MARCH APRIL MAY 2016

Flynn Center for the Performing Arts, a nonprofit organization.

FLYNN MARQUEE

A behind-the-scenes

look at the people

& programs you support.

Alonzo King LINES Ballet

2 | MARQUEE March, April, May

In conjunction with Eiko’s performances the Flynn is hosting a gallery exhibition, A Body in Fukushima, which documents a visit she and William Johnston, photographer and Wesleyan University Professor of Japanese history, made in 2014. The two visited irradiated communities that were evacuated after reactors at the Fukushima Daiichi plants suffered massive damage in the wake of an earthquake and tsunami.

Many train stations were destroyed or contaminated by radiation; the buildings crumbled and the tracks became overgrown with dried vines and weeds. By walking into each station and placing her body within, Eiko sought to remember the people and day-to-day lives that passed through the stations and towns before the disaster. “By placing my body in these places,” she says, “I thought of the generations of people who used to live there. I danced so as not to forget.” The profane is made sacred in these quietly alluring photographs.

“A Body in Fukushima” was co-commissioned by Wesleyan University Center for the Arts and the Pennsylvania Academy of Fine Arts, Philadelphia.

Alonzo King: Transfigured BeautyAlonzo King is an anomaly, an outlier in the ballet world:

African-American and based in San Francisco, with a truly

multicultural company of exquisite dancers. Against all odds,

his artistry flourished.

He has created prolific dances for his own company, LINES

Ballet, since 1982. The ensemble regularly tours nationally and

in Europe. His dances are also in the repertories of Swedish Royal

Ballet, Frankfurt Ballet, Ballet Bejart, Les Ballets de Monte-Carlo,

Joffrey Ballet, Alvin Ailey, Hong Kong Ballet, North Carolina

Dance Theatre, and Hubbard Street Dance Chicago.

His choreography, grounded in a rigorous classical technique,

challenges dancers to careen wildly off-center with legs akimbo;

other times they round and spiral into the floor—unfamiliar terrain

for balletomanes. Sharp, jagged jabs punctuate the stage space,

juxtaposed with a softness and organic lyricism.

There is a profound humanism in Alonzo’s work as he collaborates

with composers, musicians, and visual artists from around

the world. While I ran Yerba Buena Center in San Francisco,

we received a grant for Alonzo to travel to the Ituri Rain Forest in

the Central African Republic. What resulted was an astoundingly

resplendent work, People of the Forest (2001), integrating the

petite Baka musicians and dancers with his long-limbed dancers.

Another project, Long River High Sky (2007), seamlessly featured

his statuesque balletic dancers alongside the deeply-grounded

martial arts trained Shaolin Monks from China. Both these works

could have been egregious cultural appropriation if in the hands

of a lesser artist. He welcomed these African and Chinese artists

in as collaborators, and together they developed movement

patterns authentic to all.

Alonzo’s musical tastes are quite eclectic—commissioning scores

from Pharaoh Sanders, Hamza al Din, Jason Morn, and Zakir

Hussain, but also choreographing to Shostakovich, Stravinsky,

Bach, and Handel with Mickey Hart and Etta James thrown in.

Last fall, I was in San Francisco and saw the world-premiere of

The Propelled Heart, his new work with rock singer Lisa Fisher

(who sang on the Flynn’s Mainstage in September). It was a

thrilling evening of sensual kineticism and vocal pyrotechnics.

For the upcoming performance on May 4, LINES Ballet performs

Biophony with sound design and music by Bernie Krause

and Richard Blackford. Pioneering soundscape artist Krause

records and archives the sounds of creatures and environments

world-wide, creating what he calls “biophonies.” These sonic

environments promise to encapsulate and enhance the flawless

technique of Alonzo’s virtuosic dancers in an evening of

transfigured beauty. Augmenting the program is Concerto for

Two Violins with music by Bach and Men’s Quintet with music

by Edgar Meyer and Pharoah Sanders.

Eiko Otake: Audacious BrillianceJapanese-born Eiko with her husband Koma created a dance style

that is sculptural, primal and gorgeous, incorporating elements

of stillness, shape, light, and sound with their often-naked bodies

that results in movement honed to unadorned sublimity. Time is

slowed down to glacial proportions; audiences adjust accordingly.

