 10, at 8pm. A Post-Show Talk with Pillow Executive Director Ella Baff and Stephen Petronio will follow each performance. Call the MASS MoCA Box Office at 413.662.2111 Monday, 11am - 5pm to purchase tickets by phone, or visit www.massmoca.org to order online.

Next article: On the Road with "J.R." ]]> PillowPages February 2010: On the Road with "J.R." tag:www.jacobspillow.org,2010:/membership//10.729 2010-02-04T21:39:44Z 2010-02-11T20:58:05Z On the road with "J.R." Glover, Director of Education of The School at Jacob's Pillow Of the 3,500 dancers seen during the year and the thousands who apply, only a hundred students attain a coveted spot in a professional... Katryn On the road with "J.R." Glover, Director of Education of The School at Jacob's Pillow

Of the 3,500 dancers seen during the year and the thousands who apply, only a hundred students attain a coveted spot in a professional advancement program at The School at Jacob's Pillow. Final determination of who will attend rests with Director of Education "J.R." Glover. Here she shares how she finds dancers ready for the demanding experience of The School.
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PillowPages: You have a hectic audition schedule! Do you have any travel tips?

"J.R." Glover: [Laughs] Yes, once I park my car at the airport I relinquish control and go with the flow. I try to be amused by and look for the opportunities that present themselves when flights are delayed, the subway train just comes to a dead stop, the car rental counter says they have no more cars left, the GPS can't find the satellite, and every cab is full when it's pouring outside. Another tip is to allow more time than you think you need to get between appointments. There are always unexpected and delightful people to talk to or unfamiliar terrain to navigate due to traffic delays or road construction. I also recommend walking the hotel's neighborhood every day. It's good exercise and you learn what's available near you that could turn out to be useful.

PP: Okay, back to business. You see thousands of young dancers each year. How do you keep them all straight?

"J.R.": I have the ability to see and remember dancers three-dimensionally in my head. This is the result of years and years of teaching; looking out into a room full of dancers and determining who needs which correction or piece of information. When dancers register at an audition, I photograph them wearing their audition number. That evening and months later, when I see the dancer's face, body, and dance clothes in the photograph, images of them moving during the audition come to my mind. And of course, the notes I take help a lot too!

PP: Your audition calendar includes 5 cities and 4 countries. How do you choose where to go to look for dancers?

"J.R": We hold auditions in New York City for three consecutive months during the audition period, which draws dancers from all over the world. Dancers who attend schools elsewhere in the country, and the world, often organize trips to New York to take classes, see performances, and audition. Auditions are also organized in Argentina, France, Greece, and Norway by Chet Walker, [Director of The School's Jazz/Musical Theatre Dance Program] who generously gives his time to make these events possible and secures scholarships from the host countries so that dancers selected at the audition can attend the Pillow.

In addition, there are annual dance festivals and events geared specifically for high school and college dancers. These are opportunities for dance students to perform, take master classes, and see how other schools approach dance. They present excellent opportunities for me, and many other dance recruiters, to see dancers from all over the country. While the National Foundation for Advancement in the Arts meeting occurs in Miami every year, the High School Dance Festival, American College Dance Festival, and International Blacks in Dance Conference are held in different cities each year. This translates into an annual trip to Miami--not a bad place to be each January--and then going to whichever city is hosting one of the other festivals or conferences.

PP: What do you look for in those who are auditioning? What grabs your attention?

"J.R.": One of the first things I note is who is warming-up and how. More advanced dancers know the areas of their body they need to give special attention to in order to move fully from the first instruction. This may surprise people, but when the audition class begins, I take time to look at faces. Those with relaxed, yet very aware expressions tend to understand that they are dancing from the very first plié and tendu exercise. Those biting their lips, staring forward, lacking expression, or watching someone else to figure out what to do next are likely not yet ready for the Pillow. Throughout the audition, dancers are ranked on technical level, flexibility, balance, leg extension, turns, jumps/leaps, musicality (that's a big one!), ability to pick up combinations, movement styles, and projection.

PP: How do you put together a student body for each program? Does that process ever conflict with fitting in your most-wanted students?

