The Fisher Center at Bard announces SummerScape 2025, bringing Opera, Dance, Spiegeltent, and the 35th Bard Music Festival: Martinů and his World, to the Idyllic Hudson River Valley, June 27 – August 17

From the Fisher Center at Bard Press Office and Blake Zidell & Associates

Celebrated Choreographer Pam Tanowitz Returns with Her Fourth SummerScape Commission, the World Premiere of Pastoral, a Collaboration with Painter Sarah Crowner and Pulitzer Prize-Winning Composer Caroline Shaw, Honoring and Transforming Beethoven’s Symphony No. 6 in F Major (June 27–29)

Multidisciplinary Programming Further Expands Classical Legacies in the First Fully-Staged American Production of a Rarely-Heard Masterpiece, Bedřich Smetana’s Opera Dalibor (July 25 – August 3), and Through the Festival Devoted to the Distinct, Genre-Crossing Music of Bohuslav Martinů (August 8–10, 14–17)

The Spiegeltent Brings a Brimming Program of Live Music, Performance, and Dancing to SummerScape for its 18th Year (June 27 – August 16)

Tickets Go on Sale to Fisher Center and Bard Music Festival Members on Tuesday, February 25 and to the General Public on Wednesday, March 5. Tickets for Mainstage Events Start at $25. Spiegeltent Tickets Go on Sale in April. 

For Complete Information Regarding Tickets, Series Discounts, and More, Visit fishercenter.bard.edu or Call the Fisher Center Box Office at (845) 758-7900.

The Fisher Center at Bard, one of the country’s leading multidisciplinary producing houses, offering extraordinary support to artists to realize ambitious and visionary projects, announces SummerScape 2025, June 27 – August 17, 2025. This year, across multidisciplinary programming in dance, opera, and music, classical compositional legacies are explored in exhilarating new ways and brought into revelatory discussion with the contemporary world. Meanwhile, the legendary Spiegeltent will once again be filled with live performance, genre-bending, and merrymaking. The “hotbed of intellectual and aesthetic adventure” (The New York Times), with its bountiful offerings in the Fisher Center and Spiegeltent, is a destination for breathtaking, thought-provoking performances and gatherings in an idyllic Hudson River Valley setting.

SummerScape 2025 premieres another major work from Fisher Center LAB Choreographer-in-Residence Pam Tanowitz, following the success of Four Quartets, her take on T. S. Eliot’s masterpiece of the same name (deemed “the greatest work of dance theater so far this century” by The New York Times); the “thrilling” (The New York Times) outdoor performance I was waiting for the echo of a better day; and Song of Songs, her Biblical poem-inspired collaboration with David Lang (regarded as “a thing of beauty” by The Guardian). With her latest, Pastoral (June 27–29), Tanowitz continues her series of groundbreaking performances that respond to masterworks of the past, collaborating with painter Sarah Crowner and composer Caroline Shaw to create a work that muses on and transforms Beethoven’s Symphony No. 6 in F Major. Tanowitz’s commissions for Bard SummerScape later reached audiences at New York City Center, the Barbican Centre, CAP UCLA, and BAM.

Pastoral sets the stage for a SummerScape replete with enthralling considerations of classical music: the festival’s other centerpiece production is Bedřich Smetana’s seldom performed opera Dalibor, July 25 – August 3. Dalibor is directed by Jean-Romain Vesperini—returning to the festival after staging Saint-Saëns’ likewise rare Henri VIII at SummerScape in a “vibrant,” “lovingly treated” production (The New York Times, in a Critic’s Pick review)—with the American Symphony Orchestra conducted by Leon Botstein. “Botstein, and his annual opera production at Bard, seem more invaluable by the year” writes The New York Times. Dalibor follows a 15th-century knight on trial for his role in a peasant uprising; this year’s production is the 1868 Czech opera’s first full staging in the United States.

The Bard Music Festival returns for the 35th year with an in-depth journey into the dynamic and genre-spanning compositions of Bohuslav Martinů (August 8–10, 14–17). Over two weekends, the festival presents kaleidoscopic, performance-and-panel-based explorations of Martinů’s work: A Musical Mirror of the 20th Century (August 8–10) and Against Uncertainty, Uniformity, Mechanization: Music in the Mid-20th Century (August 14–17).

