2 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 I 3
Brooklyn Festival of Dance 1970-71
The Brooklyn Academy of Music
in association with
The American Dance Foundation
presents The American Ballet Company
Director ELIOT FELD
OLGA JANKE ELIZABETH LEE CHRISTINE SARRY
ELIOT FELD JOHN SOWINSKI
Marilyn D'Honau Karen Kelly Christine Kono Cristina Stirling Eve WJlstrum Kerry Williams Larry Grenier Edward Henkel Kenneth Hughes Daniel Levins James Lewis Richard Munro
Musical Director CHRISTOPHER KEENE
Associate Conductor ISAIAH JACKSON
Ballet Mistress BARBARA FALLIS
The American Ballet Company is a resident company of the Brooklyn Academy of Music. The performances of the American Ballet Company at the Brooklyn Academy of Music are made possible by grants from the National Endowment for the Arts, The Ford Foundation, the New York State Council on the Arts and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performances. 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 The Brooklyn A(' ad(' nt y of Must(' J /w /Jrook/1, Anulcm)' of Mu1ic i1 c1 deparltllt'lll of tire Brooklyn Ttutitute of Art.\ ami .Science.\.
Brook I} n Ac·adt'my of M u:-.ie· \dmini ... tratiV<' Staff Managc·nu•nt Company, lrH". liar vc.:y I ichtenstein, Drr ell or I e\\ is I . lloyd, (,eneral Manager Board ol DirettlHs: Charles I lammock, Asst. (,eneral Manager Seth ~ I .1tson, l'tesident Jane Yoc kel, Asst. (, eneral Manager Donald !\1 Blinken Barty Moore, Comptroller J\lartin I' ( arter I homas Kerrt).(an, Assistant to the Director Ru.: har d I\! llexter M u:hele Goldman Drusttn, Assistant to the Director Peter ( I{ I lu.mg Anne Goodrich, Associate Press Representative (itlber t Kaplan I mda r oshurg, Manager or I 1.11 vn I rdlll'lhtl'in Audtence and Community Development Al.1n J. l'atrtu•l Betty Rosendorn, Administrawr, School Time Program J),r>H.J J'iLkl'l "iarah Walder, Administrator, Member ship Program Rtd1.11d ( . Sad\\ Mildred Levinson, Admmistrative Secretary Adele Allen, Press Secretary The· .\<"ade·nt} of .Mu ... ic· Sylvra Rodin, Administrative Assistant (;en c·r·ning CunuuitiN' I ram:es '\,1. Setdenber)!, I tnanc.:ral Secretary Seth S. I .1rson, ( h.ruman f ~ velyn August, Staff Assistant l·d\\,11 d S Rl·nl. \ Kl' ( h.rir man Pearl light, Secretary, School ltme Program lion. Ak\,llldc.:r ,\Ju rich Fllen W . Jacobs, Program Fditor Berrl.lld s 1! .111 l)ctrdre Dtetric.:hson, J>r . \\ rllt.tm \1. Birenbaum Regrstrar for Academy Dance Center D o nald ~1. lllrnken John R . II. Blum llo•r...C' Staff t-.J.1111n ( .Iller I hom.rs A. Donnelly Alfredo Salmaggi, Jr., House Manager 'v\rllr .1111 B. lll'\\\011 Gary 1 indscy, Asst. House Manager Rev. \\ {, !Jenson J acobs Richard R . Burke, llox Office Treasurer II ow a r d II J lllll'S Btll Griffith, Assistant Treasurer (,rlbl·rt Ko~pl a n I ars J oq~enson, Assistant Treasurer !\Lix I Koeppel James Hillary, Assistant Treasurer !\h).'r. ICn mond S. I eonard John ( ooney, Stage Crew Chief !\1". (,l'OI).'C ltberman John Van Buskirk, Master Carpenter I 1.11 \l'V I tdlll'llSil'lll Fuward Cooney, Assistant Carpenter 1\lrs. ( onstamc.: J . :\ld.)ueen Donald Beck, Master l·.lec.:tricran Alan J. P.llrtcof I ours Beck, As-.istant l·lcc.:tnc.:tan J ,11\Jes C) Ri ll I d.lll 'I hom as I oughlin, Master of Properttes Htdl:lr d < . S.1dl'> Charles Brette, Custodian \>\ tllt .lln lobe} Foundation and Corponatt· Coni rihutor·:-. \hr 1h.rm .111d Str .rus l tlundation, Inc. • I he Altman hnrndauon Amc.:rican Can Co. I dn Anchor "i.1\ rngs ll.urk i\r thur Andel'l'n & ( omp.11n 1!.1d1c.: Corp. I dn Bankers I rust Co • John R. B. Blu 11 I 11nd thlllUgh ;\;l•w 'Iori.. < omnwnliY t rust Robc.:rt I . Blum I und thtough New York < umrnu.rrt\ I 111 1 Bm,t·n '>.t\llt~s Bank • lirc.:voort '>.rv rngs Bank Irvin!! Brotbky & Co. • Brooklyn S.1\111gs l1 .111k tl lll •kl\n l nron (,,ts < o Burlrn).'ton lndusuics l·oundauon ( :uisto Construction < o rp I hl' < l'l.'lll' •t I rhl'ls .1nd 1\l.t~kc.:trng ( lllllp.rny • < hase Manhattan Bank I dn • ('hemrcal Bank 'lrust (o •
We .rre plc.:ased to extend thrs Jnvttatton to you to bt.~·o me a I ric.:nd Fric·nds of the Brooklyn A•·ndemy of Mu~ie· are peoplc.: who llt•l~t•r t' 111 the need for quahty programs at low box office prices Off••r assistance to the edu~:ational service!> provided by the Ac.Hkmy Inform the community of the vanety of programs the Academy offer~ II l'lp hridge the gap between costs and receipts ~.?. 'i Sponsor SIO Supporttng $'i0 P.llrtln \100 J>,uwr S'iOO Bl'rll'Lil.:tor Eliot Feld and the Extinct Metaphor
hy Marcia B. Siegel
PI NO AIIIIRI S< lA Eliot r eld's Harbinger ( 1967)
