Ravinia 2019, Issue 7, Week 13

COURTNEY LOPES, dancer Courtney Lopes is orig- inally from Bermuda, attended the Univer- sity of North Carolina School of the Arts for her high school edu- cation (focusing on contemporary dance), and graduated magna cum laude with a BFA in Dance from SUNY Purchase in 2012. Lopes had the opportunity to study abroad in Taiwan at the Taipei National University of the Arts, and she has studied with the American Dance Festival, José Limón Dance Company, and Doug Varone and Dancers. She has performed works by such choreographers as Mark Morris, Lar Lubovitch, Paul Taylor, Jessica Lang, and Huang Yi of Cloud Gate Dance Company. She currently works with Dance Heginbotham, MeenMoves, Sue Bern- hard Danceworks, Kathryn Alter & Dancers, and Megan Williams Dance. ALISON MORITZ, stage director Having earned praise from Opera News for her productions, stage director Alison Moritz is set to debut with Lyr- ic Opera of Kansas City, Opera Omaha, and Rice University this com- ing season, as well as return to Madison Op- era. Moritz has quickly earned a reputation for her incisive takes on contemporary American opera as well as thoughtful interpretations of classic repertoire. Her 2018–19 season included the world premieres of Kamala Sankaram’s Tak- ing Up Serpents (Washington National Opera), Chunky in Heat (Experiments in Opera, NYC), and Sarah Kirkland Snider’s Penelope (in a new performing edition for Lyric Opera of Kansas City). Her production of Bernstein’s Candide at Tanglewood in 2018 earned her several regional awards, including Best Director honors. Mori- tz has also recently directed Verdi’s La traviata (Opera Colorado) and Puccini’s La bohème (Austin Opera) and Madama Butterfly (Cen- tral City Opera). Additional highlights include the world premiere of Missy Mazzoli’s Proving Up (Washington National Opera) and new pro- ductions for Austin Opera, New Orleans Opera, Madison Opera, Opera Santa Barbara. JOHN HEGINBOTHAM, choreographer Originally from An- chorage, AK, John Heginbotham gradu- ated from The Juilliard School in 1993 and was a member of Mark Morris Dance Group from 1998 to 2012. He is the co-founder of the inter- national touring company Dance Heginbotham, and he has collaborated with such artists and en- sembles as Isaac Mizrahi, Maira Kalman, Josh- ua Bell, Shara Nova, Gabriel Kahane, Brooklyn Rider, Tyondai Braxton, Ethan Iverson, Alarm Will Sound, and Peter Sellars. He is on faculty/ staff at Dartmouth College/Hopkins Center for the Arts and is a founding teacher of Dance for PD. Heginbotham’s honors include the Jacob’s Pillow Dance Award (2014), a Guggenheim Fellowship (2018), the Obie Award (Special Ci- tation—Creative Team of Oklahoma! , St. Ann’s Warehouse, 2019). He is the choreographer of the current Tony Award–winning production of Oklahoma! , directed by Daniel Fish. His up- coming projects include Dance Heginbotham performances at the Baryshnikov Arts Center in New York and a new commission for the Wash- ington Ballet. AARON COPP, stage and lighting designer Aaron Copp’s recent projects include The New One by Mike Bir- biglia at the Cherry Lane, One Line Drawn by Brian Brooks for Miami City Ballet, Newsies at Village Theater, Shahrazad for the Royal Ballet of Flanders, and Rules of the Game , created by Jonah Bokaer, Daniel Arsham, and Pharrell Williams at the Winspear Opera House in Dallas. Music proj- ects include designs for the Silk Road Ensemble, Natalie Merchant, The Goat Rodeo Sessions , Sō Percussion, Maya Beiser, and the Bang On a Can All-Stars. Copp has designed for The Old Globe, the Kennedy Center, Dallas Theater Center, and other major venues around the country. He has worked extensively in the dance world, and in 2008 Copp received his second Bessie Award for Bokaer’s The Invention of Minus One . He had a long association with Merce Cunningham, de- signing such pieces as Ground Level Overlay , Windows , and Biped , for which he also won a Bessie. AMANDA SEYMOUR, costume designer Amanda Seymour’s recent credits include Mozart’s Idomeneo (Wolf Trap Opera), Gounod’s Roméo et Juliette (Wolf Trap Opera), Mozart’s La finta giardiniera (Juilliard School), Handel’s Giulio Cesare (Boston Ba- roque Opera), Bernstein’s Candide (Orlando Philharmonic), Strauss’s Ariadne auf Naxos and Rossini’s The Barber of Seville (Opera Theatre of Saint Louis), Diner: the Musical (Delaware The- atre Company), Macbeth (The Public Theatre’s Mobile Shakespeare Unit), Ping Pong (The Pub- lic Theatre), a double bill of Milhaud’s Le Pauvre Matelot and Poulenc’s Les Mamelles de Tirésias (Wolf Trap Opera), Dvořák’s Rusalka (Opera San Antonio), Oliver! (Paper Mill Playhouse), Paul’s Case (New York City Prototype Festival and Urban Arias, Arlington), The Ragged Claws , Exile , and Lawnpeople (Cherry Lane Theatre), Donizetti’s Don Pasquale (Juilliard School), and Lydia (Yale Repertory Theatre). Associate cred- its include Disney’s Frozen on Broadway, the first national tour of Hedwig and the Angry Inch, and Madonna’s Rebel Heart World Tour. TOMMY KURZMAN, wig and make-up designer Tommy Kurzman re- cently designed make- up for St. Joan (Manhat- tan Theatre Club), My Fair Lady , The Parisian Woman , The Little Foxes (Manhattan Theatre Club), InTransit , a national tour of The King and I (Lincoln Center Theater production), and Long Day’s Journey into Night (starring Jessica Lange), as well as Bright Star , Fiddler on the Roof , and Thérese Raquin (star- ring Keira Knightley) on Broadway. Hair design credits include Pushkin , La Cenerentola (Man- hattan School of Music), Desperate Measures (New World Stages/York Theatre), and White Snake and Jazz (Baltimore Center Stage). He is the associate to hair designer Tom Watson. As- sociate hair design credits include My Fair Lady , Junk , The King and I (tour and Broadway), Fal- settos , Bright Star , Fiddler on the Roof , Dames at Sea , and The Sound of Music (2016 tour). He has worked at several opera companies, including the Met, Saint Louis, and Santa Fe. Select wig credits for film and television include Queen America , The Good Fight , Chicago Med (NBC), and Masters of Sex (Showtime). RAVINIA MAGAZINE | AUGUST 26 – SEPTEMBER 2, 2019 100