"J.R.": This is all about casting. Each program has more than one guest choreographer, so selection is based on the aesthetic preferences of up to three different choreographers. There will be a subgroup of dancers best suited for the choreographer during week one and another subgroup for week two's artist, and so on. There will be the athletically strong jumpers for one choreographer, the willowy sprites for another, and the rhythmically astute dancers for another. We need to visualize what the ensemble - i.e. the cast or the company - will look like.

Tough decisions are part of the process; sometimes it's downright agonizing. At auditions, I explain to dancers that the first 10-14 selections are easy. These are the dancers we often refer to as "company-ready", or very close to it. The other group of dancers I select are clearly well trained, talented movers, but have not yet committed in their bodies as well as minds to be dance artists. They still see themselves as dance students and it's the Pillow experience that will help move them to a place where mentally and physically they begin working at a professional level. I always strongly encourage dancers to re-apply. Another year, or two or three, of training should make them more competitive to gain admittance.

PP: Many of the students who apply to The School at Jacob's Pillow require financial assistance to get here. How do you allocate the scarce resources you have for aid?

"J.R.": Oh, this is by far the most difficult part of my job. The reality is that 80 to 90% of accepted dancers need financial assistance in order to attend. Based on their scholarship applications, we can clearly see who has already extended their financial circumstances, versus those merely hoping to receive a scholarship. For example, dancers who have received scholarships from the schools and studios throughout their training are highly likely to need substantial support in order to attend this special opportunity.

To stretch the available funds to help as many as possible, we are forced to provide only partial scholarships to many dancers who clearly deserve and need a full scholarship. Then we wait and fervently hope that they can raise the remainder of the amount due. They need time to determine if they can obtain funds from parent(s), relatives, their dance school, or via personal fund-raising projects. We work closely with each dancer struggling to find the amount due. I am often on the phone with the dancer, their parent(s), and their dance teacher talking about how much time they have to raise the amount required, what the cut-off date must be, and if there are other options available.

PP: How can PillowPages readers increase their involvement with The School at Jacob's Pillow?

There is much that Members and Alumni can do to be involved with The School. These are my top four:

"J.R.": First, spread the word about the excellent programs offered in The School at Jacob's Pillow each summer. Our marketing budget is limited and as a result, many dancers are not aware of the excellent professional advancement opportunities available at the Pillow.

Second, come and observe classes or auditions of The School, and bring friends and family, too. The artists leading classes are the most renowned in the world; what they share as teachers is a learning experience for observers as well as dancers. To see these young dancers working and soaking up these masters' wisdom is thought-provoking and inspiring.

Third, encourage any dancers you know to visit the Pillow during the Festival. Every "body" taking a dance class should experience a Pillow performance, a showing of The School on Saturdays at Inside/Out, a PillowTalk, exhibition, Master Class, or other event. These visits widen the circle of people who know about the Pillow and The School.

Last, but not least, support The School by becoming a Member, renewing your Membership, or making an additional gift. Student Sponsors are needed to support full or partial scholarships, but no gift is too small. All gifts help us tremendously in hiring the extraordinary artists we have as Faculty and making it possible for talented young dancers to fulfill their potential to become artists.

Next Article: Board Spotlight: Joan Hunter, Chair]]> PillowPages February 2010: Board Spotlight, Joan Hunter tag:www.jacobspillow.org,2010:/membership//10.728 2010-02-04T21:35:23Z 2010-02-11T20:58:35Z Board Spotlight: Joan Hunter, Chair In 2008, Joan Hunter stepped into the role of Jacob's Pillow Board Chair. After more than a year in the position, Hunter shares how she came to know the Pillow, the work that lies ahead,... Katryn Board Spotlight: Joan Hunter, Chair

In 2008, Joan Hunter stepped into the role of Jacob's Pillow Board Chair. After more than a year in the position, Hunter shares how she came to know the Pillow, the work that lies ahead, and why she's looking forward to every show in the 2010 season.
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PillowPages: How did you first discover Jacob's Pillow?

Joan Hunter: I was first introduced to Jacob's Pillow as a child growing up in the Berkshires. I took dance classes in Pittsfield, and occasionally a local student qualified to study dance at the Pillow School all summer. I dreamed about having enough talent to dance at the Pillow.

PP: You have worked in service to numerous charitable organizations in the Berkshires. What is it about Jacob's Pillow and the art of dance that made you want to be more deeply involved here?

