Miller Theatre at Columbia University 2015-16 27th Season Opening Night Run Time Error Simon Steen-Andersen JACK Quartet Thursday, September 17, 8:00 p.m.
From the Executive Director This September we begin Miller Theatre s 2015-16 season with three incredible collaborations. Tonight you ll see Danish composer and performer Simon Steen- Andersen join with one of our favorite ensembles, the JACK Quartet, on a very special project. Run Time Error, the video work that opens and closes this evening, invites us to broaden our sense of both sonic and spatial musical possibility, and it does so in a very personal way: by turning the theatre itself into an instrument. Throughout this new season, Miller Theatre will present performances that bring contemporary classical music out of the formal settings of a concert hall, and Steen-Andersen s work makes for an exhilarating kick-off. Run Time Error is one of several new works created start-to-finish at Miller this month. As part of an annual collaboration with Deborah Cullen, director and chief curator of Columbia s Miriam and Ira D. Wallach Art Gallery, this is our third time cocommissioning a visual artist to use our lobby as their canvas. This season, Scherezade Garcia has transformed the space with an amazing new work, inviting anyone who steps inside our doors to activate their imagination. Our largest artistic residency is just about to begin: Morningside Lights! A week of free arts workshops for participants of all ages begins this Saturday, and culminates in a magnificent illuminated procession through Morningside Park on September 26. Miller Theatre and the Arts Initiative first partnered with Alex Kahn and Sophia Michahelles of the Processional Arts Workshop four years ago, and it has been an honor to see this beloved tradition grow. Each year, the passion of Alex and Sophia and the joy of a handson creative process bring together an amazing community for Morningside Lights. Whether you join us to create lanterns from day one or see them for the first time as they light up the park on the final night, I m sure you ll feel that there s something magical at work. While Miller Theatre has made a name for itself as a leading presenter of new music, our mission is to support and share the work of all kinds of contemporary artists. It is a thrill to start off the new season with three amazing projects that wholeheartedly embrace that goal. Thank you for joining us! I hope to see you again soon. Melissa Smey Executive Director
Opening Night Thursday, September 17, 8:00 p.m. Run Time Error Simon Steen-Andersen, composer and performer JACK Quartet Simon Steen-Andersen (b. 1976) Run Time Error at Miller Theatre featuring JACK Quartet, version 1 (2015) world premiere, Miller Theatre commission Study for String Instrument No. 1 (2007) Obstruction Study No. 1 (2012) United States premiere Study for String Instrument No. 2 (2009) Half a Bit of Nothing Integrated (2007-15) New York premiere Obstruction Study No. 2 (2012) United States premiere String Quartet No. 2 (2012) New York premiere Obstruction Study No. 3 (2012) United States premiere Study for String Instrument No. 3 (2011) New York premiere Run Time Error, version 2 (2015) Miller Theatre at Columbia University 2015-16 27th Season This program runs approximately 1 hour and 15 minutes, with no intermission. Presented with the friendly support of with additional support from the Consulate General of Denmark Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight s performance begins. Miller Theatre is ADA accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799.
About the Program Dynamic, driven, clear in its sights while taking in information from all over the place, the work of Simon Steen-Andersen has been one of music s boldest entrants this century. It is music that refuses to be just music, music that focuses the eyes as well as the ears on how it is played, the body language, the grip on fiber or metal, the action, the intensity, and precision of that action. It is music made for performance, in real time, within a certain space, but often open to elsewheres of time and space, by means of quotation, reference, recording, and film. Steen-Andersen (b. 1976) studied in his native Denmark with Karl Aage Rasmussen, and also with Matthias Spahlinger in Freiburg and Gabriel Valverde in Buenos Aires. By the time he completed his studies in Copenhagen with Hans Abrahamsen and Bent Sørensen, in 2006, he already had a strong output behind him, including the remarkable rerendered (2003), which has a pianist at the keyboard joined by two assistants working on the strings and body of the instrument, with the possibility also of a fourth performer, to conduct. The assistants assist, of course, in making complex amalgams of noise, pitch, and harmonics, but they also alter. The pianist is beset, too, by the requirement to play extremely quietly, with amplification bringing forward a music of shuffling and zigzaging brilliance, chiming repetition, and gradual decay. Steen- Andersen further suggests the performance be monitored by a camera over the piano and projected on to a screen above. Thus estranging the means, and engaging technology amplification and projection to reconnect, this piece gave Steen-Andersen a productive direction to pursue. He also began gaining important commissions, notably from the Ensemble Modern (Chambered Music, for twelve instruments and sampler, 2007) and ensemble recherche (Nothing Integrated, for extremely amplified clarinet, percussion, cello, and live video, 2007). In 2008, he joined the faculty at the music academy in Århus, where he had begun his training a decade before. Among his recent pieces is a piano concerto (with sampler and video) written for last year s Donaueschingen Festival, and Black Box Music, a multimedia work recently performed at the Southbank Centre by the London Sinfonietta. This and many other works can be found online via YouTube or on his own site.
