Did you know? More than six million Valley residents and visitors attended an arts event or visited a museum during the 1998-99 season - and that number grows each year. Until last year, more people in the Valley attended arts events than attended professional and college sports combined. The opening of the Diamondback inaugural season changed that, but without baseball, arts events drew almost twice the audience of sports events. J. Robert 1s Dean These figures - from What Matters in Greater Phoenix: 1999- suggests that the Valley is a lively and supportive place for the arts. Those of us in the ASU College of Fine Arts are glad to be an integral part of this scene. If you are among our faithful audience members, thank you for your continued support. If you are a newcomer to the college, welcome! We're glad you're here. Please enjoy your time here at ASU and take a moment to read this playbill, where you will learn more about the exciting activities offered by the College of Fine Arts. Our college's teaching efforts, research endeavors and performance schedule have a strong influence on life in the Valley - and in the world. You can find out even more information about the College of Fine Arts at our web site http://www.asu.edu/cfa. . All of us in the college - faculty, staff and students your time with us is enjoyable! J. Robert Wills Dean College of Fine Arts 2 [© 2000 Arizona State University • Design by Amy Ng• Cover Photography by Lyle Beitman, Gold Dust Studio, Michael Kroeger, Tim Trumble] hope Artificial Changelings Allows for Interaction by the Exhibition's Visitors Audiences at the exhibition, Artificial Changelings, will get a taste of the 21st century when they interact with film characters, impacting and altering the story in Tony Dove's groundbreaking installation. Artificial Changelings is a sci-fi romance about shopping chat follows the life of Arathusa, a kleptomaniac in 19th-century Paris at the time when department stores came into being. Arachusa, in turn, dreams of the futuristic Zilich, an encryption hacker with a mission. Created by Dove between 1993 and 1998, Artificial Changelings is presented by the A scene from Dove's Artificial Changelings. This semester, the ISA also presents Acoustic Animation, an exhibition of sound art Institute for Studies in the Arts (ISA) and installations. It is comprised of works by will be installed in the Computing Commons artists who blur the lines between sculpture Gallery from March 9 through April 13. and musical instruments, static and performing ar't, noise and music. The installation uses video motion sensing to track the location and movements of a With an impressive history of technology viewer standing in front of a rear projection development and creative output, the ISA screen. This information is then used to alter has applied its skills and strengths to Acoustic the direction the srory takes. Animation, a project by a select group of artists whose proposals were juried by ISA resident Dove, who is a guest artist at the ISA artist J.B. Smith, a Professor of Percussion chis year, is currently developing another in the School of Music. ASU's music interactive work, a feature length interactive composition students are also benefiting movie, Spectropia. Her residency at the ISA from this project through participation provides Dove with a vital opportunity to use in workshops with the guest artists. the ISA's interdisciplinary research facilities to create her new work. Functioning as she does ISA staff and facilities assisted in the on the cutting edge of art and technology, development of design and hardware Dove has to create not only the art, but also necessary to fabricate works for Acoustic the infrastructure to support it. Animation, an event featuring both American and foreign artists. The sound galleries created "I work in a medium chat doesn't exist yet," consist of sculptures with a sound element, Dove says. "Metaphorically speaking, instruments with sculptural qualities, and I wanted to write a song and found I had surround-sound environmental events. to build the piano." • by Jennifer Pringle 3 Roxy Paine, 1997 Psi/cybe cubensis Field (detail) polymer, lacquer and oil paint ASU's Sites Around the City Exhibition to Unite Valley Art Organizations From saguaro cacti to skyscrapers, from 120-degree heat to snowfalls across the suburbs, Phoenix and the Valley of the Sun are a study in contradictions. So too, is the art that is situated in this environment. From ancient rock faces featuring petroglyphs to solid waste treatment plants incorporating public art, from the stone towers of Papago Park Gateway to the sculptures adorning Squaw Peak Parkway, the valley is rich with culture and contradiction. Now a landmark exhibition at the ASU Art Museum is the catalyst for a Valley-wide art event in which almost two dozen Valley art organizations celebrate the region's unique environment. 