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BROOKLYN ACADEMY OF MUSIC

EINSTEIN ON THE BEACH

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~ Opera House December 11 ..23, 1984 EINSTEIN ON THE BEACH An Opera in Four Acts

By

PHILIP GLASS--ROBERT WILSON

Choreography by Lucinda Childs

With Lucinda Childs Sherylj Sutton

Lighting Design Musical Direction Sound Design Beverly Emmons Michael Riesman Kurt Munkacsi

Spoken Text Christopher Knowles/Samuel M. Johnson/Lucinda Childs

With The Lucinda Childs Dance Company

Music Performed by The Philip Glass Ensemble

Design/Direction Music/Lyrics ROBERT WILSON PHILIP GLASS

These performances of Einstein On The Beach are dedicated to the memory of Ninon TaIIon Karlweis and Edwin I:>enby, who were an important part of the creation. of this work in 1976.

7 EINSTEIN ON THE BEACH THE COMPANY (in alphabetical order) Eric Benson man in red shirt making calculations, jury member trial, prisoner, singer Steven Bromer* man in black suit, dancer, Steven Weed Rachel Brumer* dancer on perpendiculars train, woman reading book, dancer Warren Campbell jury member, singer Lucinda Childs character in kneeplay, character on diagonal train, witness in trial Timothy J. Conboy* man with string, jury member, dancer, Steven Weed Vincent de Cordova trial guard, jury member trial/prison, singer Nan Friedman* jury l1}ember trial, dancer, prisoner Mary Ann Hart jury member, singer Michael Ing* jury member trial, dancer, man on bench in trial/prison, dancer spacemachine JeffJohnson man on bench in trial, jury member trial/prison, singer Samuel M. Johnson judge, bus driver John Koch jury member, singer, night tra~n duet Raissa Lemer* woman with string, rear stenographer trial, dancer, woman on bench in trial Leslie McEwen Indian, jury member trial/prison, singer Robert Mince train engineer, man on night train, jurymember, singer Priscilla Newell* front stenographer, dancer, woman in elevator '1]" Charlae Olaker jury member, singer, night train duet Gloria J. Parker jury member, singer, alto voice with The Philip Glass Ensemble Lute Ramblin' boy on tower, judge, boy in elevator ~" Garry Reigenbom* man with string, man on bench, dancer, flying man spacemachine Marie Rice woman with shell, jury member, rear stenographer trial/prison, singer Sheryl L. Sutton character in kneeplay, woman with newspaper, lawyer, woman on night train, woman withjlashlights spacemachine Donna Wade jury member with blond wig, woman in building, woman with telescope spacemachine, singer The Philip Glass Ensemble: John Gibson soprano saxophone/flute Martin Goldray keyboards Jack Kripl piccolo/flute/bass clarinet Dora Ohrenstein soprano voice Richard E. Peck, Jr. alto saxophone/flute Michael Riesman keyboards/bass synthesizer Kurt Munkacsi sound mix Bob Bielecki sound mix Dan Dryden sound mix and Tison Street violin *Members of The Lucinda Childs Dance Company As Einstein On The Beach is performed without intermission, the audience is invited to leave and reenter the auditorium quietly, as necessary. The food service in the lobby will remain open :during performance:~.

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9 The music for Einstein On The Beach was written in the spring, summer and fall of1975. Bob Wilson and I worked directly from a series ofhis drawings which eventuallyformed the designs for the sets. Priorto that period, we had reached agreement on the general thematic content, the overall length, its division into 4 acts, 9 scenes and 5 connecting "knee plays~ We also determined the makeup ofthe company - 4 principal actors, 12 singers, doubling when possible as dancers and actors, a solo violinist, and the amplified ensemble· of keyboards, winds and voices with which my music is usually associated.

Einstein On The Beach is part ofan ongoing musical project begun with "Another Look at Harmony" in the spring of1975. This, in tum, is based on "Music in 12 Parts" (completed 1974) which developed a vocabulary oftechniques (additive processes, cyclic structure and combinations ofthe two) to apply to problems of rhythmic structure. With "Another Look at Harmony~ I have turned to problems of harmonic structure or, more accurately, structural harmony - a new solution to problems ofharmonic usage~ where the evolution ofmaterial can become the basis ofan overall formal structure intrinsic to the music itself(and without the harmonic language giving up its moment-to-moment content and "flavor"). My main approach throughout Einstein On The Beach has been to link harmonic structure directly to rhythmic structure, using the latter as a base. Indoing so, easily perceptible "root movement" (chords or"changes") was chosen in order that the clarity.ofthis relationship could be easily heard. Melodic material is for the most part a function, or result, ofthe harmony, as is true in earlierperiods ofWestern music. However, it is clear that some ofthe priorities ofWestern music (harmony/melody first, then rhythm) have been reversed. Here we have rhythmic structure first, then harmony/melody. Theresult has been a reintegration ofrhythm, harmony and melody into an idiom which is, hopefully, acces­ sible to a general public, although, admittedly, somewhat unusual at first hearing. The vocal texts used throughout the opera are based on numbers and solfege ("do, re, mi ...") syllables. When numbers are used, they represent the rhythmic structure ofthe music. When solfege is used, the syllables represent the pitch structure ofthe music. Ineither case, the text is not secondary or sup­ plementary, but is a description ofthe music itself. Besides seeming appropriate for the subject of"Ein­ stein~ Bob and I felt that a vocal text based on numbers would be easily understood by an international audience (Einstein On The Beach was premiered and toured widely in Europe before coming to the United States). The three main recurring visual themes ofthe opera (Train/Trial/Field with Spaceship) are linked to three main musical themes. However, the most important musical material appears in the "knee plays" and features the violin. Dramatically speaking, the violinist (dressed as Einstein, as are all the performers on stage) appears as a soloist as well as a character in the opera. His playing position ­ midway between the orchestra and the stage performers - offers a clue to his role. We see him then, perhaps as Einstein himself, or simply as a witness to the stage events, but in any case, as a musical touchstone to the work as a whole. Philip Glass, 1976

Einstein On The Beach was produced originally in 1976 by the Byrd Hoffman Foundation, Inc. with the assistance of M. Michael Guy, former French Minister ofCulture.