Run Time Error: version 1 (2015) The composer here becomes solo performer; the building, his instrument. Two normal categories of human agents and hardware are thus collapsed into singletons: one musician, one environment-instrument, which the composer-performer runs through, creating sounds as he goes using only objects found on site, while making an audiovisual recording. For Steen-Andersen, the site-specific nature of the piece is key. Each time it is performed first in Brussels in 2009, then many times elsewhere in Europe it grows and changes. For this evening s performance, featuring a new version created here at Miller Theatre, he is joined by the four musicians of the JACK Quartet, who will be encountered again in the rest of the program. All this the running and the sounding and the video-recording will all have happened in advance to make two streams to be played back on a split screen. These streams relate to one another on the model of a two-part invention. One stream may follow the other after a delay, copy it in slow motion, or reverse it, exemplifying the classical techniques of imitation, augmentation, and retrogradation, but with material that is thoroughly non-classical and, too, chosen to make these techniques unusually apparent, since they operate on the visual plane as well as the aural. The remixing happens live, via two joysticks manipulated by the composer. Performance art meets venerable form. Study for String Instrument No. 1 (2007) Movement of the sound or sound of the movement? Steen-Andersen begins his note on this piece, the first of three Studies for String Instrument, with a question raised by almost any of his compositions. Run Time Error is music-making made vividly visual; his Second String Quartet creates a new demeanor of performance as much as a new, unsuspected galaxy of sounds. He goes on: One simple sample is repeated over and over, and is slowly broken down into its individual elements in a process of autonomizing the movements themselves. The piece is notated only as movements (and can therefore be played on any string instrument and maybe even on other instruments), and it is just as
much a choreography for the player as it is a sounding piece for the instrument. A choreographic game or even a kind of dance, accompanying itself. In a further correspondence with Run Time Error, the first study evolves into a kind of two-part invention the two hands mimicking each other with parts in this first study being played by the bowing arm and by the left hand sliding up and down the strings. Quickly combining at first to make continuous glissando waves, these actions become dislocated from one another, and other actions intervene. The piece may be played as a solo or by several musicians simultaneously, as it is this evening. Obstruction Study No. 1 (2012) For the 2012 festival of new chamber music in Witten, in north-west Germany, Steen- Andersen worked with the JACK not only on his Second String Quartet but also on three video recordings, his Obstruction Studies. These change the nature of stringquartet performance differently from how the Second Quartet does, and to a degree more drastically. That work, for all its strangeness, is an original composition, a positive achievement, whereas the Obstruction Studies are deliberately made as defective versions of found music, which they, indeed, obstruct. In each of them, the musicians are discommoded; in the case of this first piece by having the ends of their bows restrained by rubber bands and weights that will interfere with muscular control. The music being obstructed comes from the first movement of Schumann s A Major quartet, Op. 41 No. 3, Andante espressivo. Studies for String Instrument No. 2 (2009) Where the first study is for the close coupling of musician and instrument, the second adds an electronic transformer, a whammy pedal (as developed to facilitate effects on the electric guitar), which in this evening s performance will be operated by one member of the quartet while the others play their regular instruments. (Like the first study, the piece may be done as a solo or multiple.) Now the two-part invention is for instrument and modulator, the one switching between the same two notes two octaves apart, the other gliding between off and on (and in between), its effect in the latter position being to lift the instrumental tone up two octaves. Thus, when the whammy pedal is pressed down (fully on) and the instruments are producing their lower notes,