4 Situated in the Nelson Fine Arts Center, itself designed by Antoine Predock to respond to the landscape and culture of the area, the ASU Art Museum exhibition, Sites Around the City: Art and the Environment, is curated by ASU Art Museum's Senior Curator Heather Lineberry. It contains work by nine artists who work in a variety of mediums, including installations, new media, photographs and sculpture. In keeping with the exhibition's theme, it extends from the galleries within the building to · the environment beyond, with works installed both inside and outside the museum. The exhibition celebrates the role of art as both a commentator on, and participant in issues created by urban and suburban growth. According to Lineberry, Sites Around the City "explores the interconnections of the built and the organic, the artificial and the natural, culture and nature - essentially the interactions between humans and the land." Sites Around the City: Art and the Environment, opens at the ASU Art Museum on March 4 and runs through June 4, 2000. The exhibition is funded in part by the Warhol Foundation, the National Endowment for the Arts, the Arizona Commission on the Arts and private individuals. Publication of the guide to the citywide event is being funded by APS. l\EELo In conjunction with the ASU exhibition and operating under the same umbrella title is Sites Around the City: Art and the Environment, the first ever, citywide arts event in the metropolitan Phoenix area. It takes place during March and April. The organizations participating in this unique event are themselves a coalition of opposites. Large and small, traditional and alternative, private and public art venues and organizations are participating in this huge art event. CAFE U~fi. underground bar "Sites Around the City will be a landmark event in greater Phoenix," Lineberry says. ''Arts organizations throughout the Valley are collaborating to present and promote contemporary art and raise awareness about our unique ecology." • by Jennifer Pringle • • ~i~RlAME ® ~XP-ert Picture framing We specialize in "Preservation Framing" Preserve what's important to you I Mesa Dinner and late night dining. "The best" live music nightly! 2909 South Dobson Rd. South of Guadalupe beside Waldenbooks (480) 345-0133 Ahwatukee Foothills 480·894·1Z~O 4232 E. Chandler Blvd. 1 mile west of 1-10 beside Sonic Downtown Tempe on Mill Avenue fl Sth Street (480) 759-7500 www. f a s t fr a m e .co m • • 5 Members of D.A.R.T. lead a workshop for South Phoenix 7th and 8th graders. ASU Dance expands its outreach vision with D A.R.T. As the Valley continues to grow, so do the efforrs of ASU's Department of Dance. Since 1984, D.A.R.T. (Dance Arizona Repertory Theatre), the outreach arm of the Department of Dance, has brought dance off the stage and into the community to touch the lives of others. Artistic directors Mary Fitzgerald and Jennifer Tsukayama guide the troupe, which also serves as ASU's student dance company. "Community involvement is a >trong focus of D.A.R.T. The troupe has been involved in performances and programs in a variety of formal and informal settings, including parks, elementary and high schools, art organizations, retirement communities, the Boys and Girls clubs and at centers for youths at risk, " Tsukayama says. 6 The troupe has several community partners this year, the main one with the Silvestre Herrera School in south Phoenix. Here they create and collaborate with seventh and eighth graders through choreography and improvisation on the making of a new work. "All of the work this year will culminate in a community concert this spring. Our goal is to make this concert an annual event, each time with new partners. Part of the revenue from this concert will go toward a summer arts study scholarship for a Herrera student." Fitzgerald adds that this not only benefits the community, but D.A.R.T. dancers, too. "We want to continue working with diverse groups in the community and at the same time, raise the caliber of our dancers on a performance level," Fitzgerald says. "D.A.R.T. is a realistic vehicle to equip undergraduates students with real-life experience, while being able to do something valuable for the community in