Private sponsors ofthe original 1976 proouction included Christophe de Menil, Mr. and Mrs. Pierre Schlumberger and Paul F. Walter.

Einstein On The Beach was performed in 1976 at Festival d'Avignon, Avignon, France; Deutsches Schauspielhaus, Hamburg, Germany; Festival d'Automne, Opera-Comique, Paris, France; BITEF, Belgrade, Yugoslavia; Venice Biennale, Venice, Italy; La Monie, Brussels, Belgium; Rotterdamse Schouwburg, Rotterdam, Holland; Metropolitan Opera House.

Einstein On The Beach is available on CBS Masterworks Records and Cassettes.

10 PIDLIP GLASS composes music for opera, film; visual artist Sol LeWitt to create Dance, a work com­ theater, dance, chorus and his own ensemble. A missioned by the Brooklyn Academy ofMusic. That graduate of The Juilliard School, Mr. Glass has spring New York City Ballet season was highlighted received numerous commissions and awards, by the premiere ofGlass Pieces choreographed by including a composer-in-residence grant from the Jerome Robbins to music from Glassworks and Ford Foundation, a Rockefeller Foundation fellow­ Akhnaten. ship, and a Fulbright Schol~rship, which enabled Philip Glass has performed worldwide with his own him to study with Nadia Boulanger in Paris. musical ensemble. The Philip Glass Ensemble, con­ His commissions include the opera Satyagraha sisting ofMr. Glass, Kurt Munkasci, Michael Ries­ (from the City ofRotterdam, 1980) which premiered man, Jon Gibson, Richard Peck, Jack Kripl, Martin in Holland and was subsequently performed at the Goldray and Dora Ohrenstein, has performed in Brooklyn Academy ofMusic in 1981. A new produc­ such famous music halls as The Dorothy Chandler tion ofSatyagraha, directed and designed by Achim Pavilion (Los Angeles), Carnegie Hall, (New York Freyer, is part ofthe repertory at the Stuttgart Opera, City), the Dominion (London), Musikcentrum West Germany. (Holland), and the Casino de Paris, to name only The 1984 Los Angeles Olympic Organizing Com­ a few. Recently the Ensemble made its debut in mittee commissioned Mr. Glass to compose music Tokyo, Japan. OnJune Zl, 1984, Mr. Glass and the for the opening and closing ceremonies ofthe 1984 Ensemble played in the Kool Jazz Festival at Car­ Summer Olympics held in Los Angeles. negie Hall. In June 1982, Mr. Glass' chamber opera, The Pho­ Philip Glass is a CBS Masterworks recording artist, tographer, debuted at the Royal Palace in Amster­ the first composer to be offered this distinguished dam for the Queen of Holland. A newly-staged contract since Aaron Copland. Glassworks was his production ofThe Photographer opened the Brook­ first Masterworks release. The second recording, lyn Academy's 1983 NEXT WAVE Festival. The Photographer, was released in March 1983. Ein­ Philip Glass' most celebrated collaboration was with stein on the Beach was re-released by CBS Master­ noted American stage director/designer, Robert Wtl­ works in March 1984. Satyagraha will be released son, on the opera Einstein on the Beach, which in May 1985. premiered at the Avignon Festival in 1976, going on Philip Glass will be the 1985 composer-in-residence to tour throughout Europe and culminating in two with the Philadelphia Orchestra at Saratoga Per­ sold-out performances at the Metropolitan Opera forming Arts Center in Saratoga Springs, New York. in New York. ROBERT WILSON has written, designed, and Mr. Glass recently collaborated with Mr. Wilson directed a wide range oftheater, opera, dance, film on the Koln and Rome sections ofthe CWIL warS: ~hen and video pieces since 1965. Perhaps best known a tree is bestmeasured it is down. The Rome to American audiences for Einstein on the Beach, section was cOnuIDssioned by Teatro dell'Opera and his 1976 collaboration with composer Philip Glass, premiered on March 22, 1984: Wilson recently has been working on a major new Akhnaten, Mr. Glass' third opera, commissioned opera, the CIVIL warS: a tree is bestmeasuredwhen by the Stuttgart Opera and directed and designed it is down. Sections ofthis international work have by Achim Freyer, had its world premiere on March been performed in Rotterdam (1983), Cologne, 24, 1984 in Stuttgart, West Germany. On October Rome, and Minneapolis (1984). Act IV and Epilog 12, 1984 the work received its American premiere ofthe CWIL warS will};>e presented by the Ameri­ in Houston, Texas under the auspices ofthe Houston can Repertory Theater in a new American produc­ Grand Opera and the New York City Opera. This tion under Mr. Wtlson's direction at the Loeb Drama production was directed by David Freeman and Center in Cambridge, Massachusetts in February designed by Bob Israel and Richard Riddell and 1985. Most recently Robert Wilson designed and opened in New York City at the State Theater on directed Medee by Marc-Antoine Charpentier and November 4, 1984. his own Medea, with music by Gavin Bryars, for Einstein on the Beach, Satyagraha, and Akhnaten the Operade Lyon in France. These two works were constitute Mr. Glass' portrait trilogy. given their world premiere performances in October On October 4, 1982, the film Koyaanisqatsi, with 1984. a full score by Mr. Glass, premiered at Radio City Wilson's other recent works include The Golden Music Hall as a New York Film Festival selection. Windows for the Munich Kammerspiele in Munich His first film score was for North Star: Mark DiS­ (1982); Great Day in the Morning with Jessye Nor­ uvero, and he is the subject ofa biographical film man for the Theatre des Champs-Elysees in Paris by British filmmaker Peter Greenaway (The (1982); The Man in The Raincoat for the Theater Draughtsman's Contract) titled Four American der Welt in Cologne (1981); Death, Destruction, and Ctflnposers. Detroit for the Schaubuehne am Halleschen Dfer During the course of his career, Philip Glass has in Berlin (1979). composed music for numerous Mabou Mines Wilson, who has a B.F.A. from Pratt Institute and theater productions, including Dressedlike an Egg, apprenticed with architect Paolo Soleri, brings a The Lost Ones, DeadEnd Kids, and Cold Harbor. background in art and architecture to his work in Mr. Glass created a prelude for Beckett's Endgame theater and opera. The King OfSpain, presented which