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Friday, June 14, 2019

Meet the Projection Team That Keeps BAMcinemaFest Rolling

Mike Katz, Head Projectionist





By Sam Polcer

The film festival The New Yorker called “The city’s best independent showcase” is in full swing, which makes Mike Katz, who has been the Head Projectionist here at BAM since the cinemas opened in 1998, along with Jesse Green, our Cinema Technical Manager, currently two of the busiest men in show business. We thought we’d make their day even more complicated by sneaking into their submarine-like lair to ask them a couple questions about the unique challenges posed by such a unique cinema experience. (You’re welcome, guys.)

Thursday, June 13, 2019

In Context: Espæce

Photo: Christophe Raynaud de Lage

An enormous moveable wall splits and folds like a book. Five performers—three dancers, a soprano, and an actor—navigate this stunning monolith to create a shape-shifting tableau. Aurélien Bory’s playful, poetic work of physical theater is inspired by the life and work of writer-trickster Georges Perec, best known for his wordplay and droll wit. Using Perec’s Species of Spaces as a jumping-off point and diving into a physical riddle of arrivals and departures, presence and absence, Espæce destabilizes our expectations to moody and mischievous effect.

After you've attended the show, let us know what you thought by posting in the comments below and on social media using #espaece.

Program Notes

Espæce (PDF)

When the Wall is On Stage

Photo: Michael Slobodian




By David Hsieh

In the conventional sense, the stage is defined by the space between the three visible walls and the fourth invisible wall. The three visible walls separate the theater from the real world, and the fourth wall separates the audience from the performers. A wall is a divider. It blocks the audience’s view; it reduces performing space. So setting up additional walls on stage is tricky. But when it’s done right, the effect can be quite, shall we say, theatrical.

Monday, June 10, 2019

In Context: Ballet BC

Photo: Michael Slobodian

Canada’s beloved contemporary ballet company celebrates 10 years of excellence under the leadership of artistic director Emily Molnar, a former soloist with Ballett Frankfurt. In a kind of career-spanning reunion, this evening-length trio sets a new piece (To This Day) by Molnar alongside Enemy in the Figure, a masterwork by her former mentor William Forsythe, as well as Solo Echo, choreographed by fellow Frankfurt alum Crystal Pite. Emotive, expansive, and supremely theatrical, these three daring works embody the innovative spirit and tenacious artistry for which Ballet British Columbia has become known.

After you've attended the show, let us know what you thought by posting in the comments below and on social media using #BalletBC.

Program Notes

Ballet BC (PDF)

Friday, June 7, 2019

Katy Clark & David Binder: A Conversation

Photo: Jesse Winter
In January 2019, David Binder assumed the role of BAM’s Artistic Director, succeeding Executive Producer Joseph V. Melillo. BAM President Katy Clark recently spoke to David on the brink of the announcement of his first Next Wave.

Katy Clark: You once told me that while you didn’t know it at the time, your career, as varied and winding as it has been, has been preparing you to come to BAM the whole time. What did you mean by that?

David Binder: When you’re moving through life, it’s impossible to see how the dots will connect, but looking back, you can see how perfectly they align. That’s the case for BAM and me.

See, I grew up in Los Angeles, where I was mostly exposed to musicals—you know, the barricade-busting, chandelier-dropping kind. Once in a while, a great play would come to town; I remember seeing the Royal Shakespeare Company’s epic Nicholas Nickleby in 1986, or the Broadway company version of Fences, but mostly it was about big touring shows. When I went to UC Berkeley, I spent a lot of time at Cal Performances. Everybody performed there. We had Bill T. Jones with Arnie! I feel so lucky to have seen that. I also remember seeing Mark Morris in a long wig, dancing with a remote-controlled Tonka truck! After college I moved to New York to work on Broadway, not knowing exactly what I wanted to do. I had so many jobs. I was in the costume shop running errands for the legendary designer William Ivey Long on Assassins—even though I couldn’t sew. I worked as a PA on a play called The Sum of Us at the Cherry Lane; it starred Tony Goldwyn, who is now starring in Ivo van Hove’s Network, which I’m producing. I was a PA on The Secret Garden. That’s where I met John Cameron Mitchell, who I ended up spending the next 20 years with, working on a show that became Hedwig and the Angry Inch.

Wednesday, June 5, 2019

Twenty-Five Years of Legendary Performances at MetroTech


Danny Kapilian has brought some of the biggest and most exciting names in music to the BAM R&B Festival at MetroTech, our free Thursday-afternoon summer concert series, since 1995. Burning Spear, Percy Sledge, Sharon Jones, Ashford & Simpson … the list of all-stars who have transformed MetroTech Commons into a musical hotspot over the years is endless. We asked Danny about his original vision for the festival, some of the most memorable performances, and what he’s looking forward to this year.