JH: There is something special about the Pillow community, and I find an intimacy and warmth that allows me to feel instantly comfortable. I find Pillow staff and patrons relaxed and friendly, so I enjoy coming solo as well as with friends. Dance is my favorite art form, and I am transported by the movement, music, costumes, scenery and overall effect of each piece. I am in awe of choreographers, dancers and the creative process, and I love seeing new work being made at the Pillow and young dancers in The School aspiring to greatness. All of this and more happens at the Pillow, and I am inspired and uplifted by the Pillow's mission to support dance on all levels. I am drawn to serving on the Pillow Board, which is a great privilege, in order to ensure that future generations can continue to experience dance at Jacob's Pillow.

PP: In addition to your Board duties, you provide scholarship support to a student each year at The School at Jacob's Pillow. What has been your experience with meeting aspiring young dancers?

JH: I look forward to meeting my scholarship student each summer, and I am always struck by their level of dedication to developing as a dancer. Each student has seen their School experience as life changing, and they have expressed that without a scholarship, the experience would not have been possible. It is fantastic helping these young dancers develop their talents.

PP: What do you hope the Pillow achieves during your tenure as Board Chair?

JH: During my tenure, I hope the Board continues to grow in its commitment to ensuring the future of the Pillow. This means raising adequate funds to allow the organization to serve its mission and stay relevant. We have a fantastic Board of highly talented individuals, and there is great enthusiasm for supporting the strategic plan which will guide us over the next five years.

PP: This is a tough time for raising money. What do you think are the Pillow's best prospects for continuing its more than decade-long track record of maintaining balanced budgets and saving for the future?

JH: The Pillow has maintained its financial strength due to the phenomenal efforts of Ella and her staff, who work closely with our Finance Committee, which is comprised of professionals from the financial world. The organization is blessed to have this level of expertise, and I am confident that we will continue to manage our resources carefully and prudently. However, we simply cannot thrive without the strong financial support of our patrons. Every dollar counts and every gift matters.

PP: What would you like Pillow Members and Alumni to know about the work of the Board of Directors?

JH: I would like Members and Alumni to know that the Board of Directors provides generous financial support, in addition to their time and talent. The Board is dedicated to supporting the Pillow's mission, and we try to use each person's strengths in our committee work. We work well as a team to support the work of our gifted and professional staff.

PP: You speak about the Pillow with great fondness. Do you have a favorite Pillow moment?

JH: I have many favorite Pillow moments. Near the top of the list is seeing the ballet students at our School perform a new piece created for them to perform at the Gala. It is always sensational and extraordinary.

PP: Our 2010 season was just announced. Are there any dancers or companies on the roster that you are particularly looking forward to seeing?

JH: I am particularly looking forward to seeing CND2, Les Ballets Jazz de Montréal, Armitage Gone!, and Bill T. Jones/Arnie Zane Dance Company. I am also interested in seeing completed new work by Monica Bill Barnes and Kyle Abraham, whose work I saw in progress during their creative development residencies at the Pillow this winter. Talk about favorite Pillow moments!

Next Article: PillowPages Reader Survey]]> PillowPages February 2010: Alumni Updates tag:www.jacobspillow.org,2010:/membership//10.727 2010-02-04T21:28:46Z 2010-02-11T20:53:09Z Alumni Updates Jacob's Pillow provides a variety of opportunities for young artists to advance their careers. Here's a sampling of what of our alumni are involved in currently. Ann Hutchinson Guest (1941-42 Student; 1953-63 Faculty) participated in a PillowTalk in... Katryn Alumni Updates

Jacob's Pillow provides a variety of opportunities for young artists to advance their careers. Here's a sampling of what of our alumni are involved in currently.

Ann Hutchinson Guest (1941-42 Student; 1953-63 Faculty) participated in a PillowTalk in July, discussing some of her pioneering work in the field of dance notation. Having celebrated her 91st birthday this fall, she is currently working on her autobiography.

Ina Aronson Hahn (1948-49 Student) has completed a documentary film about her mentor, Doris Humphrey. She directs the Windhover School for the Performing Arts in Gloucester, Massachusetts.

Janet Mansfield Soares (1954 Student) has written a biography of the pioneering dance educator Martha Hill, recently published by Wesleyan University Press.