premiered on December 4, 1984 by Robert in 1969 at New York's Anderson Theater, was Wil­ Brustein's American Repertory Theater. In 1979 son's first major work. This piece was then incor­ Philip Glass collaborated with Lucinda Childs and porated into The LifeAnd Times OfSigmundFreud 11 and presented at the Brooklyn Academy ofMusic received its American premiere at the Opera House later thatyear. In 1970, Wilson, working-at the Iowa of the Brooklyn Academy of Music in the fall of University Theater, created Deafman Glance, 1979. which was subsequently performed at the Brook­ In early 1981, Ms. Childs returned to Paris at the lyn Academy ofMusic (1971) and toured extensively invitation of the Groupe Recherche Choreograp­ in Europe. In 1972, Wilson created a piece for the hique de l'Opera de Paris for which she choreo­ Festival ofShiraz-Persepolis entitled Ka Mountain graphed Mad Rush, w~th music by Philip Glass. and Guardenia 1errace: A Story About A Family This twenty-minute work, featuring Wtlfride Piollet And Some People Changing, which was presented and Michael Denard, principal dancers from the continuously over a seven-day period on Haft Tan Paris Opera Ballet, was presented in Paris at the Mountain in Shiraz, Iran. Upon his return to the Theatre de la Ville in April, 1981. United States, Wilson presented his 12-hour long The second ofthelarge-scaleproductions, Relative work, The Life And TImes OfJoseph Stalin, at the Calm, is an evening-length work with music by Jon Brooklyn Academy ofMusic and toured this piece Gibson, and lighting and decor by Robert Wilson. in Europe and South America. Relative Calm had its premiere in December, 1981 Called "America's most important dramatist" by at the Opera House of the Brooklyn Academy of Eugene Ionesco, RobertWtlsonhas received numer­ Music as part of the NEXT WAVE series. ous awards, including the Drama Desk Award for Available light, Ms. Childs most recent large-scale Direction (Deafman Glance); Obie Special Cita­ production, is an hour-long work with music by tion Award for Direction (The Life And TImes Of John Adams, set by architect Frank Gehry, and Joseph Stalin); a Tony nomination for Best Score costumes by Ronaldus Shamask. Commissionedby and Lyrics (A LetterFor Queen Victoria); andWest the MuseumofContemporary Art in Los Angeles, Germany's Der Rosenstrauss for Best Play (The Availablelight had its American premiere there in Golden Windows). Mr. Wilson has received two September, 1983 and was also presented in the Guggenheim Fellowships and two Rockefeller Foun­ Opera House of the Brooklyn Academy of Music dation Grants. His work has been supported by as part of the NEXT WAVE Festival. grants from the National Endowment for the Arts, In 1983, the Pacific NorthwestBalletcommissioned the New York State Council on the Arts, the Mas­ Lucinda Childs to choreograph a new work for the sachusetts Council onthe Arts andHumanities, the company. Cascade, with music by Steve Reich, was Japan U.S. Friendship Commission,· and the premiered atthe Seattle Opera House on March 1, National Film Institute. Many ofhis drawings and 1984 and was also presented in the company's sea­ sculptures are held in both private and public col­ sonatthe Brooklyn Academy ofMusic in April and lections, including the Museum of Modem Art, at the Spoleto Festival U.S.A. in Charleston, South New York and the Museum ofModern Art, Paris. Carolina in June. An exhibition ofhis drawings is presently on view In March, Childs performed a retrospective ofher at the Paula Cooper Gallery, New York City, solodances atthe Whitney Museum. This program December4-22, 1984. began with a solo from the 1960's, the popular Car­ LUCINDA CmLDS began her career as a chore­ nation, and concluded with the world premiere of ographer and dancer in 1963 as an original mem­ her new solo work, Outline, with music by the ber of the Judson Church Dance Theatre in New young British composer Gavin Bryars. York. In 1966 she participated in the legendary In June of this year, the Asian Cultural Council "Nine Evenings: Theatre and Engineering", present­ awarded Ms. Childs a fellowship to survey art and ing a work in collaboration with engineers from Bell culturatactivities in Japan. This fellowship was the Laboratories. In 1973 she formed the Lucinda Childs first ever awarded to an American choreographer. Dance Company, for which she has choreographed At the request ofRudolfNureyev, Ms. Childs cho­ a number oflarge-scale ensemble works and solos. reographed her second ballet for the Paris Opera The company has toured extensively in the United this fall. Premier Orage is set to music by Dmitri States and Europe. ~hostakovich,has decor and costumes by Roberto In 1976, Ms. Childs collaborated with Robert Wil­ Plate, and stars two of the Paris Opera's principal sonand Philip Glass on Einstein on the Beach, par­ dancers, Elizabeth Platel and Jean Guizerix. Pre­ ticipating as performer and choreographer, and mier Orage had its premiere at the Paris Opera on contributing to the text ofthe opera. Einstein on the November 2, 1984. Beach toured Europe and was presented at the Fortheirevival ofEinstein on the Beach, Childs cho­ Metropolitan Opera in New York. Ms. Childs reographed the Field Dances for Acts nand illand received a CAPS award, as well as as Village Voice recreates the leading role, for which she won an Obie aweml for herperformance. Shealso co-starred Obie in 1'J76 when the opera was performed at the with Robert Wilson in his two-act play, I Kfls Sit­ Metropolitan Opera House. ting On My Patio And This GuyAppearedI Thought For the Lucinda Childs Dance Company's 1985-86 I Hbs Hallucinating, which toured the United States New York City season, Childs will choreograph a and Europe in 1'J77-78. new full-length work. The new work, in four parts, In 1979 LucindaChilds began preparing the first of will have music for each section for amplified harp­ her large-scale pnxiuctions, in supportofwhich she sichord and violin, written by a different composer; was awarded a "Guggenheim Fellowship. This was Michael Galasso, Gyorgy Ligeti, Michael Nyman, Dance, an evening-length work for the Lucinda and Allen Shawn. Thedecor will