The Spiegeltent—the majestic handmade mirrored pavilion and platform for cutting-edge performance—is back at SummerScape for its 18th year, abounding with music, performance, dancing, and other forms of revelry for the entirety of the festival. Spiegeltent offerings have enchanted guests since its introduction to the festival in 2006. This year, its programming is curated by Jason Collins, Fisher Center Producer & Spiegeltent Curator. Familiar faces return: choreographer, dancer, and comedian Adrienne Truscott will be this season’s emcee, with Andy Monk (organizer/host of Hudson Valley queer events including The Audacity! and Queer Conspiracy) as the host and co-curator of the Spiegeltent’s After Hours series. This summer also sees the beloved Bluegrass on Hudson series return for a third year, guest curated by Ruth Oxenberg and Rob Schumer. Full Spiegeltent programming will be announced at a later date.

SummerScape 2025 Highlights Descriptions and Schedule

Pastoral
Fisher Center LAB Commission/World Premiere

Choreography by Pam Tanowitz
Décor by Sarah Crowner
Music by Caroline Shaw
Featuring Pam Tanowitz Dance
Inspired by Beethoven’s Symphony No. 6, “Pastoral”

Friday, June 27 at 7 pm
Saturday, June 28 at 7 pm
Sunday, June 29 at 3 pm
Sosnoff Theater

Pastoral is the latest world premiere from Fisher Center LAB Choreographer-in-Residence Pam Tanowitz at Bard SummerScape, in a major new collaboration with composer Caroline Shaw and visual artist Sarah Crowner. Setting the dance to Beethoven’s beloved Symphony No. 6 in F Major, the “Pastoral,” Tanowitz then removes the music, replacing it in part with silence, in part with a specially commissioned score by her long-time collaborator, renowned composer Caroline Shaw, which itself responds to and transforms the Beethoven score. The décor for the production will be created by Brooklyn-based painter Sarah Crowner, well-known for her “cut & stitch” abstract canvases, which evoke pastoral landscapes in magnificent jewel colors. The resulting performance will be a gorgeous palimpsest of many artistic layers, with Beethoven’s evocation of the natural world as a guiding spirit.

Surrounding these performances, there will be an Opening Night Member Toast* on Friday, June 27; a Preshow Conversation with the Artists on Sunday, June 29 at 2 pm; and round-trip transportation from NYC on Sunday, June 29.

The company includes Marc Crousillat, Christine Flores, Lindsey Jones, Maile Okamura, Caitlin Scranton, Stephanie Terasaki, and Anson Zwingelberg.

The creative team includes Reid Bartelme (Costume Design), Justin Ellington(Sound Design), Davison Scandrett (Production Design), and Nicholas Houfek(Associate Production Design).

Pam Tanowitz is a celebrated New York-based choreographer and founder of Pam Tanowitz Dance who has steadily delineated her own dance language through decades of research and creation. She is the first-ever choreographer in residence at the Fisher Center at Bard in Annandale-on-Hudson, New York, and is an assistant professor of professional practice at Mason Gross School of the Arts at Rutgers University. Other honors include the Jacob’s Pillow Dance Award, LMCC Liberty Award for Artistic Leadership, Doris Duke Artist Award, Herb Alpert Award, BAC Cage Cunningham Fellowship, Bessie Awards, among others. She has created works for Australian Ballet, New York City Ballet, Martha Graham Dance Company, Paul Taylor American Modern Dance, The Royal Ballet, Kennedy Center’s Ballet Across America, Vail Dance Festival, Juilliard Dance, Ballet Austin, and New York Theatre Ballet. Originally from New Rochelle, New York, Tanowitz holds degrees from Ohio State University and Sarah Lawrence College.