Margret Kaufmann (1963 Student) participated in a PillowTalk this past summer with her husband, Gradimir Pankov, the Artistic Director of Les Grands Ballets Canadiens, focusing on their work together. Margret is the Ballet Mistress and Assistant to the Artistic Director for the company.

Jane Goldberg (1964 Student; 1976, 78 Faculty; pictured above) gave a PillowTalk in connection with her new book, Shoot Me While I'm Happy. Returning to the Pillow for the first time in more than 30 years, she also presented the Pillow with a costume and headdress that had been worn by Ruth St. Denis.

Norman Walker (1966-73 Faculty, 1974-79 Director) celebrated his 75th birthday this past summer. He lives in Tucson, Arizona, near the home of Rochelle Zide-Booth (1975-79 Faculty).

Robert Swinston (1971 Student; pictured above) accepted the 2009 Jacob's Pillow Dance Award on behalf of Merce Cunningham, with whom Robert has worked closely since 1980, serving officially as Assistant to the Choreographer since 1992. He participated in a PillowTalk in July along with fellow Cunningham dancer Melissa Toogood (2003 Contemporary Program Student).

Susan Marshall (1975 Student; 2005 Choreography Program Director) has been named as the first director of the new Program in Dance at Princeton University, where she joins Rebecca Lazier (Mostly Modern Workshop Student, 1985), who served as acting head of dance before Marshall's appointment and who will continue on the Princeton faculty. Lazier's company performed at the Pillow this past season on Inside/Out.

Charles Sheek (1976 Student) is in his 26th year with the Metropolitan Opera, currently working as an Assistant Editor. He also serves as House Program Editor for the Lincoln Center Festival.

Dawn Lane (1985-87 Student; current Pillow Artist Educator for Jacob's Pillow Curriculum in Motion® and Festival Community Classes) is the Program & Artistic Director for Community Access to the Arts (CATA). Dawn's choreographic work for CATA's Moving Company has been selected for the highly selective VSAarts International Festival, which will take place at The Kennedy Center in Washington, D.C., June 6-12, 2010.

Rachel Straus (1985-86, 99 Student) returned to the Pillow last summer as both a Research Fellow and, for the final week of the season, as a Scholar-in-Residence. She is pursuing a doctorate through Roehampton Institute.

Wally Cardona (1987 Ballet Project Student) will return to his alma mater, The Juilliard School, to teach composition in Spring 2010. The fall semester was covered by David Parker (1981 Student), who was at the Pillow this past summer with Fräulein Maria, created by Doug Elkins (1982 Student).

Alan Hineline (1987 Jazz Project Student; 2008 Modern Traditions Faculty) has been appointed as CEO of Central Pennsylvania Youth Ballet after serving as CEO, Artistic Director, and Resident Choreographer for Ballet Philippines.

Donald McKayle (1995, 1996, 1998, 2000 Faculty; 1999-2007 Board of Directors) received an honorary doctorate from The Juilliard School in May. Among the other recipients were Quincy Jones, Steve Reich, and Laura Linney.

Jeffery Freeze (1997 Men's Dances Student) began his career as a Muppet, touring with Sesame Street Live. Since moving to New York in 1996 Freeze has worked with Michael Mao Dance, Phi Dance Theater, Sense Dance and Bruce Webber's No Chance Ensemble. He served as both choreographer and principal dancer for Infinity Dance Theater and played Snow Boy and Big Deal in Robert La Fosse's West Side Story tour. His Broadway debut was with Matthew Bourne's Swan Lake and his film debut was in Dirty Dancing. Freeze now serves as Principal Dancer and Associate Director for Heidi Latsky Dance.

Stephanie Chiuminatto (1998 Marketing Intern, Staff 1999-2002;) is now an interior designer, in an architectural firm, working primarily on LEED certifications. She is also a co-founder for a non-profit organization, LMNOP (www.lmnopnyc.org) to provide networking and mentoring for design professionals.

Evan Gunter (2001 Development Intern, Staff 2001-2004) and Heidi Hoffman Gunter (1999 Intern) are expecting a baby. Cathy Abraham Eilers (1998 Intern) and husband Jason welcomed their daughter, Emily Leilani Eilers, to the world on January 15, 2010. Congratulations!