becreated by pho­ Childs Dance Company, with music by Philip Glass tographer Robert Mapplethorpe. and film/decor by visual artist Sol LeWitt. Dance 12 SHERYLSUTTON is recreating the role she per- , received his M.A. from NYU's Tisch School ofthe formed inthe originalproduction ofEinstein on the Arts in 1984 where his instructors included Mr. Beach. She has worked with Robert Wilson since Rhodes and Alba Calzada. Mr. Conboy has danced 1971, appearing in Deafman Glance, The Life and with the Mercury Ballet and worked with such TImes ofJoseph Stalin, A Letterfor Queen Victoria, choreographers as CliffKeuter, Joan Finkelstein, the CWIL warS, and The Murder, a video film for Christopher Pilafian and now, Lucinda Childs. He PBS. A native of New Orleans, Sheryl lived for currently studies with Maggie Black. several years in Paris where she worked extensively VINCENT de CORDOVA is a graduate of the in televison and film. Miss Sutton_currently resides Oberlin Conservatory of Music and and the in Cologne, West Germany with her husband, Mozarteum in Salzburg, Austria. After completion Andreas Terhoeven, co-author ofher one-woman ofhis musical studies, he was invited to sing with show, People Who live in Hotels Get Eyes ofKillers, the Metropolitan Opera Studio in New York. Hehas which has been performed this season in Paris, subsequently performed with the opera companies Geneva, and Brussels. ofHouston, Lake George, Austin, Lake Placid, Vir­ ERIC BENSON, a native ofArlington, Virginia, ginia, Frankfurt and appeared in the Civil warS by is a graduate ofBrown and Boston University School Philip Glass and directed by Robert,Wilson at the ofFine Arts, where he was assistant director ofthe Teatro dell'Opera in Rome. He has also performed Opera Theater. In New York he has appeared with with the symphony orchestras ofVancouver, Miami, the Bronx Opera, New York Lyric Opera, The Boston, Cleveland, Cincinnati (under the baton of Opera Ensemble ofNew York, Capricorn Theater James Levine), as well as the Orchestre de la Suisse Company, St. Luke's Chamber Ensemble, and fre­ Romande. In February 1985 he will be making his quently as a guest artist with the New York Renais­ debut With the Berlin Philharmonic Orchestra. He sance Band at Alice Thlly Hall. He has sung can be heard on London Records with Lorin Maa­ principal tenor roles in Don Giovanni, LeNozze di zel and the Cleveland Symphony Orchestra. Figaro, Cenerentola, A Midsummer Night's Dream, NAN FRIEDMAN is from SkoIde, Illinois and has and Cosi Fan Tutte, and acted and danced a B.F.A. from the Juilliard School. She has per­ Stravinsky's Devil inL'histoire du Soldat at Tangle­ formed as a principal dancer in Diamond, Tanz wood. Also a stage director,. he recently directed Projekt Munchen and as a guest artist with Batsheva. the world premiere of Edith Hemenway's The In New York she has performed with Twilight ofMagic in March with the Long Island choreographers Dianna McPherson, Andrew Singers. deGroat, Rosalind Newman, and Gina Buntz. Ms. STEVENBROMERgrew up in Indianapolis, Indi­ Friedman can be seen in the film Phi Beta Rockers ana and began dancing while pursuing a degree in and most recently in the music video Complication education from Earlham College. He studies ballet Shakedown by Japanese artist, Moto. Shejoinedthe with Maggie Blackandthis is his second season with Lucinda Childs Dance Company in the spring of the Lucinda Childs Dance Company. 1983. RACHEL BRUMERgrew up in Oakland, Califor­ MARY ANN HART, a native of Missouri, is a nia and began herdance career as a member ofthe mezzo soprano and a 1983 winner ofthe Concert Oakland Ballet Company. She.graduated from Mills Guild Auditions and the first prize winner of the College, taking ti~e off for a tour with Ringling 1982 Minna Kaufmann Ruud Distinguished Perfor­ Bros. & Barnum& Bailey Circus. After moving to mance Awards. She receiveda careerdevelopment Seattle, shejoined the Bill Evans Dance Company. grant from the Martha Baird Rockefeller Fund for She has taught for the Pacific NorthwestBalletand Music and was a semi-finalist in the Kennedy the University ofWashington. In New York she has Center-Rockefeller Foundation'Competition for performed with Mark Morris, and this fall joilled American Music, as well as a silver medalist in the the Lucinda Childs Dance Company. Robert Shumann International Competition. Miss WARREN CAMPBELL, a native of Kansas, Harthas been a soloist atthe Marlboro Music Fes­ recently performed with Operaworks in Figaro and tival, with the Minnesota Orchestra, Musica Sacra, The Martyrdom ofSt. Magnus. He has also per­ The Clarion Music Society, Concert Royal, and The formed with the NYU Summer Festival in Kirke Youth Symphony of New York. In addition to her Mecham's Tartuffe, Riverside Opera, Music Theatre 1983 debut recital at Carnegie Recital Hall, Miss ofWichita, Phoenix Bach & Madrigal Society, Ths­ Hart has made recital and oratorio appearances in con Opera, Flagstaff Symphony and Music Austria, Germany, Rumania, East Germany, Academy of the West. Mr. Campbell's oratorio Washington, D.C., and several states. credits range from Jesus in St. Matthew Passion to MICHAEL INGgrew up in Rockville, Maryland. Rossini's Stabat Mater. Frequently touring the coun­ He began his dance training at Washington Univer­ try in several Gilbert and Sullivan proouctions, he sity in St. Louis, Missouri where he also received escaped TItipu to sing with the Charleston, SOuth a B.A. in architecture. His teachers there included Carolina Symphony as bass soloist in Mozart's Claudia Gitelman and Satoru Shimazaki. Since Requiem. moving to New York in 1983, Michael has studied TIMOfHY J. CONBOY was born and raised in modern dance with Merce Cunningham and ballet Rockville Centre, Long Island. Hebegan a serious with Janet Panetta and Rachel List. He has per­ pursuit of dance as a career while attending the formed in works by choreographers Ellen Cornfield University of Colorado where he received his and Garry Reigenborn in:addition to working with Bachelor's Degree in French. Dance brought him the Lucinda Childs Dance Company, which he to New York to study with Lawrence Rhodes. He joined in August, 1983.