I first encountered Eiko and Koma’s work 35 years ago in Nurse’s

Song, an unwieldly collaboration with Allen Ginsberg’s music set to

a poem by William Blake. They romped around the stage as atavistic,

celebratory creatures. I was smitten with the chaotic audacity.

While working at Walker Art Center in Minneapolis, I invited them

in 1989 for a 5-week residency to create a new piece, Canal, with

four other dancers. They submerged an entire stage under water,

all six performed naked on the flooded stage.

In 1993, they returned with two works set to music by Taos Pueblo

composer Robert Mirabel, Wind and Land. They performed on a

slanted stage covered in feathers. Augmenting the performances,

we screened some of Eiko and Koma’s starkly elegiac films.

In 1996, I invited them back to Minnesota to perform River, an outdoor

site-specific piece where-in the duo gradually drifts out of view of

the audience, ultimately disappearing—leaving the audience to

determine when the piece actually ends. River was later adapted for

an indoor presentation at Yerba Buena Center with music by Somei

Satoh performed live with Kronos Quartet, on a stage submerged

under water.

Another out-sized experiment I was witness to at Yerba Buena was

Be With (2001), Eiko and Koma’s collaboration with Bay Area dance

icon Anna Halprin and cellist Joan Jeanrenaud. The recombinant

mix of different aesthetics was exhilarating as full-throttled

expressionism abounded, confounding all preconceived notions

of the minimalist couple.

Eiko and Koma last performed at the Flynn in 2009. Recently Eiko

began a new chapter, performing solo with site-specific performative

explorations. This might be her most radical aesthetic investigations

to date. The Flynn is very excited about sharing this new phase of

her with Vermonters.

Eiko performs A Body in Places during the week of May 23. Additional

details to come about this site-specific work in a non-traditional venue

that responds to the space and explores elements of solitude, grace,

fragility, and intimacy.

Related Activities:• Eikowillleadawalk-throughofhergalleryexhibition

Monday, May 23, 6–7 pm

• Eiko’sDeliciousMovementWorkshop(inChaseStudio),

Tuesday, May 24, 6–7:30 pm

by JOHN KILLACKY,Executive Director

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Dance Notes: Alonzo King and Eiko Otake

Alonzo King and Eiko Otake are dance visionaries. Continually disrupting themselves as artists, they never stop innovating, always taking gigantic risks. I am thrilled they will be performing at the Flynn in May and offer some reflections on their prodigious careers.

Exhibit runs March 4-May 28, 2016

IN THE Gallery

A Body in Fukushima

The Amy E. Tarrant Gallery, at 153 Main Street, is open to the public Saturdays from 11 am to 4 pm. Performance attendees may also view exhibits prior to MainStage shows and during intermissions.

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4 | MARQUEE March, April, May

The Cat in the Hat, Tuesday, March 8 at 7 pm

A musical adaptation of one of Theodore “Dr. Seuss” Geisel’s

most beloved works, The Cat in the Hat is one of those magical

works that is clearly created for children, yet appeals to all ages.

Everyone can relate to the eternal questions posited by the piece:

What to do on a boring rainy day? How do you

get rid of a guest that won’t leave? Can you

possibly have this all cleaned up by the time

Mom gets home? The Cat’s sidekicks, Thing 1

and Thing 2, get my vote for favorite supporting

actors in a Seuss work. To create an autism-

friendly setting, The Cat in the Hat is performed

in a support environment for audience members

diagnosed with an autism spectrum disorder

or other sensitivity issues. The show will be

sensory-friendly and ASL interpreted.

Yamato, Friday, March 11 at 8 pm

The tremendous taiko-drum practitioners Yamato formed their

group in 1994, but their art form itself predates them by more

than 2,500 years, having made its way to Japan through Korean

and Chinese influence in the 6th century BC. But to be fair,

modern taiko dates back to the early 1950s work of Japanese

master Daihachi Oguchi. Of the contemporary taiko ensembles

—and it’s worth mentioning that our own fabulous Burlington

Taiko is one of the longest-running such companies in the

United States—Yamato is among the very best, combining

dazzling theatricality and astonishing musicianship to great effect

onstage. When they pull out the big drums, you don’t just hear it;

you feel it in your chest, your heart, maybe even your soul.

Companhia Urbana de Dança, Thursday, April 14 at 7:30 pm

While not technically a “family show,” the dance performance

by Brazil’s Companhia Urbana de Danca will enthrall all ages.