Sarah Crowner explores the spaces where geometry abuts gesture, materiality merges with composition, and the graphic confronts the handmade. Incorporating two and three dimensional works across a variety of media (painting, sculpture, installation, and set design), Crowner’s work points to an expanded field of painting, investigating the relationship between the element and the whole, and how parts build an entirety. She earned a BA from the University of California, Santa Cruz in 1996 and a MFA from Hunter College, City University of New York in 2002. In 2016, Crowner was the subject of a solo exhibition at the Massachusetts Museum of Contemporary Art, North Adams, MA; a major monograph was produced on the occasion of that exhibition. Crowner’s work has also been featured in a number of group exhibitions, including the Whitney Biennial 2010, New York; Abstract Generation: Now in Print, Museum of Modern Art, New York (2013); Excursus IV: Primary Information, Institute of Contemporary Art, Philadelphia (2013); Painter Painter, Walker Art Center, Minneapolis (2013); Conversation Piece, Museum of Fine Arts, Boston (2014); and the Carnegie International Exhibition, 57th Edition (2018).

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist. Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. Recent projects include the score to Fleishman is in Trouble (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s The Sky Is Everywhere (A24/Apple), music for the National Theatre’s production of The Crucible (dir. Lyndsey Turner), Justin Peck’s Partita with New York City Ballet, the premiere of Microfictions Vol. 3 for the New York Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film Moby Dick co-composed with Andrew Yee, two albums on Nonesuch (Evergreen and The Blue Hour), and tours with Sō Percussion featuring songs from Let The Soil Play Its Simple Part (Nonesuch). She has contributed production to albums by Rosalía, Woodkid, and Nas. Her favorite color is yellow, and her favorite smell is rosemary.

Dalibor
by Bedřich Smetana
SummerScape Opera/New Production

Libretto by Josef Wenzig, Czech translation by Ervín Špindler
Directed by Jean-Romain Vesperini
American Symphony Orchestra conducted by Leon Botstein
Sung in Czech with English supertitles

Friday, July 25 at 6:30 pm
Sunday, July 27 at 2 pm
Wednesday, July 30 at 2 pm
Friday, August 1 at 4 pm
Sunday, August 3 at 2 pm
Sosnoff Theater

Experience the gripping drama of Bedřich Smetana’s Dalibor, a powerful Czech opera that weaves themes of revenge, love, and fate. Set against a backdrop of medieval intrigue, Dalibor follows its titular tragic hero as he faces a desperate struggle for redemption. With sweeping orchestral music and unforgettable arias, Dalibor captivates with its emotional depth and stirring melodies. Director Jean-Romain Vesperini (Henri VIII) returns to Bard SummerScape to helm this first fully-staged American production of a rarely-heard masterpiece.

Programs surrounding these performances include an Opening Night Intermission Toast on Friday, July 25; Dalibor in Depth with Maestro Botstein on Sunday, July 27 at 12 pm; Dalibor Cast Party* on Sunday, July 27; a Livestreamon Wednesday, July 30 at 2 pm EDT; an Encore Presentation on Saturday, August 2 at 5 pm EDT; and round-trip transportation from NYC available on Sunday, July 27 and Sunday, August 3.

Principals include Ladislav Elgr (tenor) as Dalibor, a knight; Izabela Matula(soprano) as Milada, sister of the Burgrave of Ploškovice; Terrence Chin-Loy(tenor) as Vítek, one of Dalibor’s mercenaries; Eric Greene (baritone) as Budivoj, Commander of the castle guard; Erica Petrocelli (soprano) as Jitka, a village maiden on Dalibor’s estate; Alfred Walker (baritone) as Vladislav, the Czech King; and Wei Wu (bass) as Beneš, the jailor.

The creative team is Jean-Romain Vesperini (Director), Bruno de Lavenère (Set Design), Alain Blanchot (Costume Design), Christophe Chaupin (Lighting Design), Étienne Guiol (Projection Design), and Anika Seitu (Hair & Makeup Design).

Jean-Romain Vesperini studied acting at l’École du Théâtre National de Chaillot in Paris and singing at The Guildhall School of Music and Drama in London, where he trained as a baritone. In the meantime, he decided to pursue a career as a stage director and spent several years collaborating with Luc Bondy and Peter Stein in major opera houses such as La Scala, the Paris and Lyon Operas, Salzburg Festspiele, and the Aix-en-Provence festival. In 2012, his own career developed with a successful production of La Traviata in France, broadcast on French national television and radio. At only 33, he staged Gounod’s Faust at Opéra National de Paris.