the resultant pitches are those of the instruments higher notes, though of course with different colors. That is how the piece starts, with both sides, acoustic and electronic, sliding in contrary motion. Then things get more complicated. The instrumentalists introduce a wider range of techniques, resulting in a wider range of responses from the whammy pedal. Eventually, the pedal is left fully on, turning the instrumental sounds it registers into melodies, cantabile. Half a Bit of Nothing Integrated (2007-15) The live music-video piece Steen-Andersen wrote for ensemble recherche near the beginning of his international career, Nothing Integrated, has had a life of its own, generating A Bit of Nothing Integrated in 2008, followed by Half a Bit of Nothing Integrated in 2012, and now a new version specially produced for the JACK Quartet and for this concert. The composer once more explores the relationship between sound and visuals, using relatively simple means. In this case, the video is created and performed live onstage, by Steen-Andersen, with a modified miniature analog camera. Obstruction Study No. 2 (2012) Obstruction in this second study is created by subjecting the players to white noise over headphones and changing lighting that will get in the way of them hearing themselves, hearing each other, and seeing their parts, as they move on to the second movement of the Schumann, Assai agitato. Desperate skill is needed to hang on, and even end together. String Quartet No. 2 (2012) A first string quartet stands among Steen-Andersen s earliest works, written in 1999; this second he composed for the JACK, who performed it for the first time at the festival of new chamber music in Witten in 2012. It plays for about fourteen minutes. A wholly extraordinary sound world is brought into being here by a wholly extraordinary way of playing the instruments, as the composer s note to the score indicates: This quartet shifts the perspective from the body of the instruments and the lefthand actions (normally activated by the bows) to the right-arm movements and the About the Program
bows themselves (activated by the strings). By amplifying the bows one is able to get much closer to the friction between bow and instrument, and to the otherwise completely overshadowed acoustic qualities of the bow. The wood sides of the bows (actually carbon fiber in this case) are prepared in different ways with various materials, resulting in different sounds and textures, when drawn across the strings. Working with the fixed orders of these preparations on the bows and the execution of these by moving the bow from one point to another (an acoustic step sequence, if you will) reminds me a lot of working with four-channel tracker composition on my Amiga 500 as a teenager. The actual hairs of the bows are partly masked with tape a preparation that could be seen as the string-instrument parallel to the idea of the Touches Bloqués in Ligeti s piano study Archet Bloqué. Further into the score, Steen-Andersen stipulates the preparations and their positions along the bows: pieces of tape, card, velcro, and metal winding affixed to the wood side of the bow for the first violin and cello, and, for all four players, lengths of masking tape covering the bowstrings except in small regions. In addition, the second violin begins with two rubber bands around its strings. The score then indicates which side of the bow and which part of it is to be used, and also where the violin, viola, or cello is to be bowed (on which string, where, or on the wooden body) though since the roles of instrument and stimulator are reversed, one might rather speak of the bow being violinned. Precision in the notation pays off. What is produced is a whole menagerie of small sounds, often animated by decisively pulsed rhythms. Though whispers of normal string sonority will occasionally be heard, the sounds are barely at all reminiscent of those one expects from a string quartet, even in our post-xenakis, post-lachenmann, post-radulescu era and yet some sense of the genre s aura remains. The work is thoroughly composed, in form as in detail; it has themes, the most striking of them being a kind of heavy breathing heard first from the second violin and cello. And this is by no means the only place where we may feel that, arduous as the circumstances may have become, the string quartet still has its voice.
