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THE BROOKLYN ACADEMY OF MUSIC

presents

Drumming Laura Dean and Dance Company and Musicians

choreography - 1975 WATERCOLOR music - 1971 ETCHINGS

Painterly in feeling ... alive with color an and etched print. on abstract This program was made possible through funding from the New Just two from our Sun 'n Sea Collection! York State Council on the Arts, The National Endowment for the Arts, the Meet the Composer program, and the Brooklyn Academy of Music. Drumming, together with Six Pianos and Music for Mallet Instruments, Voices and Organ has been recorded by Steve Reich and Musicians on Deutsche Grammophon's recently released 3 1p boxed set, DG 2740-106. Program Thursday, April 3, 1975 (7:30pm)/Lepercq Space Friday, April 4, 1975 (8:00pm)/Lepercq Space Steve Reich Saturday, April 5, 1975 (8:00pm)/Lepercq Space and Sunday, April 6, 1975 (2:00pm)/Lepercq Space Musicians THE BROOKLYN ACADEMY OF MUSIC Drumming presents "DRUMMING" Six Pianos

1 LAURA DEAN and DANCE COMPANY for Music Mallet Instruments, STEVE REICH and MUSICIANS Voices and Organ

choreography - 1975 111111 Steve Reich music - 1971 Drumming Music for Mallet Instruments Voices and Organ Six Pianos Dancers Laura Dean Joan Durkee Sarah Edgett Susan Griss Grethe Holby STEVE REICH Diane Johnson 4.% Kathy Kramer .".""---11r, MUSICIANS Dee McCandless

E; Musicians 42Ordt t 0 W AY Bob Becker / N fod; .10003 Steve Chambers Jay Clayton LISA Pamela Fraley Ben Harms Russ Hartenberger James Preiss Steve Reich Gary Schall Leslie Scott David Van Tieghem Glen Velez