He then developed his career internationally. The Bolshoi Theatre invited him to create a new production of Puccini’s La Bohème, and Hong Kong Opera hired him for Bizet’s Carmen. He also staged Puccini’s Turandot at Ekaterinburg National Opera house and Mussorgsky’s Boris Godunov at Opéra de Monte-Carlo. In Canada, he staged Gounod’s Faust, Offenbach’s La Vie Parisienne, and Rossini’s Le comte Ory.

Vesperini made his debut in the USA, staging Puccini’s Gianni Schicchi at Festival Napa Valley with the support of Maria Manetti Shrem. He also staged Donizetti’s L’elisir d’amore, Don Pasquale, Mozart’s The Abduction from the seraglio. Vesperini staged Henry VIII by Saint-Saëns at the Fisher Center at Bard, NY, Summerscape 2023, which was named one of the “Best Classical Music Performances of 2023” by The New York Times.
This season, Vesperini will make his debut at Opéra Royal de Versailles staging Donizetti’s La Fille du régiment and Mozart’s Le nozze di Figaro at Opéra Royal de Wallonie (Belgium).

The 35th Bard Music Festival
Martinů and His World

Weekend One: A Musical Mirror of the 20th Century
August 8–10

Weekend Two: Against Uncertainty, Uniformity, Mechanization: Music in the Mid-20th Century
August 14–17

Bohuslav Martinů (1890–1959) was one of the most fascinating and prolific composers of the 20th century. His life story, from his birth in a church tower in 1890 in Polička (in present-day Czech Republic) to his death in Switzerland in 1959, engages with the vibrant musical scene in Paris, war and exile, Cold War politics, serious health challenges, and stateless wandering, including years in America. Like a latter-day Mozart, Martinů composed in every conceivable genre, developing a distinctive musical language recognizable after just a few seconds. The festival will offer a kaleidoscopic insight into the complex life, times, and work of this extraordinary personality.

In addition to the main events listed below, there will be a Bard Music Festival Book Launch* on Sunday, August 3; an Opening Night Social before Program 1 on Friday, August 8; a Summer Soirée between Programs 8 and 9 on Saturday, August 16; a Bard Music Festival Patron Lounge* on August 9–10 and 16–17; and round-trip transportation from NYC available for Program 10 on Sunday, August 17.

Weekend One: A Musical Mirror of the 20th Century 

Program One: The Peripatetic Career
Friday, August 8
Sosnoff Theater
7 PM Performance with Commentary

Bohuslav Martinů (1890–1959)
Double Concerto, H271 (1938)
Piano Quartet No. 1, H287 (1942)
Symphony No. 2, H295 (1943)
Fantasia, H301 (1944)
Petrklíč / Primrose, H348 (1954)

Panel One
Why Martinů: Understanding Classical Music, Past and Future
Saturday, August 9
Olin Hall
10 AM – 12 noon

Free and open to the public.

Program Two: The Emigree in Paris
Saturday, August 9
Olin Hall
1 PM Preconcert Talk
1:30 PM Performance

Bohuslav Martinů (1890–1959)
String Trio No. 1, H136 (1923)
Flute Sonata, H306 (1945)
Duo No. 1 for Violin and Cello, H157 (1927)

Josef Suk (1874–1935)
Piano Quartet No. 1 in A Minor, Op. 1 (1891)

Maurice Ravel (1875–1937)
Violin Sonata No. 2 in G Major (1927)

Works by Jaroslav Řídký (1897–1956) and Alexandre Tansman (1897–1986)

Program Three: Music and Freedom
Saturday, August 9
Sosnoff Theater
6 PM Preconcert Talk
7 PM Orchestral Performance

Bohuslav Martinů (1890–1959)
Memorial to Lidice, H296 (1943)
Symphony No. 6 (Fantaisies symphoniques), H343 (1951–53)
Piano Concerto No. 4, “Incantation,” H358 (1956)

Erwin Schulhoff (1894–1942)
Symphony No. 2 (1932)

Rudolf Firkušný (1912–94)
Piano Concertino (1929)