Obstruction Study No. 3 (2012) Arriving now at the Schumann slow movement, Adagio molto, the musicians find themselves dealing with prepared bows, as in the work they just played. As in that piece, too, a wholly new music takes shape around and above wisps of the old. Study for String Instrument No. 3 (2009) The third study is a cello solo, again played with prepared bow or, rather, a cello duo, for live performer and projected image. Thus visually and dramatically manifesting itself, the piece explodes any need for further explanation. Run Time Error: version 2 (2015) The program s symmetry is completed by a second run, exploring a new route. Program notes by Paul Griffiths About the Program
About the Artists Simon Steen-Andersen (b.1976) is a Berlin-based composer, performer and installation artist, working in the field between instrumental music, electronics, video and performance within settings ranging from symphony orchestra and chamber music (with and without multimedia) to stagings, solo performances, and installations. The works from the last 6-7 years concentrate on integrating concrete elements in the music and emphasizing the physical and choreographic aspects of instrumental performance. The works often include amplified acoustic instruments in combination with sampler, video, simple everyday objects or homemade constructions. Steen-Andersen received numerous prizes and grants - most recently the Nordic Council Music Prize and the SWR Orchestra Prize 2014, the Carl Nielsen Prize (DK) and the Kunstpreis Musik from Akademie der Künste in Berlin 2013, the International Rostrum of Composers, the DAAD Berliner Künstlerprogramm Residency 2010, and the Kranichsteiner Music Award 2008. His works have been commissioned by ensembles, orchestras, and festivals such as ensemble recherche, Neue Vokalsolisten Stuttgart, the SWR Orchestra, The Philharmonic Orchestra of Radio France, Ensemble Ascolta, JACK Quartet, Ensemble Modern, Oslo Sinfonietta, 2e2m, Donaueschinger Musiktage, Ultraschall, Wittener Tage für Neue Kammermusik, and ECLAT. He has worked with ensembles such as Klangforum Wien, Collegium Novum Zürich, ICTUS, Arditti, London Sinfonietta, Intercontemporain, asamisimasa, and NADAR. Steen-Andersen studied composition with Karl Aage Rasmussen, Mathias Spahlinger, Gabriel Valverde, and Bent Sørensen in Aarhus, Freiburg, Buenos Aires, and Copenhagen. Since 2008, he has been a lecturer of composition at the Royal Academy of Music in Aarhus, Denmark. In 2013-2014 he was a visiting professor at the Norwegian Academy of Music in Oslo and in 2014 he was a lecturer at the Darmstädter Ferienkursen für neue Musik.
JACK Quartet Christopher Otto, violin Ari Streisfeld, violin John Pickford Richards, viola Kevin McFarland, cello The JACK Quartet electrifies audiences worldwide with explosive virtuosity (Boston Globe) and viscerally exciting performances (The New York Times). The recipient of Lincoln Center s Martin E. Segal Award, New Music USA s Trailblazer Award, and the CMA/ASCAP Award for Adventurous Programming, JACK has performed to critical acclaim at venues such as Carnegie Hall (USA), Lincoln Center (USA), Wigmore Hall (United Kingdom), Suntory Hall (Japan), Salle Pleyel (France), La Biennale di Venezia (Italy), the Lucerne Festival (Switzerland), Bali Arts Festival (Indonesia), and the Wittener Tage für neue Kammermusik (Germany). Comprising violinists Christopher Otto and Ari Streisfeld, violist John Pickford Richards, and cellist Kevin McFarland, JACK is focused on the commissioning and performance of new works, leading them to work closely with composers John Luther Adams, Chaya Czernowin, James Dillon, Brian Ferneyhough, Beat Furrer, Vijay Iyer, György Kurtág, Helmut Lachenmann, Steve Mackey, Matthias Pintscher, Steve Reich, Roger Reynolds, Wolfgang Rihm, Salvatore Sciarrino, and John Zorn. Upcoming and recent premieres include works by Wolfgang von Schweinitz, Toby Twining, Georg Friedrich Haas, Simon Holt, Kevin Ernste, and Simon Bainbridge. The quartet has led workshops with young performers and composers at institutions including Princeton University, Yale University, Columbia University, the Eastman School of Music, Oberlin Conservatory, Manhattan School of Music, and at the Darmstadt Internationale Ferienkurse für Neue Musik. The members of the quartet met while attending the Eastman School of Music and studied closely with the Arditti Quartet, Kronos Quartet, Muir String Quartet, and members of the Ensemble Intercontemporain. Previous apperances at Miller Theatre include Composer Portraits of Enno Poppe (2012-13) and Helmut Lachenmann (2009-10), the SONiC Festival (2011-12), and Pop-Up Concerts.