which we live." Next year D.A.R.T. will form partnerships with some new community groups and senior centers. A collaboration with the ASU Art Museum is also in the works, with plans to create site-specific work in the museum itself for various art openings. Tsukayama and Fitzgerald believe that the future of D.A.R.T. involves expanding and augmenting its outreach goals. "We would like to expand D.A.R.T. into two companies, both with an outreach mission," says Tsukayama. "We'd like to see one company tour and workshop on a national level, while the other reaches the local community." CAP Center A. d t()l~. nca ell11c Precoci .. for academically Department of Dance Chair Claudia Murphey supports this new vision wholeheartedly. "I like to think that dance is for everyone anclcl:ia.tiuhouldbe..par.Lo£e..veryone'slife. DA.R.T. is a way for students to discover, view, learn and experience movement," Murphey says. "The outreach that DA.R.T. does is a way for university dance students to learn about the community they are living in and for the community to share their experiences with DA.R. T It is a win/win situation." Students Grades PreK-12 Spring &Summer Programs ltiil Summer ARIZONA STATE Residential UNIVERSITY Program Available For more information call: 480/965-4757 • Fax 480/965-1069 cap@asu.edu • www.asu.edu/educ/cap • by Megan Krause Famous for our Fresh Fish Dinners. Also specializing in steaks, chicken and cajun favorites. Patio Seating • Valet Parking Thurs. - Saturday. It's more than just water under the bridge 4th Street and Mill in Tempe • 480-966-1700 7 ere Jo JOU uanllo ~e l~i, sU MM ep Pl<µl yoHr n~xt trip with ASU Travel with ASUSu l'll'l er utudj ~broad programs. You'll learn from top university professors, get ASU credits and visit memorable locales. Year 2000 programs include: • • • • • Bali (Photography) Bermuda (Recreation and Tourism) Cambridge (Shakespeare) Italy (Art History) Rome/Sienna/Venice/Milan (Design & Context) • China/Silk Road (Liberal Arts) • London/Dublin/Edinburgh (Communications) Contact Ara Pachmayer at (480) 965 -010 1 or www.asu.edu /ssc /studyabroad for more information . . ASLJ Alurini Travel tours are open to all interested travelers, as long as one in two passengers traveling together is a dues-paying member of the association. • Grand Mediterranean Cruise May 29-June 14 $3,595 Cruise the Western Mediterranean aboard the luxurious M. V. Marco Polo. Explore historic Istanbul, the classical Greek ruins in Delos and Mykonos, the arc and architecture of Rome, Pisa and Florence and glamorous Cannes. • Village Life in the Cotswolds May 28-June 5 $2,495 Reside one week in the Regency architecture town of Cheltenham, explore the majestic ruins ofTincern Abbey and tour Blenheim Palace with Lord Charles Spencer Churchill. Experience the Cotswolds renowned floral gardens. • Alumni College in Spain June 19-27 $2,195 • Swiss Summer Escapade July 11-19 $2,795 • Treasures of the Seine July 25-August 8 $3,845 (wait list) • Georgian Clipper/Great Lakes Cruise August 7-17 $2,950+airfare • Northwest & Glacier August 31-Sept. 6 $2,690+airfare • Alumni College in Provence September 4-12 $2,295 •Prices subject to change. • Alumni Travel Contact Sue Taylor at (480) 965 -0099 or 1-800-ALUMNUS for more information. ASU School of Music presents Chamber Winds April 9, 2000 7:30 p.m. Katzin Concert Hall Conductor Gary W. Hill Guest Conductor Barry Kraus A51I FineArts A RIZONA STAT E U N IVE RSITY II Program Divertimento, K. 159d (1773) Allegro Menuetto Andante Grazioso Adagio Allegro I I I Wolfgang Amadeus Mozart (1756-1791) Little Three Penny Music (1928) Overture The Mori tat of Mack the Knife The Instead-of Song The Ballade of the Easy Life Polly's Song Tango-Ballade Cannon Song Three Penny Finale Kurt Weill (1900-1950) Barry Kraus, guest conductor Intermission A Set ofFour Pieces Calcium Light Night (1898/1907) Ann Street (1921) The See'r (?1908) The Unanswered Question (1906/c. 1930-35) Natalie Bruno, trumpet soloist Serenade in D-minor, op. 44 (1878) Moderato quasi Marcia Menuetto Andante con Mato Finale 11 Charles Ives (1874-1954) Anton Dvorak (1841-1904) Biographies Gary W. Hill is Professor of Music and Director of Bands at Arizona State University where he co nducts the Wind Symphony and the Chamber Winds, and teaches undergraduate and graduate conducting. Prior to Hill's appointment at ASU, he was Director of Bands at the University of Missouri-Kansas City Conservatory of Music, where he also served as Music Director for the Kansas City Youth Wind Ememble, and conducted two professional