Margo Sappington (2005 Ballet Faculty) is artist-in-residence at Hamilton College for the 2009-10 academic year.

Derek Johnson (2006-07 Seasonal Staff) is currently on tour with the Lincoln Center Theater production of South Pacific.

Kellee Roston Edusei (2007 Education Intern) is Membership Manager for DANCE/USA in Washington, DC.

Kara Johnson (2007 Contemporary Program Student) performed with Prometheus Dance Company on the Pillow's Inside/Out stage, July 2nd. This is her second season with Prometheus.

Sasha (Alexander) Andriyashkin (2009 Choreographers Lab Student) shares, "It was really nice and fruitful to be part of the Pillow Festival. Now I'm in Vienna, doing a residency with a musician, light designer and another performer; and already applying some of the tools from the summer Choreographers Lab."

Anna-Louise Herzog (2009 Contemporary Program Student) is the recipient of the AIMES Award from the North Harbour Club in her home region of the North Shore, Auckland, New Zealand. This is a $10,000 award for 'excellence in the arts.' She writes, "I am very honored to receive [this award] and I am sure that my mention of the Pillow helped immensely! I have not stopped talking about the amazing time I had during my summer at the Pillow. My time [there] has given me a boost of confidence and really helped me in my dance career by exposing me to such amazing people in the dance world."

Ana Isabel Keilson (2009 Choreographers Lab Student) was recently a panelist on Dance Theater Workshop's Lobby Talk series. After completing a creative residency at Bowdoin College, she will be in Limerick, Ireland as a resident artist with Daghdha Dance Company.

Among those spotted in Pillow audiences throughout the 2009 season were:

Aliza Arenson (2003 Programming Intern)
Elizabeth Weil Bergmann (1954 Student)
Ashley Berridge (1997 Production Intern, 2005-08 Staff)
Brad Berridge (2004 - 2007 Seasonal Staff)
Brian Brother (1975 Student)
Adrienne Bryant ( 2005 Management Intern)
Becca Cardwell (2008 Archives Intern)
Vito Castlegrande (2005 Production Intern, 2006-07 Seasonal Staff, 2008 Staff)
Gee Costelloe (1979-80 Staff)
Cathy Abraham Eilers (1998 Operations Intern)
Kate Fox (2006 Archives Intern)
Sara Wilkie Gausewitz (1955 Student)
Patsy Gay (2007 Archives Intern)
Chelsea Goding (2008 Presenting Intern)
Jodi Krizer Graber (1989 Marketing/Press Intern)
Joan DuBrow Gross (1945-46 Student)
Sheryl Mirsky Hastalis (1976 Student)
Larry Humphries (1961-69 Staff)
Laura Mayron Ingoglia (1962-63 Student)
Amy Jacobus (2008 Marketing Intern)
Kate Johnson (1983 Faculty)
Luke Kanter (2008 Production Intern)
Anna Keeler (2008 Graphic Design Intern)
Linda Kent (1981, 1992-93 Faculty; 1961-63 Student)
Dana Kornfeld (1976-79 Student)
Annie Landenberger (1979-83 Staff)
Sharon MacDonald (1973-74 Student; 1975-78 Staff; Former Board)
Jeani Pienkoski McGrath (1979-80 Staff)
Sam Miller (1986-89 Managing Director; 1990-94 Executive Director)
Andrea Nix (1986-87 Staff)
Lynette Rizzo (1996 Technical Theater Intern)
Dorothy Silverherz Rosenberg (1940s Student)
Emily Stripling (2008 Box Office Intern)
Howard Sonenklar (1976 Student)
Liz Thompson (1979-90 Executive Director)
Lindsey Turner (2008 Development Intern)
David Wachter (1987 Marketing/Press Intern)
Kevin Weldon (1982-84 Student)
Tracy Wilson (1986-87 Staff) and David Wampler (1987 Staff)
Leslie Woodies (2000 Faculty; 1969 Student)
...and MANY MORE!