About Miller Theatre Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A threetime recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders to present innovative programs, support new work, and connect creative artists with adventurous audiences. Advisory Committee Paul D. Carter Mary Sharp Cronson* Stephanie French* Marcella Tarozzi Goldsmith Karen Hagberg Columbia University Trustees Jonathan D. Schiller, Chair A Lelia Bundles, Vice Chair Mark E. Kingdon, Vice Chair Esta Stecher, Vice Chair Rolando T. Acosta Armen A. Avanessians Andrew F. Barth Lee C. Bollinger, President of the University Mark Jackson Eric Johnson Philip Mindlin Linda Nochlin Peter Pohly William V. Campbell, Chair Emeritus Lisa Carnoy Kenneth Forde Noam Gottesman Joseph A. Greenaway, Jr. James Harden Marc Holliday Margo Viscusi* Mr. and Mrs. George Votis* Cecille Wasserman* Elke Weber I. Peter Wolff* * Miller Theatre Advisory Board member Benjamin Horowitz Ann F. Kaplan Jonathan Lavine Charles Li Paul J. Maddon Vikram Pandit Michael B. Rothfeld Claire Shipman Kyriakos Tsakopoulos Columbia University School of the Arts Carol Becker Dean of Faculty Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Brenna St. George Jones Director of Production Jen Gushue Marketing & Communications Associate Katherine Bergstrom Artistic Administrator Rhiannon McClintock Executive Assistant Charlotte Levitt Director of Marketing & Outreach James Hirschfeld Business Manager Megan Harrold Audience Services Manager Taylor Riccio Production Coordinator Aleba & Co. Public Relations The Heads of State Graphic Design
Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible. $25,000 and above Francis Goelet Charitable Lead Trusts Dow Jones Foundation $10,000 - $24,999 The Aaron Copland Fund for Music Mary Sharp Cronson Fritz Reiner Center for Contemporary Music at Columbia University $5,000 - $9,999 The Amphion Foundation Ann and Gordon Getty Foundation National Endowment for the Arts The Gladys Krieble Delmas Foundation New York State Council on the Arts The Fan Fox and Leslie R. Samuels Foundation The Evelyn Sharp Foundation Karen Hagberg and Mark Jackson CLC Kramer Foundation Ernst von Siemens Foundation Margo and Anthony Viscusi H.F. (Gerry) Lenfest Craig Silverstein $1,000 - $4,999 Regula Aregger Barbara Batcheler Susan Boynton Paul D. Carter Consolate General of Denmark in New York Hester Diamond R.H. Rackstraw Downes Marcella Tarozzi Goldsmith $500 - $999 Oliver Allen Mercedes Armillas ASCAP Rima Ayas Elaine S. Bernstein Cedomir Crnkovic / Cavali Foundation Kristine and Joseph Delfausse $100 - $499 Gail and James Addiss Qais Al-Awqati, M.D. Edward Albee Roger Bagnall Jim Boorstein Elizabeth and Ralph Brown Caplan Family Foundation Rashmy Chatterjee Ginger Chinn and Reggie Spooner Gregory D. Cokorinos Norma Cote David Demnitz Vishakha Desai and Robert Oxnam Pamela Drexel Peter and Joan Faber Ruth Gallo Marc Gilman Christine and Thomas Griesa Donella and David Held Roger Lehecka Philip Mindlin Linda Nochlin Jeanine and Roland Plottel Jessie and Charles Price Peter Pohly Stephanie French Claude Ghez Carol Avery Haber / Haber Family Charitable Fund James P. Hanbury John Kander Mark Kempson and Janet Greenberg June O. Goldberg Gordon Gould Richard Gray Barbara Harris Bernard Hoffer Frances and Raymond Hoobler Alan Houston and Lisa DeLange Frank Immler and Andrew Tunick Sandra and Malcolm Jones William Josephson L. Wilson Kidd, Jr. Janice Landrum Barbara and Kenneth Leish Arthur S. Leonard Richard H. Levy and Lorraine Gallard Peter C. Lincoln Sarah Lowengard Christopher Rothko J.P. Sullivan Cecille Wasserman Janet