WHEN the curtain rises. a boy is crouched. Whctt you see 1s \-\hat\ happening. and low to the ground. in front of a huge, what's happening IS precisely what you sec. back-lit. pao;tel-spattered sail. He slowly unfolds his body upward - and greet:. the Com pare this to almost any other 'iOrt of empty stage with a tlourish. The gesture has ballet. Take a classical par:. de deux. The all the resonant confidence of a boat whio;tle man ami woman enter. meet, dance together saluting the harbor at dawn. for a while; then one partner retires while the other does a solo. There are two reasons This is the firo;t moment of the first ballet why he or she leaves the stage at this point: choreographed by Eliot Feld. Harhinger. It to breathe and rest before the next exertion. contains, in a way, evl!rything one needs to and to give the entire stage to the other know about why many people consider Feld dancer. But the audience is not supposed to the most important young choreographer at think of that. We are supposed to imagine work today. that the first partner i-s really there, gazing fascinated on his beloved's performance, Someone recently told me that after see because this is after all an ecstatic love ing Feld\ work for the first time he was scene puzzled becau'ie it didn't seem to be about anything but dancing. That, perhaps, is the Or take a Jerome Robbins duet. Thcr..: fundamental point. The critics may suggest often seem::. to be much more going on be metaphors about it later, but that doesn't t ween the partners :han is evident. How make the moment of performance any less chc can we explain those ambiguous little complete. Feld's dance isn't a metaphor for gestures that 6eem so important, the loaded anything, not emperors and princesses, or glance, the crackling pause, the sudden ca the demons of the pt>y(;he, or the vapors of pitulation? Some unspoken contest ha., been mysticism, or dawn, harbors, boats, portents, '>immering for ages between them, we're or anything but a boy extending his arm. forced to suppose, but they're not tcllmg us what it's about. ·\nd then they arc gone, leaving us none the wi.,er. Copyright © 1970 by MARCIA B. SIEGEL Consider the colorful sexuality of modern Marcia B. Siegel c01·ers dance in New York ballet - the clutchings and acrobatic falls for the Lo.\ Angeles Fimes and the Boston - the contorted embraces - '>Omeonc's H erald. She is a t·ontrihuting editor of hand shoots up in the air - orga'>m! Or Art~ in Society. the decorative anonymity of "ab.,tract" bal- 6 BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970
intensely, until suddenly their ardor sub sides, and the men pick up the girls in their arms and rock them to a lullaby. At Midnight poses solo dancers against groups, the way Mahler threaded his long, gorgeous melodic line through and over the orchestra in the RUckert Songs, which ac company the ballet. The group makes no statement of its own, but its presence, always surging and hovering in the background, determines the actions of the soloist. In Meadowlark, Feld matched the exuberant momentum of H aydn, and in Harbinger the frenetic pace of Prokofieff. Several unusual things are implied by this highly developed musicality of Feld's. His dancing often has a folk quality. The vo cabulary is classic ballet, but the impulse to dance, the vitality, the lack of restraint
MARTHA SWOPE! Fete/ at rehearsal with Christine Sarry looking on
kt, "'here you are not supposed to see a man touching a girl .H all, but an idealized / I depiction of a musical phrase. What makes Feld's dancing different from all these is 1ts immediacy, its refusal to adopt euphemisms, and its total reliance on the energy and ~weep of the movement to convey meanmg. All of Feld\ ballets take their impetus from the flow of the music that accompanies them. Events in the dance arise out of that accompanies them. Events in the dance ari'ie out of that flow and continue going with it. never stopping to crystallize a beau " tiful moment or point out some feat of agility. Feld works like a master of old MARTHA SWOPB fashioned, cursive handwriting, achieving Elizabeth Lee and John Sowinski in Intermezzo emphasis, shape and character without lift ing his pen from the paper. belongs to Balkan and other folk forms, lntermez~o begins with the mustc itself, where people dance just for the sake of Brahms played on an onstage piano, while dancing. In these forms, and often in Feld's the dancers stand formally, awaiting their work, the men and women partner each cue. No pretense about a ballroom, gloves, other to share something, rather than to bowing and curtseying, just dancers ready show off. Their arms go around each other's to dance to Brahms. A girl raises an arm waists companionably, one might almost and goes up on her pointes in one breath, say democratically. One seldom feels that and the dance is on. Carried along on the fussy concern for placing and arranging so current of music, the three couples whirl common in ballet, because what matters is and float, dip and rise, faster and more the motion, not the stops. The partners adapt to each other rather than dominate each other. A girl may be running or turning and the man can pick her up without disturbing her flow; you hardly notice she has left the ground. In the opening section of Intermezzo the man slips his hands undt::l lhe girl\ arm and across her breast, and ~he cover<; his hand with hers, as if to say "that's n1ce, keep it there."