Program Four: The Search for a Distinctive Voice
Sunday, August 10
Olin Hall
11 AM Performance with Commentary

Bohuslav Martinů (1890–1959)
Les Rondes, H200 (1930)
String Quartet No. 7, “Concerto da camera,” H314 (1947)
The Fifth Day of the Fifth Moon, for piano, H318 (1948)
Variations on a Slovak Theme, H378 (1959)

Vítězslava Kaprálová (1915–40)
String Quartet No. 1, Op. 8 (1935)

Program Five: New Shores: Influences and Contexts
Sunday, August 10
Sosnoff Theater
2 PM Preconcert Talk
3 PM Performance

Bohuslav Martinů (1890–1959)
La revue de cuisine, H161 (1927)
Harpsichord Concerto, H246 (1935)
Tre ricercari, H267 (1938)
Piano Sonata No. 1, H350 (1954)

Arthur Honegger (1892–1955)
Concerto da Camera, H196 (1948)

Aaron Copland (1900–90)
Sextet (1937)

Weekend Two: Against Uncertainty, Uniformity, Mechanization: Music in the Mid-20th Century

Program Six: The Spiritual Quest
Thursday, August 14, at 7 PM
Friday, August 15 at 3 PM
Church of the Messiah, Rhinebeck

Bohuslav Martinů (1890–1959)
The Mount of Three Lights, H349 (1954)
Vigilie, H382 (1959)

Antonín Dvořák (1841–1904)
From Mass in D Major, Op. 86 (1887)

Leoš Janáček (1854–1928)
Veni Sancte Spiritus (ca. 1903)
Constitues eos principes (1903)
Ave Maria (1904)
Postludium, from Glagolitic Mass (1926)

Petr Eben (1929–2007)
Finale, from Musica dominicalis (Sunday Music) (1958)

Program Seven: Myth, Faith, and Folklore
Friday, August 15
Sosnoff Theater
6 PM Preconcert Talk
7 PM Performance

Bohuslav Martinů (1890–1959)
Mariken de Nimègue, H236/2 I (1933–34)
Field Mass, H279 (1946)
Brigand Songs, H361 (1957)

Panel Two: Music and Politics: From the Habsburg Empire to Contemporary Populism and Autocracy
Saturday, August 16
Olin Hall
10 AM – 12 noon

Free and open to the public.

Program Eight: Martinů and the Craft of Composition
Saturday, August 16
Olin Hall
1 PM Preconcert Talk
1:30 PM Performance

Bohuslav Martinů (1890–1959)
Duo No. 1, “Three Madrigals,” H313 (1947)
Cello Sonata No. 3, H340 (1952)
Nonet No. 2, H374 (1959)

David Diamond (1915–2005)
Quintet (1937)

Karel Husa (1921–2016)
Evocations de Slovaquie (1951)

Program Nine: Renewing the Public Power of Tradition
Saturday, August 16
Sosnoff Theater
6 PM Preconcert Talk
7 PM Orchestral Performance

Bohuslav Martinů (1890–1959)
Violin Concerto No. 2, H293 (1943)
The Epic of Gilgamesh, H351 (1955)

Jan Novák (1921–84)
Ignis pro Ioanne Palach (1969)

Program Ten: Martinů’s Legacy
Sunday, August 17
Olin Hall
11 AM Preconcert Talk
11:30 AM Performance

Bohuslav Martinů (1890–1959)
Three Czech Dances, H154 (1926)
Songs on One Page, H294 (1943)
Songs on Two Pages, H302 (1944)

Joan Tower (b. 1938)
Petroushskates (1980)

Kryštof Mařatka (b. 1972)
Báchorky, fables pastorales (2016)

Works by Jaroslav Ježek (1906–42), Frank Zappa (1940–93), and Iva Bittová (b. 1958)

Program Eleven: The Opera of Dreams: Martinů’s Julietta
Sunday, August 17
Sosnoff Theater
2 PM Preconcert Talk
3 PM Semi-Staged Opera Performance

Bohuslav Martinů (1890–1959)
Julietta, H253 (1937) (Martinů, after Georges Neveux)

Special Events
Save the date for special celebrations to benefit the Fisher Center and Bard Music Festival.