3 LP BOXED SET DG 2740 - 106

AT ALL RECORD STORES Notes on the Music Drumming (1971) took more than a year to compose and rehearse. It runs continuously for about 1% hours, and is divided into four sections played together without pause. The first section is for eight small tuned drums and male voices, the second for three marimbas and female voices, the third for three glockenspiels, whistling and piccolo, and the last section for all instruments and voices combined. The basic assumption about the voices in Drumming was that they "Drumming" the sound of the would not sing words, but would precisely imitate instruments. The vocalists sing melodic patterns resulting from the combination of two or more sets of drums, marimbas, or glocken- spiels playing the identical pattern one or more quarter notes out of phase with each other. By exactly imitating the sound of the in- struments, and by gradually fading in the patterns the singers cause them to rise gradually to the surface of the music and then, by fading out, to subside slowly allowing the listener to hear these patterns along with many others, actually sounding in the instru- ments. In the case of the drums this has necessitated using the male voice singing syllables like "tuk," "tok," "duk," and so on. For the voice was needed using consonants like a soft Notes on the Dance marimbas, the female as in "you" vowel steady pulse, repetitive movement "b" of "d" with a more or less constant "u" I've been working with spinning, range of I was case of the glockenspiels the extremely high patterning since 1968. From 1966 until 1968 sound. In the and geometric and precluded any use of the voice as such and necessi- works with characterization, sets and costumes, the instrument creating theatre this form of vocal production proved impos- which were not thought out before execu- tated whistling. Even improvised movements was played in its higher ranges, and this with this situation. The root of the activity sible when the instrument tion. I was dissatisfied this conceptually interesting, created the need for a more sophisticated form of whistle; in was not clear. The theatre works, although The improvised case the piccolo. In the last section of the piece these vocal tech- emotionally self-indulgent audience exposures. were physically niques are combined simultaneously with each imitating its partic- , lacked self-conscious clarification and were movements ular instrument. dissatisfying. for are joined together by the new instruments doubling and worked alone in a studio in San Francisco These sections I left New York The sitting had come the exact pattern of the instruments already playing. Thus, at the most of 1968 and 1969. I began with sitting. a mono- the drum section there are three drummers playing the same when I thought out end of I 1967 out of a theatre work did in work gave 2 quarter notes out of phase with each other. The marimbas of speaking it to the audience. The theatre pattern logue instead con- softly with the exact same pattern played by three players explore the multi-dimensional layers of body enter the impetus to of phase with each other. The drummers while performing the piece. ) also 2 quarter notes out that I experienced sciousness gradually fade out so that the same rhythm and pitches are con- Walking was the physical connection I Out of sitting came walking. with a gradual change in timbre. At the end of the marimba and continued to ex- tinued sensation I was experiencing lowest range exactly to the pulsing first in section three glockenspiels played in their and sitting. I began walking perience when completely still double three marimbas played in their highest range so that the and back, then in circles. I walked in circles straight lines forward process of maintaining rhythm and pitch while gradually changing letting mybody weight lean in toward the for about two months timbre is repeated. into a spiral which brought my body center of the circle leading last section of the the focus inwards for about 3 The transition from the glockenspiels to the I was spinning, keeping 11 into a spin. voices combined is made through suspended me between the waking piece for all the instruments and hours a day. This movement and reduction. The and was the first a new musical process I have called construction states, a most pleasant place to be, and sleeping piece begins with two drummers constructing in movement for me. Spinning is a direct very beginning of the major breakthrough piece from a single drum the mind that I the basic rhythmic pattern of the entire physical connection to the whirling motion of in a cycle of twelve beats with rests on all the other while sitting. beat, played experienced drum beats are substituted for the rests, a series beats. Gradually additional to New York in early 1970 I performed process After I returned a until the pattern is completed. The reduction a straight line, one at time, solos. The first was singing while sitting, walking substituted for beats, of on is simply the reverse where rests are gradually phrase with all activities on a steady pulse doing a repetitive one at a time, until only a single beat remains. The reduction at a 6' by 6' square. the end of the glockenspiel section leads to a reconstruction for the was stamping in a The second solo was a few months later and glockenspiels, marimbas, and drums simultaneously. phrase, and singing with all square, spinning, a repeated diagonal one basic rhythmic pattern for all of Drumming: Reich in late 1970 There is, then, only activities on the same steady pulse. I met Steve to work with a com- after expressing a desire to a dancer friend pulse. She mentioned the f7 poser who was working with steady 11: -1\r, 7 el, 1 I .1\ Steve was interested music of Steve Reich which I had not heard. V that we . a choreographer. We met and realized in working with phase position, pitch, and timbre, and I with dance. This pattern undergoes changes of were working in the same area, he with music in my mind but all the performers play this pattern, or some part of it, through- The choreography for Drumming has been brewing and the problems out the entire piece. since 1972 but because of financial difficulties were not -Steve Reich of conflicting performance and touring schedules we Steve Reich and I able to begin work until late fall of last year. discussing the struc- worked in close collaboration on Drumming in the four ture of the music and our concept of energy expressed beginning of work between sections of the work. Drumming is the and me and should be viewed as work-in-progress. Steve Reich -Laura Dean Laura Dean and Dance Company Experimental Theater. Dance training includes the School of the Boston Ballet, Tatjana Baboushkina and the American Ballet Center (Joffrey). She has been a member of Laura Dean and Dance Com- Laura Dean was born on Staten Island, New York, on December 3, pany since January 1974. 