13 JEFF JOHNSON has appeared on Broadway in leen Mulvihill. She has been with the Lucinda The Three Musketeers, with the first national com­ Childs Dance Company since 1981, and has taught pany ofA Dayin Hollywood/A Night in the Ukraine, in France and New York City. She currently studies and at the Spoleto ~stiva1 in Italy with the New York ballet with Maggie Black and modern dance at the Ensemble for Early Music. He has performed in Cunningham studio, and likes to swim. pieces at LaMama E.T.C., Radio City Music Hall, CHARLAEOLAKER is a native ofChicago. She the Augusta Opera Company, the Virginia Museum began early musical studies in piano at the Ameri­ Theatre, and with the Gregg Smith Singers. Most can Conservatory ofMusic, continuing as a vocalist recently he was Dustin Hoffman's assistant on the at Howard University where she received her Broadway revival of Death ofa Salesman. degrees. Miss Olaker is the recipient ofnumerous SAMUELM. JOHNSON is recreating the role he scholarships, prizes, and awards, including semi­ performed in the original production ofEinstein on finalist in the Concours Internationale de Paris, the Beach. He appeared in the CBS television ser­ 1980; First Prize in the Y.M.C.A. Annual Vocal ies Beacon Hill and the films Shuttle Escapade, Vel­ Competition, 1980; and the sole winner of Artist vet Smooth, and Times Square. International's Voice Award, 1981, which was JOHN KOCH, a graduate in music ofKent State presented by the management at her New York rec­ University, holds the Master ofMusic in Voice from ital debut at Carnegie Recital Hall in 1982. As a the University of Illinois. He has performed with member of the Wolf Trap Opera Company, The the Lake George Opera Festival, Michigan Opera Children's Opera Theatre ofWashington, D.C. , and Theatre, I..ouisville Opera Association, and the the Alexandria Lyric Opera, Miss Olaker has per­ Kansas City Lyric. Last fall he toured nationally for formed roles by Mozart, Menotti, Puccini, and Columbia Artists Management, creating the role of Verdi. She has made guest appearances as a soloist Sir Arthur Sullivan in an original opera based on with orchestras at Kennedy Center's Concert Hall, the lives ofGilbert and Sullivan. This past year he Lincoln Center's Damrosch Park, Central Park, and performed the duel roles ofLarry and Matt in The has made successful concert, recital, radio, televi­ Face on the Barroom Floor with the New York sion, and film appearances throughout the United Center for Contemporary Opera and the role of States and Europe. Most recently she toured with Pedrillo with the Arkansas Opera Theatre in the Philip Glass Ensemble in The Photographerand Mozart's Abduction from the Seraglio. performed with Lukas Foss and the Brooklyn Phil­ RAISSA LERNER grew up in Connecticut and harmonic in Idomeneo, which was aired recently began performing with the American Youth Ballet, on WNCN Radio. which m~de annual summer tours to West Germany GLORIA PARKER has been guest artist with and Switzerland. After graduating from Amherst several symphony orchestras in the United States, College in 1983, she moved to New York andjoined including Oklahoma City, St. Louis, Queens, and Colloquium Dance Co. She has been a member of the St. Luke's Chamber Ensemble. She has also the Lucinda Childs Dance Company since April appeared with the Houston Grand Opera, Opera 1984, and is studying ballet with Maggie Black. Theatre ofSt. Louis, Boston Opera, Children's Free LESLIEMcEWEN has recently moved to the New Opera of N.Y. and Caramoor Festival, ~mong York area from Seattle, where she was a Seattle others. In 1983 she played the role ofJulie Laverne Opera Company Preview Artistand also sang with opposite Donald O'Connor in the national tour and Seattle Civic Light Company and with the Peter Broadway revival ofShowboat and will be appear­ Britt Music Festival in Oregon. Since arriving in ing as Evvie in the comedy musical, Scrambled New York, Leslie has sung with the Lubo Opera Feet, at Toronto's Strand Theatre in 1985. Company, The. Center for Contemporary Opera LUTERAMBLlN'lirstappeared as the final incar­ Company and was a recent winner in the Ameri­ nation in Jean Claude van Italie's Naropa at Yale in can Opera Auditions. She is also a past Metropoli­ 1978. He played one ofthe manifestations ofAriel tan Opera Opera National Auditions and a San in The New York Shakespeare Festival's production Francisco Merola Program finalist. of The 1empest in Central Park in 1981, as well as ROBERT MINCE, a native Long Islander, has The. Child in Mabou Mines' production of Lee been active in opera and musical comedy for 11 Breuer's Hajj, a piece for live and pre-recorded years. His credits include a stint at Michigan Opera video that premiered at The Public Theater in 1983. Theatre where he played Bob in The OldMaidand He can be heard on National Public Radio in the the Thief, David in Hand ofBridge and Marullo in ZBS Production ofThe Mist in which he plays Billy. Rigoletto. Mr.~ince's New York credits include Lute Ramblin' is nine years old. He attends Friends Fiorello in BarberofSeville (Brooklyn OperaSoci­ Seminary and plays on the travelling soccer team ety) and Belcore in Elixir ofLove (Opera Ensem­ for The Manhattan Kickers. He is a visual artist and ble of New York). This past summer Mr. Mince musician and has studied Ken-do in Japan. appeared in New Hampshire as the Pirate King in GARRY REIGENBORN, a native of Colorado, Pirates ofPenZ/lnce, Sir Harry in Once Upon a Mat­ received a B.F.A. from the University ofUtah, Salt tress and Shem in Two by Two. Lake City. Beforejoining the Lucinda Childs Dance PRISCILLA NEWELL was born in Louisville, Company in 1981, he was a principal dancer with Kentucky. After graduating from Sarah Lawrence Andrew deGroat and Dancers from 1977-79. Hehas College, she moved to New York City where she performed with Meg Harper and David Gordon. has performed with several choreographers, includ­ He has collaborated with theater director Cindy ing David Gordon and Valda Setterfield, and Col- Lubar and with Robert Wilson since 1980. He has