groups: the Kansas City Symphony Brass Ensemble and newEar, a chamber ensemble devoted to contemporary music. Previously, he held a similar post at East Texas State University and was Associate Director of Bands at the University of Colorado, Boulder. Hill began his teaching career in Michigan where he served as Director of Bands for the West Bloomfield and Traverse City public schools. High school, university, and professional ensembles under Hill's direction have given performances for the National Band Association, the Music Educators National Conference, the College Band Directors National Association, the International Horn Symposium, the National Flute Association, at many state conventions, and throughout North America, and Europe. Performances conducted by him have drawn consistent praise from composers, performing musicians, and critics alike for their insightful, inspired, and cohesive realizations, and for their imaginative programming. As a guest conductor and clinician, appearances in ten countries and twenty-five states have included performances with myriad high school honor bands, numerous college and university wind bands and orchestras, at the Midwest International Band and Orchestra Clinic, and at the World Association of Symphonic Bands and Ensembles' inaugural conference. He has presented fifty workshops on conducting and rehearsal technique for instrumental teachers of all levels and has served as a clinician for more than seven hundred bands and orchestras. I ~ Barry Kraus is a graduate assistant with the Sun Devil Bands. He is currently in the first year of the Doctor of Musical Arts Degree in Music Education at Arizona State University. He serves as an associate conductor of the Wind Symphony, Chamber Winds and Concert Band. Mr. Kraus holds a Bachelor's Degree in Music Education from Oklahoma State University and a Master's Degree in Instrumental Conducting from Baylor University. From 1994 tol997, Mr. Kraus was an assistant band director at Waco High School (Waco, Texas), where he conducted the Symphonic Band and directed the Jazz Ensemble. Pursuing professional interests in music education and conducting, Mr. Kraus holds membership in several organizations including the College Band Director's National Association, Pi Kappa Lambda National Music Honor Society and Phi Mu Alpha Sinfonia. 111 Chamber Winds Personnel Flute Monica Sauer Amy Tatum* Oboe Clara George* Lara Saville Bassoon Rebecca Cain* Tim Wiggins Clarinet Marie-Julie Chagnon Amy Parks* Saxophone David Jenkins* Horn Eric Brown Jennifer Kangas* Trumpet Natalie M. Bruno* Brian Roberts Trombone Erik Bestmann Tuba Andrew Hitz* lV Percussion Ryan Anthony Sonja Branch Casey Farina Jordan Gallaher Michael Richau Steve Sehman* Melanie Tabey* Piano Jeong-Hwa Park* Assisting Musicians Gina Carr and Ryan Zwahlen , English Horn Simon Hutchings, Saxophone Andrey Astaiza , Horn Sarah Fourt and Andrew Tholl, Violin Kathryn Yadon , Viola Kerry Campbell, Cello Ryan Kuck, Bass James O'Halloran, Guitar Alex Zwailek, Banjo/Guitar Frank Milano, Accordion Graduate Associate Conductors/Managers Brian Cardany German Gonzalez Barry Kraus Century-Old Collotype Press Donated to ASU .q I The latest acquisition of the School of Art photography program is a product of turn-of-the-century technology- that's the twentieth, not the twenty-first, century. Recently donated by Nicholas Jannes, president of Black Box Collotype in Chicago, the massive 100-year-old collotype press was installed at ASU East and will be used by students on both campuses for fine ~ art publishing projects. "Jim did a tremendous amount of work securing the press for the School of Art," says Julie Codell, the school's director. "Printmaking and photography students and faculty will be engaged in producing work that will gain international attention, as we will be one of the few sites in the world with a press of this magnitude and prestige." Several universities and other institurions hoped to add the machine to their collections, but Black Box chose to donate it to ASU because "they wanted the process to continue," said Hajicek. "They didn't want it to sit in a museum. And they realized ASU was the center of collotype research and production." For 10 years Hajicek has been teaching the 19th-century process on a small press. Now the school can look forward to attracting graduate students of the highest caliber. "As more schools become focused on digital processes, we are committed to reviving techniques of the last century, in addition ro processes of the next century. ASU is unique