Bard Music Festival Opening Night Social
Friday, August 8
5–6:30 pm
Manor House
$125

Celebrate the official start of the 35th Bard Music Festival at the magnificent and picturesque 1916 Ward Manor House. Enjoy a savory spread while taking in the expansive views of the Catskill Mountains ahead of The Peripatetic Career, the opening night program of Martinů and His World.

Summer Soirée
Saturday, August 16
3:30–5 pm
Blithewood
$125

As SummerScape ends and the Bard Music Festival draws to a close, there is one more chance to come together and celebrate. Nestled perfectly between Bard Music Festival Program Eight: Martinů and the Craft of Composition and Program Nine: Renewing the Public Power of Tradition, this annual affair includes performances, signature cocktails, light fare, and a guaranteed good time.

*Complimentary Special Events for Members vary by membership level.

SummerScape Tickets

Tickets go on sale to Fisher Center and Bard Music Festival members on Tuesday, February 25 and to the general public on Wednesday, March 5. Tickets for mainstage events start at $25.

Spiegeltent tickets go on sale in April.

For complete information regarding tickets, series discounts, and more, visit fishercenter.bard.edu or call the Fisher Center box office at (845) 758-7900.

Round-Trip Bus Transportation from New York City
Chartered coach transportation from New York City is available for Pastoral (June 29), Dalibor (July 27 and August 3), and the final program of the Bard Music Festival (August 17). This may be ordered online or by calling the box office at 845-758-7900, and the meeting point for pick-up and drop-off is Lincoln Center on Amsterdam Avenue, between 64th and 65th Streets. More information is available here.

Funding Credits

Pastoral is a co-commission of the Fisher Center at Bard, Barbican London, and Dance Reflections by Van Cleef & Arpels. Commissioning support for Pastoral was provided by King’s Fountain, with additional commissioning funds provided by the O’Donnell Green Music and Dance Foundation. Developmental support was received from the Harkness Foundation for Dance.

The Bard SummerScape production of Dalibor has been generously commissioned in part by Sarah Billinghurst Solomon.

The Fisher Center is generously supported by Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, Felicitas S. Thorne, the Advisory Boards of the Fisher Center at Bard and Bard Music Festival, Fisher Center and Bard Music Festival members and general fund donors, the Educational Foundation of America, the Smokler/Hebert Family Fund, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. Fisher Center LAB is funded by the Lucille Lortel Foundation and the Fisher Center’s Artistic Innovation Fund, with lead support from Rebecca Gold and additional funding from The William and Lia G. Poorvu Family Foundation. The Pam Tanowitz Creation Fund is supported by the Friends of Pam with leadership gifts from an anonymous donor, Angela Bernstein CBE, and Lizbeth and George Krupp.

About the Fisher Center at Bard
The Fisher Center is a premier professional performing arts center and a hub for research and education that demonstrates Bard College’s commitment to the performing arts as a cultural and educational necessity. To support artists, students, and audiences in the examination of artistic ideas, the Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire.

Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. This world-class theater building will be complemented by a new studio building designed by Maya Lin, scheduled to open in 2026. More than 200 events and 50,000 visitors are hosted at the Fisher Center each year, and over 300 professional artists are employed annually. As a powerful catalyst of art-making regionally, nationally, and worldwide, the Fisher Center produces 8 to 10 major new works in various disciplines every year. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 165-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.

Through Fisher Center LAB, the Center’s acclaimed residency and commissioning program, artists are provided with custom-made support toward their innovative projects, and their work has been seen in over 100 communities around the world. Resident choreographer Pam Tanowitz’s 2018 “Four Quartets” was recognized as “the most important work of dance theater so far this century” by The New York Times. In 2019 the Fisher Center won the Tony Award for Best Revival of a Musical for Daniel Fish’s production of Oklahoma! which began life in 2007 as an undergraduate production at Bard and was produced professionally by the Fisher Center in 2015 before transferring to New York City. Illinoise, a 2023 Fisher Center world premiere from artists Sufjan Stevens, Justin Peck, and Jackie Sibblies Drury, was recognized with a Tony Award for Best Choreography following its tour and transfer to Broadway.

© Blake Zidell & Associates