14 conducted workshops throughout Europe, Canada THE PIDLIP GLASS ENSEMBLE,is a virtuoso and the U.S. and has been directing and group ofmusicians performing on both electronic choreographing for his own company, Garry and acoustical instruments. Mr. Glass created the Reigenborn: Company Dance since 1979. He is the Ensemble over a decade ago to capture his unique recipient of a NEA Choreography Fellowship in instrumental sonorities and his hypnotic melodies 1982 and has been awarded an Artist in Residence with their compelling, ever-ehanging rhythmic pat­ by the Djerassi Foundation of California in 1986. terns. Comprised of outstanding musicians and Hehas studied professionally with MerceCunnin­ composers in their own right, the Ensemble is the gham, Ann Halprin and currently studies ballet with only group in the world devoted exclusively to Mr. Maggie Black. Glass'music. Thegroup has performed in many of ~RICE has been a part ofEinstein on the the world's most prestigious halls, including Car­ Beach from the beginning. As a member ofthe cast negie Hall in New York and the Dorothy Chandler of the original 1976 production, she performed Pavilion in Los Angeles. throughout Europe and at the Met as well as par­ MICHAEL RIESMAN is acomposer and per­ ticipating in the recording ofthe complete opera. former whose activities encompass a broad spec­ She has also appeared in Canadian Equity theatre trum of music. He studied at the Mannes College and nu~erous Off-Broadway and OftOffBroad­ ofMusic and Harvard University wherehereceived way productions. She received her B.F.A. in act­ a Ph.D. in composition, and has taught at Harvard ing from Emerson College and is currently studying and at SUNY/Purchase. Hehas received a Fulbright with William Esper. grant and commissions from the Ford Foundation DONNA WADE, Maine born soprano, comes to and the Fromm Music Foundation, and has also New York City via extensive musical training in received supp<,>rt from the National Endowment for Nova Scotia where she recieved herB.M. and B.M. the Arts and Meet the Composer. In addition to con­ Ed. degrees on full scholarship. Herdiverse talents cert works, Mr Riesman has composed music for run from singing lead roles in Cosi Fan Tutte and the theatre, dance, and for films and television. He The Telephone and The Medium, to acting lead roles wrote music for Robert WIlson's Edison, which was in Hamlet, On Baile's Strand, The Tempest and Can­ seen in New York, Paris and Milan. Lucinda Childs dida. After appearing on various CBC Radio and recently commissioned a work entitled Formal Television shows, she moved backto the States ana Abandon, which was premiered in Paris. His most attended Manhattan School of Music. Now a stu­ recent work is a ballet called The City, which was dent of Sam Sakarian, this is Miss Wade's NYC commissioned by the Spoleto Festival, and was per­ operatic debut. formed in bothItalyand South Carolina. Mr. Reis­ JULIAGILLETTwas Production Stage Manager man is noted as the conductor of numerous for the original Einstein on the Beach in· ·1976. She recordings including Einstein on the Beach, Glass­ has worked with Mr. Wilson on other productions works, The Photographer, and Koyaanis,qatsi. He including A Letterfor Queen Victoria, The $ Value has conducted and performed on albums by Paul ofMan, Medea, and The Civil warS. Other high­ Simon, Mike Oldfield, Ray Manzarek, and Phil lights include Andrei Serban's The Cherry Ochs. Orchard,st Agamemnon, and Happy Days; Liviu KURT MUNKACSI returns to this production of Ciulei's Hamlet; Alan Schneider's A lmly From Einstein On The Beach to re-create his original Dubuque; and The Greeks at the Williamstown sound design. A long time member of the Philip Theatre Festival. She is currently Production Glass Ensemble, he was perhaps the first sound Manager at the Guthrie Theater in Minneapolis. mixer to be treated as an equal member ofa group BEVERLY EMMONS (Lighting Designer) of musicians. Over the past several years he has designed the lighting for the Merce Cunningham turned his attention to recorded music and is best Dance Company from 1965 to 1968. She has also known at this time for his productions, which designed lighting for theaterdirectors Joseph Chai­ include the original recording of Einstein on the kin, Andrei Serban, and for Meredith Monk's and Beach, re-released by CBS Masterworks; The Pho­ Ping Chong's The Games. Ms. Emmonshas numer­ tographer, Gmmmy nominee 1983; Glassworks for ous Broadway credits including Tony nominations CBS Records; The Waitresses first album for Poly­ for The Elephant Man, A Day in Hollywood/A Night gram; and the music for the Koyaanisqatsi, winner in the Ukraine, and last year's All's Well That Ends of the 1983 Golden Globe Award for best sound­ Well. Herdance credits includedesigns for thecom­ track. During his somewhat adventurous musical panies ofMarthaGraham, Lucinda Childs, Trisha career he has worked with such varied artists as Brown, Lar Lubovitch, Dana Reitz, Viola Farber, Ornette Coleman, Don Cherry, John Lennon, Brian and Alvin Ailey. Other collaborations with Robert Eno, Mike Oldfield, Ray Manzarek and Polyrock. Wilson have been I Nbs Sitting On My Patio This The recording ofGlass' opera Satyagraha, produced Guy Appeared I Thought I Was Hallucinating, by Munkacsi, will be released early next year by Death, Destruction, and Detroit at the Berlin CBS Masterworks. It is especially interesting Schaubuhne, Great Day In The Morning in Paris, because ofits unique recording approach to tradi­ and the Rome Opera segment of the CWIL warS. tional orchestration. He is also producing Glass' In 1980 she received a Village Voice Obie and in score for the soundtrack to Paul Schrader's upcom­ 1984 was awarded a Bessie for distinguished light­ ing film Mishima, produced by George Lucas and ing design. Francis Ford Coppola, which will be available on Elektra-Nonesuch Records.