1945. Her early dance training was with Lucas Hoving from 1952 through 1956 and at the School of American Ballet in 1955 and Kathy Kramer majored in dance at SUNY Brockport. She has 1956. She attended the High School of Performing Arts and the Nagrin and Nancy Meehan. She directed and American Ballet Center (under the auspices of the Joffrey Ballet) studied with Daniel performed with the "Down to Earth Movement" Dance/Theatre in 1966. She has worked with Paul Sanasardo in 1964 and 1966, Recently she performed with Kei Takei's Moving Martha Graham's School for Contemporary Dance in 1965, and in Rochester N.Y. II at and is currently dance consultant and teacher for Merce Cunningham in 1966 and 1967. She was a member of the Earth BAM Public School System, Roslyn, L.I. Paul Taylor Dance Company in 1965. Roslyn Her theatre works include 3 Minutes and 10 Seconds at the Clark Dee McCandless has a B.A. in theatre from the University of Texas. Arts, New York in 1966; Christmas Center for the Performing She has studied with Hanya Holm, The Repertory Dance Theatre Piece for the Byrd Hoffman Foundation in 1967; Theatre Piece at has of Utah, Mary Anthony, Viola Farber and Shirley Dodge. She cll York in 1967; Sitting, Spinning, the Great Jones Dance Studio, New taught modern dance at the University of Texas for two years. She (Red-White-Black) for Hemisfair in San Antonio in 1969; Stamping has been a member of Laura Dean and Dance Company since Dance Studio, 1968. and No Title at the Great Jones September 1974. In 1968 and 1969, she worked alone in San Francisco. Ms. Dean's works also include Dance Works at Alan Sarets (1970), An Hour in Silence (1970), Bach Preludes (1971), and A Dance Concert (1971). Her ensemble works are Stamping Dance (1971), Circle Dance (1971), Square Dance to Phase Patterns (1972) by Steve Reich, Walking Dance to Clapping Music (1972) by Steve Reich, Jumping Dance (1973), Changing Pattern Steady Pulse (1973), Spinning Dance (1973), Response Dance (1974), and Changing (1974). Steve Reich and Musicians Her performances include the American Dance Festival (1974) which included a commission for a new work Changing, the Steve Reich was born October 3, 1936, in New York and raised in Renwick Gallery at the Smithsonian Institute where she was given California and in New York. He graduated with honors in Philoso- an award for her contribution to the National Gallery, and the phy from Cornell University in 1957, studied composition at the following performances with Steve Reich and Musicians: Radio Juilliard School of Music from 1958 through 1961, and then re- Bremen in West Germany, Saison International in France, Festival ceived his M.A. in music in 1963 from Mills College in California di Musica e Danze in Rome, the Holland Festival, Encuentros 1972 where he studied with Darius Milhaud and Luciano Berio. Spain, and the Berliner Festspiele in Berlin. in Pamplona, In 1966 he began his own ensemble with three musicians. Since Among her publications are articles in The Drama Review, that time he has performed his music with this group, Steve Reich Dancescope, and Performance. She has received grants from the and Musicians, now grown to twelve throughout the United States New York State Council on the Arts and the Jerome Robbins and western Europe. In 1971 the premiere performances of a one Foundation. and a half hour long composition, Drumming, were presented at The Museum of Modern Art, Brooklyn Academy of Music, and Town Hall. Also in 1971 Phase Patterns was performed in Pierre Boulez's first series of Prospective Encounter concerts, and Four Organs was performed with Michael Tilson Thomas, Steve Reich, and members of the Boston Symphony Orchestra at Symphony Hall in Boston. This latter performance was repeated in New York Joan Durkee has been working with the Rubinstein Theatre Foun- at Carnegie Hall in 1973. performing at BAM, the Space, the dation since September 1973, He has published scores and/or articles in The New York Times, La Mama. She received her B.A. in psy- White Barn Theater, and 's Notations, the Anti-Illusion catalog of the Whitney in 1973. Her dance training began chology at Connecticut College Museum of American Art, Source Magazine, Aspen Magazine, the Dance Festivals in there in 1971 and continued at the American German quarterly Interfunktionen, and the French quarterlies 1972 and 1973. VH-101 and Artitudes. His book of collected essays, Writings about Music was published by New York University Press in 1974. Sarah Edgett's dance training includes The Maryland Ballet Co., include Come Out released by CBS Odyssey records 1 The American University Dance Theatre, The Washington School His recordings It's Gonna Rain and Violin Phase released by Columbia of the Ballet, Jose Limon, Paul Sanasardo, Murray Spalding, and, in 1967, in 1969, Phase Patterns and Four Organs released by the currently, Merce Cunningham. Her performance experience includes records French label Shandar in 1971, a limited edition recording of A.U. Dance Theatre, Project Theatre in Baltimore, Washington small score produced by the art publisher School of Ballet and Hava Kohar. Drumming with complete Multiples in New York in 1972, another recording of Four Organs in 1973, and a three record set in- Susan Griss graduated from Smith College in December 1971 with released by Angel-EMI records cluding Drumming, Six Pianos and Music for Mallet Instruments, a major in theatre and dance. She returned to N.Y.C. to study with in January Alwin Nikolais and Murray Louis during which time she co-founded Voices and Organ released by Deutsch Grammophon an improvisational dance company Twoladiestwodancers. During 1975. the summer of 1974 she organized a dance/music improvisation He collaborated with Laura Dean presenting concerts of music and group which performed in outdoor places around N.Y.C. and out dance in Berlin, Bremen, Pamplona, Rome and New York in 1972 of which grew the company Footnotes of which she is a member. and '73. During the summer of 1970 with the help of a travel grant from the Institute of International Education he studied drumming Diane Johnson has been working with Laura Dean and Dance with a master drummer of the Ewe tribe at the Institute for African Company since 1973. Studies in Ghana. During the summer of 1973 he studied Balinese Gamelan Semar Pegulingan with a Balinese teacher at the American Grethe Holby has danced with the Oslo Jazz Workshop (Norway), Society for Eastern Arts Summer Program at the University of Toby Armour's New England Dinosaur (Boston) and the Katherine Washington. In 1974 he was awarded grants from the National Litz