If you have alumni news to share, please email "J.R." Glover (email below)

Photo above: (L) Robert Swinston; photo Stefanie Motta :: (R) Director of Preservation Norton Owen (right), Jane Goldberg (center), and Pillow Scholar-in-Residence Constance Valis Hill (left) during a PillowTalk; photo Christopher Duggan

Back to first article: Choosing the Future: A Conversation with Choreographer Stephen Petronio]]> Pillow Pages: Summer 2009 Business Alliance Members tag:www.jacobspillow.org,2009:/membership//10.640 2009-08-10T13:49:08Z 2009-08-21T21:30:24Z Jacob's Pillow greatly appreciates the support of its Business Alliance Members. Please consider supporting these businesses during your next visit to the Pillow and the Berkshires. (Business Alliance Members pictured above, top left: Joann Zarnoch of Jonathan Foote 1778 House... Katryn (Business Alliance Members pictured above, top left: Joann Zarnoch of Jonathan Foote 1778 House B&B in Lee; top right: Pramod Warriar of Bombay Bar and Grill in Lee; bottom left: Mike Desai owner of Quality Inn in Lee; bottom right: Franck Tessier and Rachel Portnoy of Chez Nous in Lee with their son.)

Adelson Moynihan Kowalczyk PC
ALEX®
Applegate Inn
Becket Arts Center of the Hilltowns
Benchmark Real Estate
Ben's Shop, Inc.
Berkshire Life Insurance Company of America
Bombay Bar and Grill
Cakewalk Bakery and Café
Capezio
Chez Nous
Cranwell Resort, Spa and Golf Club
Devonfield Inn
The Dream Away Lodge
Enterprise Rent-A-Car
Greylock Federal Credit Union
Historic Merrell Inn
Jonathan Foote 1778 House Bed & Breakfast
Legacy Banks
Let Your Yoga Dance and Yoga Dance for Parkinsons
Moe's Tavern
Nejaime's Wine Cellars
Pilgrim Inn
Quality Inn
Roberts & Associates Realty, Inc.
Rodeway Inn
Salmon Run Fish House
Super 8 Motel Lee
Toole Insurance Agency
Walnut Hill School
WGBY, Public Television for Western New England
Wheatleigh

Click here to return to the first Pillow Pages article: A Jazz Happening]]> Pillow Pages: Member Spotlight on Julie McCarthy tag:www.jacobspillow.org,2009:/membership//10.639 2009-08-09T20:26:03Z 2009-08-14T20:37:23Z Member Spotlight: Art Inspiring Artistsby Elizabeth Van Vleck, Individual Support Intern Name: Julie McCarthy Occupation: Photographer Residence: Stockbridge, MA Joined: 2003 Tell us about your history with Jacob's Pillow. Oh, I love the Pillow. It's been a part of my... Katryn Member Spotlight: Art Inspiring Artists
by Elizabeth Van Vleck, Individual Support Intern

Name: Julie McCarthy
Occupation: Photographer
Residence: Stockbridge, MA
Joined: 2003

Tell us about your history with Jacob's Pillow.
Oh, I love the Pillow. It's been a part of my life since we moved up here over twenty years ago. I remember first coming here with friends to an Inside/Out performance. We sat outside, had a picnic, and saw a performance. It was magical. We became regulars quite easily.
I got hooked after I became the Volunteer Coordinator when Liz Thompson was the Artistic Director back in the '80s. Liz created a special energy reaching out to the community. She made Jacob's Pillow a welcoming and warm place.
I think Ella Baff has really taken the torch and run with it. Even in this economic climate, Ella continues to challenge us. She takes risks. Every time I come to the Pillow, I expect to be challenged, amazed, or outraged. With events like the pre- and post-performance talks, Ella educates and cultivates us. The warm and welcoming environment creates a safe place to explore - to be challenged and inspired.

What was the first performance you saw here?
I remember one of the first pieces I saw here. It was Merce Cunningham. The sound design was water dripping out of a conch shell. I remember half the audience walking out. I loved that - that people could have such strong reactions and felt free enough to leave. The rest stayed and loved it. Art should challenge us.

It sounds like Jacob's Pillow has been a great part of your life. How have you involved your family in the Pillow experience?
Jacob's Pillow has been a part of our family for decades. We used to bring our daughter to Inside/Out performances - since she was two or three years old. It didn't really matter what was being performed, it was the setting, the whole experience. When my daughter was young, she'd dance around in front of the stage during the performance. She's been coming with us ever since.
Recently she came with us to see a performance of a smaller, less standard company. She's now twenty-two. She wasn't crazy about the performance but I could see how she's become hooked now, too. Immediately after the show, she bought tickets to some other upcoming performances.