C. Waterhouse Elke Weber and Eric Johnson Anonymous Paul J. Maddon Marian M. Warden Fund of the Foundation for Enhancing Communities Katharina Pistor James Sharp Cia Toscanini Kathryn Yatrakis Caroline and Anthony Lukaszewski James Mandel Mary and Andrew Pinkowitz Edmée B. Reit William Ryall James Schamus and Nancy Kricorian Elliot Schwartz Timothy C. Shepard and Andra Georges Gilbert Spitzer and Janet Glaser Spitzer Rand Steiger and Rebecca Jo Plant Peter Strauss Jim Strawhorn Larry Wehr Seymour Weingarten Ila and Dennis Weiss William C. Zifchak Anonymous as of September 1, 2015
The 2015-2016 Season WILLIAM SCHUMAN AWARD CONCERTS A three-night series of New York premieres celebrating American composer John Luther Adams, winner of the 2015 William Schuman Award of Columbia University. Wednesday, October 7 Clouds of Forgetting, Clouds of Unknowing Friday, October 9 for Lou Harrison Saturday, October 10 In the White Silence HAIMOVITZ PLAYS BACH Matt Haimovitz s multi-day residency at Miller Theatre culminates with two evenings of Bach cello suites alongside the overtures he has commissioned to accompany them. Thursday, October 22 Bach: Cello Suites III, IV & V Saturday, October 24 Bach: Cello Suites I, II & VI EARLY MUSIC An eclectic and fascinating tour of the musical riches of the pre-classical era from masters of period performance and emerging ensembles. Wednesday, October 14 & Friday, October 16 Orlando Consort: The Passion of Joan of Arc Saturday, November 14 New York Polyphony: Songs of Hope Saturday, December 5 The Tallis Scholars: Christmas Across Centuries Saturday, February 13 Vox Luminis: The Bach Dynasty Sunday, April 3 Le Poème Harmonique: Airs de Cour
SPECIAL EVENT: THE CARNIVAL OF THE ANIMALS A new holiday tradition at Miller Theatre, a family-friendly twist on Victorian toy theatre brings the music of Camille Saint-Saëns to life. Saturday, December 19, 3 pm & 7 pm Camille Saint-Saëns: The Carnival of the Animals JAZZ High-profile artists and young virtuosos lend their own style to America s indigenous art form in our wide-ranging four-concert series. Saturday, November 7 Anat Cohen Quartet Saturday, December 12 Rudresh Mahanthappa Saturday, January 30 Stefon Harris & Sonic Creed Saturday, February 20 Miguel Zenón Quartet COMPOSER PORTRAITS A cornerstone of Miller s programming, these musical profiles offer contemporary artists a space to explore, experiment, and make significant contributions to the field. Thursday, February 4 Ashley Fure (b. 1982) Thursday, February 25 Alex Mincek (b. 1975) Saturday, March 5 Iancu Dumitrescu (b. 1944) Thursday, March 24 Hans Abrahamsen (b. 1952) Thursday, April 7 Hannah Lash (b. 1981) Thursday, April 21 Francesca Verunelli (b. 1979) Wednesday, May 12 & Thursday, May 13 Michael Gordon (b. 1956)
Upcoming Events September 19-26 SPECIAL EVENT 4th Annual Morningside Lights: New York Nocturne Processional Arts Workshop Tuesday, September 29, 6:00 p.m. POP-UP CONCERTS Ensemble Signal: Theatricals October 7, 9 & 10, 8:00 p.m. WILLIAM SCHUMAN AWARD CONCERTS Honoring John Luther Adams Clouds of Forgetting, Clouds of Unknowing for Lou Harrison In the White Silence October 14 & 16, 8:00 p.m. EARLY MUSIC The Passion of Joan of Arc The Orlando Consort October 22 & 24, 8:00 p.m. HAIMOVITZ PLAYS BACH Cello Suites III, IV & V Cello Suites I, II & VI STAY TUNED IN Want to learn about new concerts, special announcements, and more? Join our mailing list at millertheatre.com or scan the QR code below. www.millertheatre.com 212-854-7799 www.facebook.com/millertheatre @millertheatre on Twitter 2960 Broadway at 116th Street, MC 1801, New York, NY 10027