Dance Company. She has taught dance at M.I.T. (Cambridge, Endowment for the Arts, the New York State Council on the Arts, Mass.) and is currently teaching at Ramapo College (New Jersey). and was an artist in residence in Berlin at the invitation of the She has also taught, choreographed and performed at the LaMama D.A.A.D. 27, 1937 in Corinth, Mississippi. Russell Hartenberger was born on July 21, 1944 in Watonga, Leslie Scott was born February Juilliard School of Music in 1959, Oklahoma. He received a M.M. in percussion from Curtis Institute He received his B.S. from the University in St. Louis in .1970. under Fred D. Hinger, an M.M. in percussion from Catholic Univer- and a M.M. degree from Washington and flute, but also plays sax- sity under Alan Abel, and a Ph.D. in Ethnomusicology from During that time he studied clarinet other baroque and renaissance wind instru- while studying African drumming with ophone, recorder, and with the St. Louis Symphony as a mem- Abraham Adzenyah, Javanese gamelan wtih Prawotosaputro, ments. He has performed and has also performed with mrdangam with Ramnad V. Raghavan and tabla with Sharda Sahai. ber of the clarinet section 1959-65, the Little Orchestra Society, the New During the summer of 1971 he studied African drumming in Ghana. the New York Philharmonic, Oliver Nelson, Charlie Mingus, and He has performed with the orchestras of Oklahoma City, Puerto York City Ballet Orchestra, Rico, New Haven, the Philadelphia Lyric Opera, and the Marlboro several Broadway shows. Music Festival. He is presently a member of the percussion ensem- born March 29th, 1944 in San Francisco ble Nexus, and works at the World Drumming Center at Wesleyan Pamela Wood Fraley was Virginia. She began study- University. and spent her early years in Richmond, She graduated summa ing piano with her mother at the age of 3. of Music. She has Steve Chambers was born July 21, 1941 in Dallas, Texas, and cum laude from the Howard University School and David Blair McClosky raised in Louisiana. He studied piano with Edgar Davis at the studied voice in Boston with Donna Roll of the Department University of Southwestern Louisiana, and with Mildred Dassett since 1969. Since 1970 she has been Director Lewis School of Music and Robert Goldsand at the Manhattan School of Music. Besides of Music Theory and Education at the Elma in Boston. In 1972 playing with Steve Reich and Musicians since 1969, he has accom- at the National Center of Afro-American Artists of the panied choreographer/dancer Laura Dean, and performed with was runner-up in the New England Regional Auditions she network composer Philip Glass. At present he is an architecture student at Metropolitan Opera Company. Besides appearing in several Bicen- the Cooper Union in New York City. television broadcasts, she sang in the American Revolution be distrib- tennial Commission film, "We Hold These Truths", to No. 51 James Lee Preiss was born October 17, 1941, in Shakopee, uted in 1976. She appeared as soloist in Bach's Cantata in 1975. Minnesota. He attended the , where he with the North Shore Philharmonic in Lynn, Massachusetts Instruments, received his Bachelor of Music degree in 1963. From 1963 to 1967 She performed in Steve Reich's Music for Mallet and marimba conducted by he performed with the U.S. Marine Band as timpanist Voices and Organ with the Boston Symphony, School of the present soloist. He was appointed to the faculty of the High Michael Tilson Thomas in January 1974, and joined the Music and Art in New York in 1969, and to the faculty of ensemble later that year. as per- Manhattan School of Music in 1970. He has performed on March 1, 1955 in Brooklyn, N.Y. He is cussionist with the Eastman Wind Ensemble, Eastman Philharmonia, Gary Schall was born the School of Music and studying per- American Wind Symphony, Philadelphia Composer's Forum, now attending the Manhattan He has also studied and performed with American Percussion Ensemble, and the Manhattan Percussion cussion with James Preiss. in the New Percussion Ensemble under the direction of Ensemble. At present he performs on a free-lance basis the Brooklyn College of 1973 he performed with this ensem- area. Morris Lang. In the summer York City He is currently play- ble on a State Department tour of Roumania. Percussion Ensemble under the direction Jay Clayton was born on October 28, 1941 in Youngstown, Ohio. ing with the Manhattan She studied music at St. Louis Institute and later at Miami Univer- of Paul Price. her husband, drummer Frank Clayton, have sity (Ohio). She and 21, 1955 in Washington, "Jazz at The Loft" concerts in New York. She David Van Tieghem was born on April produced a series of Justin DiCioccio from Levin, Garrett List and Steve Reich, D.C. He studied percussion privately with has recorded the music of Marc He has Lee. having been self-taught for 4 years previously. and has performed with Ran Blake, Alvin Curran and Jeanne 1971-73, Price at the Manhattan School of Music a new jazz group called Unity. been a student of Paul Currently she is a member of Percussion Ensem- since 1973 where he performs in The Manhattan as percussionist ble. During the summer of 1972 he toured Europe in Allentown, Pennsylvania. is presently a Bob Becker was born on June 22, 1947 with the American Youth Symphony of Winds. He degrees from the Eastman company called He received his Bachelor's and Master's member of an experimental sound and movement in World and School of Music, and is presently completing a Ph.D. "Footnotes", and also performs with Quog Music-Theatre, a of Javanese Music at Wesleyan University. He has been student with Judith Scott's A/P improvisation group and dance company. Gamelan with Prawotosaputro and Sumarsam, and is studying Ghanaian drumming with Abraham Adzenyah, tabla with Sharda He has been per- Sahai, and mrdangam with Ramnad Raghavan. "LET US SOLVE YOUR HOME PROBLEMS" cussionist and timpanist at the Marlboro Music Festival and pre- and the percussion ensemble sently performs with the World Band, A for Companions Bonded Agency kl Nexus. Male & Female Nurses Baby Nurses N.Y. Registered Aides Glen Velez was born October 5, 1949 in Dallas, Texas, and began Homemakers studying mallet instruments at the age of 15. He is presently a N Y Licensed Practicals & in mallet instruments at the percussion major specializing hour Manhattan School of Music studying with Fred Hinger. During call any 1968 through 1971 he was a member of the U.S. Army Band stationed at Worms, West Germany. From 1971 to '72 he was open with the ETC theatre company of La Mama, and toured Europe Star 24 hours a day with them during the summer of 1972 performing in Vienna, Amsterdam and Spoleto. He is presently a member of Paul Price's Registry seven Manhattan Percussion Ensemble. days a week