This group of seven men and two women, under the guidance of

founder/choreographer Sonia Destri, put the athletic, crowd-pleasing

dance moves of hip-hop, capoeira, and street dance into modern

context. Mixing their elastic movements with contemporary music,

the result is choreographic fireworks. The group presents works

that show both sides of the electric troupe: I, You, We . . . All Black!

is a politically charged work about race, while La Pista is

an explosive celebration of life in Brazil’s favelas.

Peking Acrobats, Friday, April 15 at 7 pm

While the Peking Acrobats’ performance may seem

like a “fun show” (and it is), it’s also a form that’s rooted in

centuries of Chinese history. Starting with the Han Dynasty

(207 BC to 220 AD), acrobatics became enmeshed in daily life.

Various other acts were added—juggling, magic—and this came

to be known as the “Hundred Entertainments.” The Peking Acrobats

have long been a gateway to Chinese culture, and the group

remains wildly popular, particularly with young people, as the

Flynn’s two very sold-out student-matinee performances attest.

by STEVE MACQUEEN,Artistic Director

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Arts for All Ages

Appreciation for the arts doesn’t come with an age limit. The Flynn’s exemplary Student Matinee Series, put together

by our education department, is a national model for introducing young people to the arts through performance.

But, hey, sometimes the parents want to come, too. The Flynn’s family performances welcome families to the theater

for programs that will interest the youngest child, the oldest adult, and hopefully everyone in between. Here’s a look

at four performances coming to the Flynn that are fully family-worthy.

The Elusive Heart of Sound How is it that two people listening to the same thing can hear completely different messages? That question is the driving force behind Evelyn Glennie’s April 11 performance on the MainStage.

Evelyn Glennie is the world’s premiere percussionist, but that is only the tip of the iceberg when it comes to describing her accomplishments and impact. Although she has received over 80 international awards as a soloist and composer, including three

Grammys, Evelyn’s most powerful work has been through her quest to help teach the world to listen.

Evelyn has been exploring the many ways we can listen since loosing her hearing at the age of 12.

“My career and my life have been about listening in the deepest possible sense. Losing my hearing meant learning how to listen differently, to discover features of sound I hadn’t realized existed. Losing my hearing made me a better listener.”

This concert is part of a growing collaboration between the Flynn and the Community Engagement Lab (CEL), based in Montpelier. It features Evelyn accompanied by the CEL Festival Orchestra on works for percussion and marimba, as well as masterworks by Tchaikovsky, Dvor̆ák and Pärt.

You, our audience, will be invited to participate with Evelyn and the orchestra in an exploration of how you listen. This hands-on— ears-on!—experience also features voices from our community sharing the stage to refresh the familiar, and make the new suddenly personal and intimate. I hope you will join us for what is sure to be a one-of-a-kind concert event.

Evelyn Glennie & the CEL Orchestra

Monday, April 11 at 7:30 pm,

MainStage

by PAUL GAMBILLExecutive Director, Community Engagement Lab

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6 | MARQUEE March, April, May March, April, May MARQUEE | 7

In 2001, the principal at J.J. Flynn School in Burlington’s New

North End approached the Flynn Center to propose that we find

a meaningful way to partner together. After all, she said smiling,

both the school and the arts organization shared the same

namesake. Until this meeting, the Flynn Center had predominantly

been focusing its school programs on providing in-school student

workshops to connect to our matinee series to extend and enrich

the students’ experience with the professional performances

that came to our venue. We jumped at the opportunity to form

a collaboration and asked what need was most pressing for

the school to address. The answer was reading comprehension.

The National Reading Panel had just released their landmark

report, Teaching Children to Read, which identified five essential

components of reading instruction: Phonemic Awareness, Phonics,

Fluency, Vocabulary, and Comprehension. The Flynn took the

findings and recommendations of the report and aligned specific

performing arts strategies that addressed vocabulary and reading

comprehension in particular and Words Come Alive was born.

The marriage was a natural one between performing arts and

reading comprehension. After all, reading is active. Reading is

thinking guided by print to construct—not just derive—meaning.