15 JON GIBSON, as composer and performer ofhis ing in New York, hejoinedthe Philip Glass Ensem­ own music, has given many solo and ensemble con­ ble and furthered his studies in music and art at certs throughout Europe and North America. Two Hunter College. In addition, he has recorded his recordings ofhis music, Visitations and Two Solo music with the jazz band, Roux. His visual work Pieces, appear on Chatham Square Records. In lCJ77 has been shown at P.S. 1 and the Holly Solomon he was commissioned by the Merce Cunningham Gallery in New York and at the Contemporary Art Dance Company to compose and perform the music Center in New Orleans. for Fractions, a dance for video and live perfor­ TISON STREET has pursued a duel career as mance. Subsequently, Mr. Gibson was commis­ violist and composer. From·1968 to lCJ78, he worked sioned by choreographer Lucinda Childs to as a freelance violinist in Boston where'he played compose music for Relative Calm, which toured in the Boston Philharmonic, Boston Opera, Boston widely in Europe and received its American BalletOrchestra, Boston Pops, Boston Symphony, premiere at the Brooklyn Academy of Music in appeared in solo and chamber recitals, and taught December 1981. He is currently working on an chamber music classes at Harvard University. In opera with director JoAnne Akalaitis, based upon recent years he has concentrated mostly on com­ Charles Darwin's book, J.byage ofthe Beagle. Mr. position. His works have beenplayed by such groups Gibson has performed with Philip Glass since 1968. as the St. Paul Chamber Orchestra, the New York MARTIN GOLDRAY is the pianist for the New and Los Angeles Philharmonics and the Concord Music Consort and appears regularly with the Con­ String Quartet. temporary Chamber Ensemble. He has also per­ THE LUCINDA CIDLDS DANCE COMPANY formed with the Group for Contemporary Music, was founded in 1973 and performed its first concert the Orchestra ofthe Twentieth Century, and on the at the Whitney Museum in New York that year. Guild of Composers series. After receiving the From 1973-78, Lucinda Childs choreographed a D.M.A. from the Yale School of Music he was number ofworks for thecompany including: Calico awarded a Fulbright to study with Yvonne Loriod Mingling (1973), Particular Reel (1973), Duplicate in Paris. He has also been the recipient ofTangle­ Suite (1CJ75), Reclining Rondo (1CJ75), Radial Courses wood and Yale-in-Norfolk Fellowships. He received (1CJ76), Interior Drama (1CJ77), and Katema (lCJ78). his B.A. from Cornell University, where he studied All ofthese pieces were performed without music with Malcolm Bilson, and his earlier studies were and secured Childs's reputation as one ofthe impor­ with Carlos Buhler and at the Dalcroze School of tant and influential contemporary choreographers. Music in New York City. In 1979 the company began to perform large-scale JACK KRIPL, winner ofthe Geneva International works created by Childs in collaboration with artists Competition for Musical Performers, has toured from other mediums. These works have been extensively as a soloist and performer with orches­ acclaimed by critics in Europe and America for the tras and bands. He is regarded as one ofthe lead­ beauty oftheir choreography and for their innova­ ing exponents of the classical saxophone. As a tive use ofmusic and decor. The first ofthese works, recipient oftwo successive Fulbright Scholarships Dance (1979), is an evening-length piece for an to Paris, he studied saxophone with Marcel Mule ensemble and solo dancer with music by Philip and musical style with Nadia Boulanger. ItWdS dur­ Glass and a film-decor by Sol LeWitt. Dance toured ing this period that his professional relationship with extensively in Europe and had its American Philip Glass began. A widely sought-after per­ premiere at the Brooklyn Academy ofMusic. Rela­ former, Mr. Kripl works frequently on Broadway tive Calm (1981) was created in collaboration with and in New York recording studios. Most recently, composer Jon Gibson and has lighting and decor he WdS the lead woodwind player in the original cast by Robert Wtlson. Following a tour ofFrance, ithad ofBarnum. His interest in new music led himto be its American premiere at the Brooklyn Academy a founding member of the American Saxophone ofMusic's NEXT WAVE Festival. Available Light Quartet, dedicated to new music from American (1983) was commissioned by the Museum ofCon­ composers. temporary Art in Los Angeles to inaugurate its DORA OHRENSTEIN has an active career in a "Temporary Contemporary" exhibition space. This broad repertoire. She has been soloist at the Wit­ hour-long work has music by John Adams, decor ten Festival of New Music in West Germany and by Frank Gehry, and costumes by Ronaldus Sha­ has participated in the premieres ofcompositions mask. Available Light was also performed in by Philip Glass, John Cage and many others. As Chateauvallon, France and at the 1983 NEXT soloist with the SEM Ensemble, she traveled widely WAVE Festival. In December, 1983, the company in South America. She has been heard as soloist at appeared in a one-week season at the Theatre de la the Waterloo Music Festival, the Aspen Music fes­ Ville in Paris. The company has also performed at tival and with the Manticore Orchestra, the Solaire the Washington Society for the Performing Arts, the Ensemble, Queens College Choral Society, New­ Walker Art Center, Harvard University, Zellerbach band, the Western Wind, the New Calliope Singers, Hall and thoughout Europe. In June, 1985, the com­ John Biggs Consort, Schola Antigua and at the New­ pany will perform a retrospective ofChilds' works port Festival. Ms. Ohrestein has recorded with CBS, at the Holland Festival. Nonesuch and Labor Records. The Lucinda Childs Dance Company is supported RICHARD E. PECK, JR., saxophonist, com­ in part by the Dance and Inter-Arts programs ofthe poser and visual artist, came to New York City from National Endowment for the Arts, the New York Louisiana in lCJ71. While in the South, heperformed State Council on the Arts, the Daniel W. Dietrich with rhythm and blues bands and attended the Foundation, Exxon Corporation, the Jerome Rob.,. University ofSouthwestern Louisiana. Upon arriv- bins Foundation and many generous friends.