You are an artist yourself - a successful photographer. How has the Pillow affected you as a visual artist?
I believe artists are fed by one another. The performances I see at Jacob's Pillow - the colors, the sets, the lighting, the energy - stay in my mind. They fire up synapses and leave an impression on me. The performances have an effect on the way I perceive everything which then influences my own work.

How did you decide to become a member?
Over time, our relationship with the Pillow really blossomed. I had been involved with the Pillow on many levels - as an audience member, volunteer, volunteer coordinator, etc. And it was my husband who decided that we become Members. There has never been a question about supporting the Pillow. What we give, we get back ten-fold.

Above photo: From the series, "A Dance of Unusual Beauty" by Julie McCarthy, 2005. From the piece, "Mattress Ticking" choreographed by Dawn Lane.

Click here to read the next Pillow Pages article: Alumna Spotlight]]> Pillow Pages: Summer 2009 Alumni Updates tag:www.jacobspillow.org,2009:/membership//10.638 2009-08-09T20:19:43Z 2009-08-14T20:39:49Z Summer 2009 Alumni Update compiled by Galen Danskin, General Management Intern This summer, the Pillow welcomes back 31 alumni to take part in the 2009 Festival Season as Artistic Directors, choreographers, dancers, company staff, and Pillow staff. Seven Artistic Directors... Katryn Summer 2009 Alumni Update
compiled by Galen Danskin, General Management Intern

This summer, the Pillow welcomes back 31 alumni to take part in the 2009 Festival Season as Artistic Directors, choreographers, dancers, company staff, and Pillow staff.

Seven Artistic Directors came from The School at Jacob's Pillow: Doug Elkins ('82 Student) of Doug Elkins and Friends; Dawn Lane ('85 Modern) of Dawn Lane & Co.; Jacinta Vlach ('95 Contemporary) of Jacinta Vlach/Liberation Dance Theater; Adrienne Westwood ('98 Jazz) of VIA Dance Collaborative; Adele Myers ('01 Choreographers Lab) of Adele Myers and Dancers; Avi Scher ('05 Ballet) of Avi Scher & Dancers; and Amanda Selwyn ('08 Choreographers Lab) of Amanda Selwyn Dance Theatre

Another eleven alumni are appearing with 2009 Festival companies. They include: Robert Swinston ('71 Student) with Merce Cunningham Dance Company; Kristina Berger ('94 Modern) with Erick Hawkins Dance Company; Jesse Zaritt ('99 Modern Traditions) with Helen Simoneau; Christopher Williams ('01 Choreographers Lab) with Rebecca Lazier; Jenna Martin ('02 Cultural) with Jacinta Vlach; Jubal Battisti ('02 Ballet) with Cedar Lake Contemporary Ballet; Melissa Toogood ('03 Contemporary) with Merce Cunningham Dance Company; choreographer Emery LeCrone ('03 Ballet) with a work in Avi Scher & Dancers; Yesid Lopez ('06 Jazz) with Ballet Hispanico; and Jarvis McKinley ('05 Cultural Traditions) with Ballet Noir.

Other Former interns working with companies include: Merce Cunningham Wardrobe Supervisor Anna Finke ('03 Festival Intern), Merce Cunningham Company Manager Geoffrey Finger ('05 Festival Intern), and Gallim Dance Company Manager, Chelsea Goding ('08 Festival Intern).

Furthermore, nine Pillow alum are part of the 2009 Pillow Festival Staff. Norton Owen ('76 Student), Director of Preservation, and Alison Hart ('98 Student), Individual Support Manager, and "J.R." Glover ('88 Intern) Director of Education, are part of the year-around Pillow staff. Seasonal Festival staff includes six past interns: Carley Manion ('05) Doris Duke Theatre Production Coordinator, Mike Dostal ('07) Lighting Supervisor, Sarah Fujiwara ('08) Sound Apprentice, Katie Link ('08) Inside/Out Apprentice, Dora Quintanilla ('08) Artist and Event Services Manager, and Heather Sparling ('08), Lighting Apprentice.