But many students struggle making the leap from decoding to

comprehension, as they have a purely technical interaction with

the text through a process of decoding the symbols without the

metacognitive functions that help to connect vivid imagery to

the words they read. In Marilyn Jager Adams’ Model of Skilled

Reading, we see the beginning reader faced with the task of

connecting the phonological processor with the orthographic

processor so that the connection between spoken and printed

words is made explicit. It is only then that students can access

semantic information or meaning derived from text. Embodied

and active engagement with a story or concept from a classroom

reading through theater or dance is exactly the type of activity that

can unlock a door to a text that the student had previously been

unable to enter.

Laura Botte, a teacher in the Words Come Alive program describes

it this way, “Once you have been the transfer of momentum,

you understand the transfer of momentum. I mean, they’ve been

the bowling ball, they’ve knocked the cues over—I think for

physics especially Words Come Alive has been very helpful.

And sometimes in the ecology unit, the words get dense, the

vocabulary gets dense—there’s a lot of it. But I have a feeling

that you could ask any kid in that class right now what any of

that vocabulary meant and they could give you a very thorough

understanding of it as opposed to just memorizing it from the

book for a test. They know it, they don’t just . . . know it.”

This model of “learning by doing” is experienced in each phase

of the Words Come Alive process, as teacher professional

development takes on a hands-on approach and teaching artists

Reading Comprehension through Joyful Engagement

and teachers co-create and explore units of curriculum through an

interdisciplinary lens, with teachers testing out new ideas in their

classes with the feedback and support of their artist partner.

Fifteen years and thousands of classroom workshops have likewise

yielded a long list of possible topics that have been successfully

explored in schools to introduce teachers to the elements of theater

and dance and lead them to experience how movement and drama

techniques can strengthen comprehension and deepen engagement.

Teacher workshops are a critical component of the work in changing

the way a teacher approaches teaching in the classroom, but the

in-class component reinforces and supports this learning. After

planning sessions take place between the Flynn teaching artist and

the teacher, the unit(s) planned are implemented in a co-teaching

environment.

As the partnership develops and the teacher gains more confidence,

the responsibility for implementing the integrated curriculum shifts

subtly, scaffolding the teacher’s role toward complete ownership.

This is a model of praxis with an intentional focus on connecting

learning with action, reflection, and transformation.

What is wonderful to see is that the transformation occurs

concurrently with both the teacher and her students. In placing

the teacher in the role of learner, the classroom becomes a dynamic

center for experimentation, risk and—above all—play. By actively

engaging students, they become ecosystems, they embody poems,

and they take empathetic stances toward characters that they portray

in stories that they encounter in their literacy instruction.

Always, the Flynn’s focus is on supporting and encouraging

teachers to provide their students with opportunities to experience

the content they are teaching in personal, embodied ways.

John Dewey’s vision of art as experience is the primary frame

for this model and focuses on helping teachers and students

alike internalize artistic processes as a way to access understanding

and create meaning relevant to the unique perspective of each

individual.

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by STACY RAPHAEL,Associate Director of School Programs

Most of our programs gently

encourage youth to release

their own voices, styles,

and genius. Some programs,

particularly Summertime

Jazz and the Flynn Youth

Theater Company, provide talented (and most

importantly, passionate) young artists with the

opportunity to develop and showcase their skills

in a supportive and inspiring environment.

We love partnering with other local arts and

education organizations, because it allows kids and

families to have a richer experience—getting the best

of two organizations for the price of one! For years our

campers have enjoyed magnificent partnerships with

the Shelburne Museum (History Comes Alive),

Shelburne Farms (Peter Pan; Horses, Snails,

Fairytales! ; and more), Lake Champlain Maritime

Museum (Shipwrecked, Peter Pan), and the Fletcher

Free Library (the Magic Tree House, among other

lit-based camps.)

We’re excited this summer to introduce a number

of brand-new partnership camps! RETN and VCAM’s

new Media Factory plays host to our Stop Motion

Animation Camp for ages 9-11 in June. Campers write

original scripts, draw and paint their own characters, and create soundtracks with music, narration, dialogue,

and live sound effects. From opening credits to final

frame, we’ll animate and shoot campers’ one-of-a-kind

creations at the new RETN & VCAM Media Factory,

Fill Your Summer with FlynnArts

and at week’s end families can come watch a world

premiere film screening, receive a copy of kids’

new movies, and watch the films air on cable TV

and RETN Channel 16. In August, older campers

aged 11-17 work in the same space on Claymation,

creating settings, characters, and ultimately movies

from scratch through clay. Both organizations also

graciously provide equipment for Through the Lens,

a filmmaking camp held on location at the Flynn,

where young artists act, direct, and shoot their own

digital media creations.