16 STAFF FOR EINSTEIN ON THE BEACH

ASSISTANT DIRECTOR JULIA GILLETT

Company Manager Ellen Dennis Production Stage Manager Don Judge Stage Managers James Grant Charles Otte Set Coordinator Michael Deegan Costume Coordinator Don Newcomb Assistant to the Lighting Designer Ken Tabachnick Assistant to the Choreographer Garry Reigenbom Assistant Musical Director Martin Goldray Assistant to Robert Wilson Ann-Christin Rommen Production Assistants Peter J. Downing Nina Stachenfeld Lighting Production Assistant Maidie O. Greer Hair and Makeup Ethyl Eichelberger Casting Consultants Margery Simkin Donna Newton Rehearsal Pianist/Standby Keyboard Michael Ward Rehearsal Pianist Nurit Tilles Legal Counsel Ron Feiner, Esq. Colton, Weissberg, Hartnick, Yamin and Sheresky

Production Manager for Kristina Kinet The Philip Glass Ensemble

choreography copyright © 1984 Lucinda Childs

CREDITS Scenery constructed by Broggi Brothers, Milan, Italy. Scenery refurbished by Nolan Scenery Studios, Inc. and Metro Scenic Studios. Lighting equipment by Bash Theatrical Lighting, Inc. and Produc­ tion Arts Lighting, Inc. Mini-striplight courtesyofLighting and Electronics, Inc. based on a design by Jules Fisher. Sound equipment by Maryland Sound Industries, Inc. and Masque Sound and Record­ ing Corp. Projection equipment by Charlie Spataro's Audio Visual Workshop, Inc. Original scenic supervision by'A. Christina Giannini. Original costumes by D'Arcangelo-Mayer, Paris. Additional costumes by Annamarie Hollander. Special thanks to FOTOFOUO The music ofmany composers featured in the NEXT WAVB FESTIVAL is available from the New Music Distribution Service, the only non-profit organization specializing in the marketing and pro­ motion of new music recording.

17 Exclusive Representation of Philip Glass by IPA/Intemational Production Associates 853 Broadway New York, NY 10003 212 505-1688 Telex: 821238

For information regarding Robert Wilson: Byrd Hoffman Foundation, Inc. 325 Spring Street New York, NY 10013 212 620-0220 Telex: 383773 BHF NYK UD

Exclu,sive Representation ofThe Lucinda Childs Dance Company by Lucinda Childs Dance Foundation, Ltd. 541 Broadway New York, NY 10012 212431-7599

Worldwide Representation ofThe Philip Glass Ensemble by IPA/Intemational Production Associates 853 Broadway New York, NY 10003 212505-1688 Telex: 821238

EINSTEIN ON THE BEACH SPECIAL EVENTS

December 4-22, 1984 ROBERT WILSON: DRAWINGS 1974-1984 Paula Cooper Gallery 155 Wooster Str~t New York, New York (212) 674-0766

December 16, 1984 THE EINSTEIN DINNER EIlntemacional For ticket information and reservations call Ms. Carol Willis at (718) 636-4193. Proceeds will directly benefit this Next Wave production.

December 23, 1984 12:3Opm BAGEL BRUNCH AND 'SYMPOSIUM Dr. Roger Oliver, Humanities Director, Next Wave Festival will chair a panel discussion about Einstein On The B~ach. Bagels, coffee, and orange juice will be served. Brooklyn Academy of Music

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