per- Ben Harms was born May 17, 1942 in Detroit. He studied for DAY NIGHT Conservatory and the Curtis Institute of cussion at the Cincinnati SLEEP -I N Music. He has performed extensively as a free lance percussionist established 1938 with the Metropolitan and New York City Opera Companies, and Nurses other ensembles. He was a Fulbright Scholar in Hamburg in 1970- 511 Avenue F, Brooklyn, N.Y. 11218 the operas of 71, and is now writing his Doctoral dissertation on Inc. Lully. Also interested in early music, he has studied and performed MELANIE STARR GE 8-0600 He, RENEE TAUBENBLATT 5th Street) as a singer and viola da gambist both in America and in Europe. (Between Ocean Parkway & East with his wife, the gambist Lucy Bardo, is a founding member of the New York Renaissance Band. - -A Production Staff

Production Stage Manager William Dunas The place and Lighting Designer Assistant Stage Manager Zella Wolofsky to come... Costumes Jane Sheeley Video Andy Mann for low-cost, Photographer Phillip Jones high-quality Laura Dean and Dance Company is produced by the Dean Dance Foundation, Inc., 715 Washington Street, New York, New York family protection! 10014,212-675-5484, a non-profit tax-exempt organization dedicated to the advancement of knowledge in dance. Your tax- deductible contribution to further the work of Laura Dean and Dance Company would be greatly appreciated. 4 The & MacRae. Lawyer: Charles N. Burger - LeBoeuf, Lamb, Leiby