in this respect," Hajicek said. Collotype has been claimed by both printmakers and photographers and functions well in both arenas. It is considered the only true continuous tone Jim Hajicek and collotype press. method of printing an image with ink onto paper. Further, it retains the finest possible detail in the final print. "As a reproductive process, collotype is the most faithful in capturing every subtle nuance of the original," explains Hajicek, who joined the ASU art faculty in 1976. When the Dead Sea Scrolls were to be reproduced for scholarly study, collotype was chosen as the best process. That same ability also attracts phorographers who want a printing process to retain as many subtleties as possible. Valued at $500,000, the press will also allow ASU's Pyracantha Press, which creates handmade artists books, ro print larger editions at a faster rate. Currently the School of Art's printmaking program is ranked eighth in the nation by US. News and World Reports. Hajicek expects the press to be running by fall 2000 and will serve both ASU East and ASU Main. Codell points ro the project as "a good example of how the campuses can work together for the benefit of students." • by Dianne Cripe 9 Artswork The Kax Herberger Center for Children and the Arts In ASU's Department ofTheatre, one professor's vision of connecting children and the arts has blossomed into a vibrant and active program Artswork The Kax Herberger Center for Children and the Arts. Conceived by ASU Professor of Theatre Roger Bedard, Artswork unites ASU artists and scholars with community leaders in research and programs focused on children, the arts and public policy. Its goal is to advance the arts for children in the schools, arts institutions and communities of the Grand Canyon State. A generous gift of $500,000 from Mrs. Kax Herberger to the ASU Campaign for Leadership helped launch this initiative. Currently Artswork is involved in two significant projects. The first is a National Endowment for the Humanities Schools for the New Millennium grant dubbed "the Seba Dalkai project," in which Artswork is developing a humanities curriculum based for children. Under the guidance of Bedard, the program's Director, graduate assistant and MFA candidate in Theatre for Youth Patrick Elkins-Zeglarski works intensively ro ensure Artswork's success. 10 "This technology and curriculum-based grant for the Navajo school of Seba Dalkai in Window Rock, Arizona, brings Artswork together with Seba Dalkai staff and faculty, members of the Navajo Nation, ASU faculty and staff and members of other Puppet-making is just one of the fun arts experiences for children through Artswork. Native American organizations," says Elkins-Zeglarski. Closer to campus, Artswork is involved in an amazing partnership that brings arts back to the community and, ultimately, will lead to the establishment of an arts center in south Phoenix. The South Mountain Village Partnership for the Arts is comprised of Artswork, Lady Black Smith Projects, the Valley of the Sun YMCA, the Valley of the Sun Habitat for Humanity, and the Boys and Girls Clubs of Metropolitan Phoenix. Mrs. Herberger's concern over audience development was a driving force behind her Artswork support. "Until we better educate our children about the delight and beauty in the arts, we won't have audiences for our theatres, our symphonies, our operas," she says. 'Tm very excited about Roger's two projects! We can't do too much when it comes to our children's education in the arts." • by Megan Krause School of Music's Choral Program is a Win-Win Situation for Performers A s Reaping the benefits goes both ways when it comes to the School of Music's highly regarded Choral Program. Its undergraduate, masters and doctoral students receive unparalleled training and performance experience, while valley audiences enjoy the best in choral recitals and concerts that usually boast free admission. The Choral Program is overseen by Professor of Choral Music David Stocker, a noted music educator now in his fourth year as Director; other key faculty include Professor of Choral Music George Umberson and Faculty Associate Karen Parthun. "We present polished and professional performances," notes Stocker. This is evidenced by the fact that students who graduate from the Choral Program go straight from ASU to teaching positions at [see Choral Program continued on page 12] 11 n ' ranz [continued from page 11) colleges and universities, and public and private schools, as well as taking on major roles in such productions as Phantom ofthe Opera