A plethora of Pillow Alumni also emerged at The A.W.A.R.D. Show 2009 (Artists With Audiences Responding to Dance). Finalists of this audience-decided choreography competition included six Pillow alums: Sonia Dawkins ('00 Choreographers Lab); Lauren Edson ('03 Contemporary); Emery LeCrone ('03 Ballet); and Shannon Mockli ('04 Festival Intern); Jumatatu Poe ('05 Cultural Traditions); and Sidra Bell ('05 Choreographers Lab).

Jane Goldberg ('64 Student) will be doing a PillowTalk and book-signing to promote her book, Shoot Me While I'm Happy.

Caro Thompson (Director of Video Documentation '82) received top honors at the 52nd annual Boston/ New England Regional Emmy Award Ceremony on May 30th for her documentary, Champlain: The Lake Between.

Bradley Shelver ('02 Contemporary) dances with the Mark Morris Dance Company. He recently premiered two works of his own at festivals in Sweden and Denmark.

Eboni Hawkins, ('05 Festival Intern), currently works for see. think. dance., a small San Francisco-based organization that supports emerging dance artists and inventive, radical movement voices.

Michael and Nathan Foster, (brothers, '08 Ballet) both continue to excel in their art form. Currently, Michael is a soloist with Hanover Ballet in Germany and Nathan is on scholarship at the Houston Ballet Academy.

Click here to read the next Pillow Pages article: Business Alliance Members]]> Pillow Pages: Intern Life tag:www.jacobspillow.org,2009:/membership//10.637 2009-08-09T20:12:07Z 2009-08-14T18:14:00Z A Day in the Life of a Jacob's Pillow Summer Internby Avery Ucker, Development Intern, Institutional Support At the Pillow, a fleet of 32 interns work in every facet of the Pillow, from Production to the Archives, supervised and supported... Katryn A Day in the Life of a Jacob's Pillow Summer Intern
by Avery Ucker, Development Intern, Institutional Support

At the Pillow, a fleet of 32 interns work in every facet of the Pillow, from Production to the Archives, supervised and supported by the professional staff. It is a job that demands enormous passion and commitment, and moving at 100mph all day. The rewards are unquantifiable and unparalleled. Here is a peek into a day in the life of an intern.

We're up at 7am, perhaps to catch part of the morning Community Class, or to begin right away with the busy work day. We spend our mornings writing grants and doing research, focusing stage lights, coordinating artist and student arrivals to the Pillow from all over the world, or helping folks place their ticket orders in the Box Office. At lunch, we eat inside the cozy Stone Dining Room, or outside on one of many picnic tables near the Pillow Rock--a time to get to know the artists performing that week, the staff outside our departments, and the students of The School. Either one-on-one or in a group Lunch n' Learn, we have the opportunity to hear from resident experts. It is a rare and wonderful opportunity to be surrounded by as many teachers as you want.

The afternoon moves quickly, with departmental or inter-departmental meetings, and perhaps a check-in with supervisors to talk about how the internship is going. Suddenly, it's evening. Hundreds of patrons seem to arrive in a moment, for the free Inside/Out performance series, a PillowTalk, or to see a ticketed performance. It is time to shift gears, change into stage "blacks" to run a show, hop into a golf cart to help people access the Pillow's campus, pass out programs, or find out what has brought our patrons to the Pillow that night.

Later, the buzz of the evening winds down as visitors settle into the Pub to talk about the performance they have just seen or head to their cars to return home for the night. We retreat: perhaps to the office to wind up the day's loose ends; maybe into the Archives to research an artist or a work of interest; or to one of many hang-out spots, to socialize with other interns, students, artists and compare notes on the day.

The experience is huge, at times overwhelming, and at times incomparably joyful. The cumulative result of each of these marathon days is a sense of how arts administration actually works, and further, the ability to trust in our own instincts--all in the same program that exposes us to more phenomenal art in one summer than most people have the opportunity to see in a lifetime. As the summer winds down, we prepare to take with us dear friendships made during only a few months, along with memories of golf cart parades, never-ending workdays, and inevitable summer silliness. Our new skills sets and ignited passions propel us forward, as we transition from the Pillow to the next great adventure.

Click here to read the next Pillow Pages article: Member Spotlight ]]>