Young Traditions Vermont and the Church Street

Marketplace join forces with the Flynn to present

Busking 101, a new program for musicians aged 12-18

to help exhibit their artistic talents and creativity to a

public audience. Young artists learn the basics of street

performance from experienced busker Eric George,

including how to put a performance together, gather a

crowd, keep the crowd entertained, and encourage tips.

Keep your eyes (and ears) out for them on Church

Street in July!

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The Flynn and Burlington City Arts always collaborate

to dream up an inventive joint summer camp that

combines performing and visual arts experiences.

This year the shared theme is Minecraft, wherein

campers bring pixel art to life, turning virtual reality

into real-world theatrical costume and scenic design. And we can’t forget “You’re on the Air!”—a radio

theater camp hosted this summer at the 95TripleX/

WVMT Studios in Colchester.

If you have some young artists in your life—and remember, every child is an artist —introduce them to the Flynn this summer. We’ll be sure to foster their creative spirits, ignite their curiosity, and maybe even change their lives!

Summer is one of our favorite seasons here at the Flynn, when our various stages and studios are filled with the youthful energy of campers and creativity! We make it our mission to provide a variety of artistic experiences through which youth in our community can discover their unique capabilities, nurture talents, make new friends, and celebrate their shared love of making something from nothing.

by CHRISTINA WEAKLAND,Director of Education

35 camps

3 musicals

www.flynnarts.org

10 | MARQUEE March, April, May

Become an EdgerAre you thinking about going Over the Edge this year?

Were you a part of Over the Edge last year?

If so, join us at Petra Cliffs (105 Briggs Street, Burlington) on

Thursday, March 24 from 5 to 7 pm as we enjoy some mid-winter

revelry. New “edgers” will have an opportunity to chat with last year’s

participants to learn more about what it means to go Over the Edge

for the Flynn—you can even do a “mini rappel” courtesy of

Petra Cliffs! We’ll take a look at last year’s event, enjoy some

refreshments, and look forward to 2016’s big drop.

To RSVP, contact Gina Haddock at rhaddock@flynncenter.org

or 802-652-4533.

The Inside StoryAs a valued Flynn member, please join us on Thursday, May 19 from

5:30–7 pm in the Amy E. Tarrant gallery as we talk about the history

of the Flynn and go behind the scenes! You’ll learn from Production

Director Gary Lemieux about what goes into staging a production,

and hear the story of your historic building from Facilities Director

Jack Galt. Look for your email invitation in mid-March.

The 2016 Burlington Discover Jazz Festival is

thrilled to welcome pianist Marcus Roberts to

the Artist-in-Residence program. Roberts rose

to prominence as a gifted performer—first with

the Wynton Marsalis and Jazz at Lincoln Center

bands, then with his own trio and as a classical

soloist. Last year, Roberts performed on the Flynn

MainStage with his 12-piece band and made a

meaningful connection with the Vermont Association

for the Blind and Visually Impaired, which hosted a

community event in which he discussed his own challenges as a blind musician.

Roberts also performs two sets with his trio in FlynnSpace, Saturday, June 11,

at 8 & 10 pm, providing a rare opportunity to see him perform in an intimate

setting. As Wynton Marsalis said, “We call him ‘the genius of modern piano,’

because he is.”

This June, the Artist-in-Residence program celebrates its fourth year inviting

distinguished jazz musicians to spend time in our community, participate in

local music education, and further engage festivalgoers, local groups, and social

service agencies. The program emphasizes the importance of a meaningful

and multi-layered cultural exchange in expanding jazz audiences. Past artists

include Grammy-winning bassist Christian McBride, New Orleans legend Donald

Harrison, and Vermont’s own Ray Vega.

The Artist-in-Residence brings a range of engagement activities to enrich the

festival experience, from workshops with area school jazz bands to public

listening sessions and live interviews. In 2015, Christian McBride played guest

DJ to a sold out crowd at Nectar’s and hosted the inaugural Jazz Junior matinee,

introducing music fans of all ages to the uniquely American art form that is jazz.

by CHELSEA LAFAYETTE,BDJF Marketing and Development Manager

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2016 BDJF Artist-in-Residence:

Marcus Roberts

The 2016 festival runs from June 3-12. Visit www.discoverjazz.com for details and line-up announcements.Many Flynn patrons want to ensure that future generations experience the joy and power of the performing

arts. With a gift made through your estate, you can make that happen. The Flynn Legacy Society honors

and recognizes those individuals who have designated the Flynn as a beneficiary of their will, trust, life

insurance, or life income.