and Les Miserables. While these talented students are still at ASU, valley audiences have numerous opporruniries to see them perform. "We offer a diversity of performances from eight different choral groups," explains Stocker. "Each year, we also go off campus to sires in both the east and west valleys. Our goal is to bring our programs to the community." The groups travel to schools and churches, as well as rake part in the ASU Starbucks Coffee Concert Series in Scottsdale and in Phoenix at the Bank One Music Series and ASU Plays the Park Series. Plus, there are a number of concerts held on the main ASU campus in Music Building performance venues and in Gammage Auditorium. Surprisingly, nor all of the 600 students raking pan in the Choral Program's eight 12 groups are music majors. For example, 50 percent of the University Choir membership consists of non-music majors and three-fourths of the Choral Union members are either non-music majors or community residents. Stocker says this illustrates rhar the Choral Program groups draw from other disciplines within the College of Fine Arts, such as the Lyric Opera Theatre Program in the School of Music and the Departments of Dance and Theatre. He notes that the groups also draw students from ASU's other 11 colleges. "If you're a singer, please come to see us," says Stocker. "We find the place best suited for each student in order for that student to reach full potential." Parrhun adds that choral music is unencumbered and unlimited in its appeal. "Ir is more accessible because all you need to bring is yourself and some experience in singing." • by Mary Brennan Set in a ~h~rming 1920's cottage, House of Tricks Restaurant and outdoor patio bar, nestled among mature trees, is a Tempe landmark. Fresh, seasonally-inspired "New American" menus are complimented by an extensive wine list. Open for lunch and dinner, Monday-Saturday. 114 E. 7th Street• Tempe 968-1114 As a member of this audience, your involvement is most appreciated. We invite you to take your support a step or two further. Become an important partner in the college's growth by volunteering your time. In art, as in life, being an active participant is always the most satisfying role of all. Do you have a specific interest in one of the arts? For specific information on a CFA involvement group, the contacts are listed here for your convenience. The faculty, staff and students in the College of Fine Arts thank you for your interest! ASU FRIENDS OF ART ASU PHOTOGRAPHY SUPPORT GROUP 480-965-8521 • Is fine art your passion? Join the ASU Art Museum's docent program and use your teaching skills to guide students and outof-town visitors through the galleries. If you like sales and being around beautiful jewelry and artifacts, you'll love working in the Museum Store. FRIENDS OF THE ASU ART MUSEUM 480-965-2787 ASU ART MUSEUM DOCENTS ASU ART MUSEUM STUDENT DOCENTS 480-965-2787 • A love for the visual arts may also find you becoming involved in the School of Art. There, you can become a member of the ASU Friends of Art or the ASU Photography Support Group and learn about the college's programs, faculty and students. • If your enthusiasm centers on the performing arts, sign up for one of the Friends groups dedicated to dance, theatre, lyric opera theatre and organ music. You'll feel energized as a member of any of these groups. ARIZONA PRINT FORUM 480-965-2787 ASU FRIENDS OF DANCE 480-965-5029 ASU FRIENDS OF MUSIC 480-965-2819 ASU FRIENDS OF ORGAN MUSIC 480-965-3968 ASU FRIENDS OF THEATRE 480-965-9547 ALUMNI RELATIONS 480-965-8985 13 General Information GENERAL BOX OFFICES Serving ASU Dance, Lyric Opera Theatre, ASU Theatre and the Institute for Studies in the Arts: Galvin Playhouse/Nelson Fine Arts Center: 480-965-6447 Hours: 10:30 a.m.-6 p.m., Tuesday-Friday noon-4 p.m. Saturday Gammage Auditorium: 480-965-3434 Hours: 10 a.m.-6 p.m. Monday-Friday 10 a.m.-4 p.m. Saturday Dillards Charge Line: 480-503-5555 Phone Hours: 8 a.m.-9 p.m. Monday-Friday 8 a.m.-6 p.m., Saturday 10 a.m.-6 p.m. Sunday Outlets open for walk-up business during regular store hours Facility Box Offices Dance Theatre 132 Physical Education Building East Opens one hour before performance, Galvin Playhouse: 480-965-6447 Opens one hour before performances, plus regular hours of 10:30 a.m.-6 p.m. Tuesday-Friday, noon-4 p.m. Saturday Lyceum Theatre: 480-965-3437 Opens one hour before performances Music Theatre: 480-965-3398 Opens one hour before performances FACILITY POLICIES Due to the disturbance to other patrons and to performers on stage and in observance of copyright laws, the use of cameras and recording devices is strictly prohibited. Patrons are also asked to please turn off watch alarms, pagers and cell phones. Food, beverages and smoking are not permitted in facilities. 