P.C. Williamsburgh e. Accountant: Barry Milberg - Kriegsman & Singer,

Savings Steve Reich and Musicians is produced by the Reich Music Foundation, Inc., 16 Warren Street, New York, New York 10007, tax- Bank 212-925-1107, a non-profit tax-exempt organization. Your Incorporated 1851 deductible contribution to further the work of Steve Reich and Musicians would be greatly appreciated. Brooklyn Offices: 1 Hanson Place at Flatbush Ave., Brooklyn, N.Y. 11243 Broadway at Driggs Ave., Brooklyn, N.Y. 11211 86th St. and 23rd Ave., Brooklyn, N.Y. 11214 New Lots and Pennsylvania Ayes., foodstuffs... Brooklyn N.Y. 11207 Fun, fattening, and fabulous fingerfoods are now available for all BAM performances in our lobbies. If you're starved Nassau Offices: and in a hurry or if you can't face another hamburger Hempstead Turnpike at Center Lane, we have assorted snacks before curtain time. Levittown, N.Y. 11756 casserole, pushcarts and bar are also open for 682 Dogwood Ave., Franklin Square, N.Y. 11010 Our red and white intermission.

Queens Offices: So enjoy a light repast of shrimp, quiche Lorraine, pita 63rd Drive at Saunders St., Rego Park, N.Y. 11374 with salad, or pastries, and quaff a glass of beer, wine or 136-65 Roosevelt Avenue, Flushing, N.Y. 11354 soda; "foodstuffs" is open for business and pleasure. Opening early 1975: 107-15 Continental Ave., Forest Hills N.Y. 11375

Manhattan Offices: 74 Wall St. at Pearl St. New York, N.Y. 10005 345 East 86th St., New York, N.Y. 10028