Flynn Legacy Society: Planning for the Flynn’s Future

By GINA HADDOCK,Development Director

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Legacy Society Members Mark Your Calendars

We’re celebrating the Flynn’s Legacy Society at a pre-show reception and performance on

April 29. This year, Legacy Society Members receive a pair of complimentary tickets to join

us for the performance of legendary fado vocalist Ana Moura. If the Flynn is part of your

estate plans, please let us know so that we may invite you to this special evening.

If you have questions or would like more information, please contact development director

Gina Haddock at 652-4533 or rhaddock@flynncenter.org. You may also visit our website at

http://www.flynncenter.org/support-us/planned-giving.html to learn about making a planned

gift to the Flynn Center.

Flynn Legacy Members Nicole

Carignan and David Raphael feel

that it’s important to remember

the Flynn in this special way.

“Our philosophy is that we owe it

to our community to volunteer and

make a difference, helping to make

Vermont a desirable place to live.”

“Our love for the Flynn goes back more than 25 years. We feel that a healthy arts community rich with cultural opportunities is

what makes Vermont a livable place and what attracts businesses and people. We look forward each year to the Flynn’s announcement of the upcoming season. We plan ‘date nights’ and chose shows to go with friends and family. We have been exposed to new artists and genres of music and performance arts by trying new things. We get amazing Broadway shows in the intimacy of a great theater. We even partner with the Flynn and have our companies sponsor shows so that we can share opportunities to enjoy world class performances with our clients.”

“We can’t imagine Burlington without the Flynn. As we have explored what defines us, we have looked at organizations that have shaped our lives here in

Vermont. We were drawn to the Legacy Society because we knew this was one way we could contribute to ensuring the Flynn would be around for future generations. The Flynn has given so much to us, the least we could do was to commit to giving something back.”

Nicole Carignan is the Executive Vice President and Chief Operating Officer of the SymQuest Group in South Burlington and has served on a variety of nonprofit boards, currently serving as treasurer on the Bryan Memorial Gallery Foundation and on the Burlington YMCA board as their chair of the annual campaign.

David Raphael is a residential real estate broker and owner of Artisan Realty of Vermont and served on the VT Real Estate Commission, Essex Planning Commission, and the board of The ECHO Leahy Center in Burlington.

153 Main St., Burlington, VT 05401-8402

Non-Profit Org.U.S. PostagePAIDBurlington, VTPermit No. 490

Flynn CalendarMarch 1 Sesame Street Live 2 R5P9 3 National Theatre Live: As You Like It 4 Béla Fleck & Abigail Washburn* 5 Joan Baez 6 Downton Abbey 8 The Cat in the Hat *FS 9-27 Vermont Stage Company: Dancing LessonsP9 10 National Theatre Live: Hangmen 11 Yamato* 12 Jesse Cook* 17 A St. Patrick’s Day Celebration: Dervish* 19 VSO Masterworks

April 11-10 Lyric Theatre: Mary PoppinsFS 8-10 The Strange Undoing of Prudencia Hart* 11 Evelyn Glennie and the CEL Orchestra* 12 VYO Chorus and Concert Chorale 14 Companhia Urbana de Dança* 15 Peking Acrobats* 19 Brit Floyd 20 Maria Schneider Orchestra*FS 20-30 Vermont Stage Company: I and You 22 The Moth GrandSLAM II 26 In the Mood 29 Ana Moura* 30 VSO Masterworks

May 1 VYO Spring ConcertFS 1-8 Vermont Stage Company: I and You 4 Alonzo King LINES Ballet* 7 Shen Yun 9 The Tragically HipFS 14 Tanya Tagaq* 15 Eiko: A Body in Places*FS 21 Stand Up, Sit Down, and Laugh

SMS: Includes additional Student Matinee Series performance

FS: P9:Palace 9 Cinema, St. Burlington

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*$10 TEENTIX available for ages 13-19 in person at box office window night of show only; must have ID.

TBD