14 GROUP SALES Put together a group of 20 or more family, friends, neighbors or co-workers and save with group discounts. They're available for many performances. Simply call the Fine Arts/Galvin Playhouse Box Office, 480-965-6447 or 480-965-5360. CHANGE of ADDRESS Season subscribers are encouraged to notify us about a change of address. We want to keep our records accurate and keep you informed of new developments. If you move, please call or write with the new information. EMERGENCY MESSAGES Physicians and other patrons expecting calls during a performance are asked to give their seat locations and paging devices to the House Manager. All checked paging devices will be monitored throughout the performance and can be picked up from the House Manager following the performance. Patrons who need to make an emergency phone call should contact an usher or the House Manager for assistance. (Be sure to leave seat locations with your sitter!) EMERGENCY PHONE NUMBERS ASU Public Safety: 480-965-3456 Galvin Playhouse: 480-965-6447 Gammage Box Office: 480-965-3434 Lyceum Theatre Box Office: 480-965-3437 Music Theatre Box Office: 480-965-3398 LATE SEATING POLICY Late-arriving patrons will be seated at the discretion of the House Manager. It is ofren impossible to seat late-arriving patrons until an appropriate break in the performance. PATRONS with PHYSICAL DISABILITY The ASU College of Fine Arts welcomes all patrons to our performances. Seating for patrons with a physical disability is available in all facilities and may be requested when purchasing tickets. Parking spaces designated for patrons who have a physical disability are located in all parking lots. THEATRE and AUDITORIUM OPENINGS Seating areas open 30 minutes before curtain time. LOST and FOUND Galvin Playhouse: 480-965-6447 Gammage Auditorium: 480-965-3497 Lyceum Theatre: 480-965-6447 Music Theatre: 480-965-6603 Physical Education Bldg East: 480-965-6447 The following are suggested parking instructions for ASU College of Fine Arts facilities: Parking Galvin Playhouse (Nelson Fine Arts Center) Evenings and Weekends: Lot 3 on Gammage Pkwy. Parking Structure 3 on Myrtle Ave. • Lot 8 at Tenth St. and Myrtle Ave. ($1 per hour charge) Free on-campus parking is available for all weekend events, Saturdays and Sundays; and weekday events after 7 p.m. Exceptions are restricted, visitor/pay lots and residence hall lots, as noted on the signs at the lot entrances. Gammage Auditorium Evenings and Weekends: Lot 3 on Gammage Pkwy. (Arrive early!) Patrons arriving less than 30 minutes before curtain, should go directly to Parking Structure 1 on Apache Blvd. Weekday (Monday through Friday) events held during the hours of 7 a.m. to 7 p.m. must use designated "Visitor Parking" areas (metered or paid). Parking designated for those with a physical disability placard or license plate is available in all parking areas. Lyceum Theatre Evenings and Weekends: Parking Structure 3 on Myrtle Ave. Dance Theatre/ 132 Physical Education Building East Please read posted signs and avoid parking in reserved or restricted spaces. We cannot assume responsibility for parking violations. Evenings and Weekends: Lot 42 at Orange Ave. and McAllister Ave. Note: There is a charge for anyone parking Parking Structure 4 at Orange Ave. on campus before 7 p.m. on weekdays. and McAllister Ave. Music Theatre (Music Building) Note: Visitor Parking Lot #8, which is north of the Nelson Fine Arts Center, is not a free lot. There is a $1 per hour charge, even after 7 p.m. on weekdays {Monday through Friday). Evenings and Weekends: Lot 3 on Gammage Pkwy. Parking Structure 3 on Myrtle Ave. • Lot 8 at Tenth Street and Myrtle Ave. ($1 per hour charge) ASU Art Museum (Nelson Fine Arts Center & Matthews Center) ....J Evenings and Weekends: Parking Structure 3 on Myrtle Ave. • Lot 8 at Tenth Street and Myrtle Ave. ($1 per hour charge) tN PS3 is only free after 7 p.m . M -F and free Sat & Sun 1-t-t--- -- lf-< ~~ Jl 11 ~~ c======~~·~·~~·.~~====~ .. ~ ~~~ammage ll! c:::J d1 DGLJDDD• D ::,;~ . [_)= ""™""""~ p k Auditorium Memon•I -, Lot42 Parking Structure4 *Free Parking PE East *All campus parking is FREE ~ ~~ ~~~o~ Apache Blvd. Parking after 7 p.m. weekdays and ALL day on weekends except in restricted, visitor/pay and residential hall lots, as noted at the entrance to each lot. ~--~ Apache Blvd. [ r 15