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- - BROOKLYN'S MOST FABULOUS RESTAURANT Open Daily & Sun. until 1:30 am en The BREAKFAST "" LUNCHEON, DINNER ( veryfamous restaurant BEFORE-THEATRE COCKTAILS `N / AFTER-THEATRE SNACKS m 1 I. ote CATERING In 1879 Brooklyn was a separate city and we began a FOR ALL OCCASIONS New York dining tradition. The distinction of the food, the unhurried service and the elegant atmosphere attracted patrons to Homes and Offices. C !vk from far and wide. Now we are a Landmark. a nostalgic Complete example of a golden era in New York's history. Today. as 0 NEB ( Banquet Facilities in the past. our patrons arrive with anticipation and 1 leave warm and happy. Its our claim to fame. NPGPNO FLATBUSH AVE.EXT Brooklyn's Landmark Seafood and Steak House (Est. 1879). at DeKalb Ave. 2 Blocks from BAM \\_\--P\ GAGE&TOLLNER Phone: 852-5257 372 Fulton Street (nr Boro Hall) 875-5181 Lunch and Dinner except Sunday. Amex & Diners. The Brooklyn Academy of Music 30 Lafayette Avenue, Brooklyn, N.Y. 11217 (212)636-4100 NEXT AT BAM... Harvey Lichtenstein Executive Director Judith E. Daykin Director of Operations Brooklyn Philharmonia: All-Beethoven Concert Sharon Rupert Director of Finance April 6 (Special Performance in Carnegie Hall) Charles Ziff Director of Promotion and Audience Development Theatre of the Deaf: The Dybbuk The National Jane Ward Production Manager April 7, 8, 9, 10, 11, 12, 13 William Mintzer Lighting Consultant to BAM Flicks: My Man Godfrey and The Awful Truth (double Maribeth Gilbert Theatre Manager Richard Givens Assistant Theatre Manager April 11 feature) Reginald S. Tonry Building Manager Manuel Alum Dance Company Daniel J. Sullivan Box Office Treasurer Children's Program Manager April 17 - 20 Betty Rosendorn Flicks: Stella Dallas April 18 The St. Felix Street Corporation, a non-profit organization Chelsea: Polly operating the Brooklyn Academy of Music. Abraham D. Beame, Honorary Chairman/Paul Lepercq, Chairman/Dan Seymour, Vice- April 22 - 27, 29 - May 4, May 6 - 11, 13 - 18 Chairman/Donald M. Blinken, President/Harvey Lichtenstein, Secretary and Executive Director/Donald Moore, Treasurer/Mrs. Claire E. Bodian, Flicks: Member of The Wedding and Auntie Mame ex-officio/Donald H. Elliott/William Josephson/I. Stanley Kriegel/ April 25 (double feature) Samuel Lindenbaum/W. Barnabas McHenry/William Tobey/Edwin L. Weisl, Jr., Commissioner P.R.C.A. and Sebastian Leone, Brooklyn Flicks: The Letter Borough President, members ex-officio. May 2 The Brooklyn Academy of Music gratefully acknowledges the support Brooklyn Philharmonia: Festival of Modern Combos of the National Endowment for the Arts, the New York State Council on the Arts, and the Parks, Recreation and Cultural Affairs Adminis- May 3 tration of the City of New York. The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are ad- Flicks: Mogambo ministered by the Parks, Recreation and Cultural Affairs Administration, May 9 Abraham Beame, Mayor, Edwin L. Weisl, Jr., Administrator.

The taking of photographs or the use of recording devices in this theatre is strictly forbidden.

MANUEL ALUM DANCE COMPANY Directory of Facilities and Services

Box Office Hours: Monday, Noon to 6:00pm Manuel Alum brings his company of 8 - 10 dancers to Tuesday through Saturday, Noon - 9:00pm the Lepercq Space on April 17 - 20. Mr. Alum, formerly Sunday - Performance Times Only a leading dancer and, assistant artistic director with the Lost and Found: Telephone 636-4100 his troupe Paul Sanasardo Dance Company, formed own Lounges and Restrooms: Opera House in 1971. Since then, in addition to performing, Mr. Alum Ladies: Orchestra and Balcony Levels has created works on commission for such companies as Men: Mezzanine and Balcony Levels Music Hall the Bat-Dor in Israel, and the Ballet Rambert in England. Ladies: Orchestra Level His BAM program includes "Sextetrahedron" (1972), Men: Balcony Level (1974), excerpts from "Era" (1970), Lepercq Space "East-to Nijinsky" Ladies: Theatre Level "Yemaya" (1974), and "Deadlines" (1973). Performances Men: Theatre Level are at 7:30 on Thursday, 8:00 on Friday and Saturday, Entrance and 2:00 on Sunday. Tickets are $5 at the Box Office Public Telephones: Main Lobby, Ashland Place and TDF dance vouchers are accepted. . wimr--'44".d.