Responding to the pulse of the mus1c, these dancers convey a real sense of the body's weight. Girls are thrown up and caught in midair; in Early Songs, Feld runs while carrying Christine Sarry high in the air, and she swings her whole lower body back and forth like a pendulum : in Har binger the girls curl up into a solid mass a nd jump with their whole weight, back-
RO"i PROTAS Feld and trio in Early Song\
Feld is incredibly good at the pure craft of dance composition - making up steps, patterns, group designs that illuminate the music, like the headlong six-part canon at the end of Meadowlark. He is daring, witty, intelligent. But his greatest gift is for mak ing movement that authentically expresses feelings. The taut, jagged lines of distress and the roundness of embracing, the in quiSitive stretches into space and the com pactness of energy mobilized, the long delicate quiets and the furious, tumbling chases - these are the marks of Eliot Fcld's choreography. .. He is important because he is the first choreographer of this generation to break
MARTHA SWOPE with the idea that ballet is about another John Sowinski and Christine Sarry world - a universe peopled with invincibly in At Midnight beautiful beings who are possessed of super human powers. Feld's ballet is about this world. We and his dancers are in it wards into the boys' arm~. This kind of together, not separated by some great gulf dancing is exciting to watch because it is of virtuo~ity. I remember my delight when closer to our own experience than the con the first astronauts stepped out of their tinuous withholding of weight that ballet hermetic, computerized capsule and began dancers habitually do. We know the feeling leaping around the moon. When I look at of our own weight, rocking in a hammock, Eliot Feld's dancers, I get the same flash dangling from a handhold on a moving of recognition: - Hey, they're like us after subway. Feld intensifies this experience for all! Or maybe even more exciting, we're us instead of denying it. like them! 8 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970
AMERICAN BALLET COMPANY Saturday (Eve.) Wednesday Saturday (Eve.) Wednesday Oct. 31, 8:00 p.m. Oct. 21, 7:30 p.m. Oct. 24, 8:30 p.m. Oct. 28, 8:00 p.m. Harbinger Meadowlark Harbinger Clockwise A Poem Forgotten A Poem Forgotten* The Consort* A Poem Forgotten Intermezzo Cortege Burlesque Cortege Parisien Cortege Parisien* Harbinger Early Songs At Midnight The Consort Sunday (Mat.) Thursday Sunday (Mat.) Thursday Oct. 25, 2:00 p.m. Oct. 29, 8:00 p.m. Nov. 1, 2:00 p.m. Oct. 22, 8:00 p.m. Clockwise Meadowlark Clockwise The Consort Caprichos Intermezzo Caprichos A Poem Forgotten Early Songs Cortege Parisien Cortege Burlesque At Midnight At Midnight Harbinger Friday sunday (Eve.) Nov. 1, 7:30 p.m. Friday Sunday (Eve.) oct. 30, 8:00 p.m. Oct. 25, 7:30 p.m. Clockwise The Consort Oct. 23, 8:00 p.m. A Poem Forgotten Harbinger Meadowlark A Poem Forgotten A Poem Forgotten The Maids Intermezzo Clockwise* At Midnight The Maids Intermezzo Early Songs Early Songs The Consort Saturday (Mat.) Saturday (Mat.) Tuesday Oct. 31, 2:00 p.m. Oct. 24, 2:00 p.m. Oct. 27, 8:00 p.m. Clockwise Clockwise The Consort Caprichos Early Songs Caprichos Early Songs Harbinger Cortege Parisien Early Songs MERCE CUNNINGHAM AND DANCE COMPANY Saturday Tuesday Friday Tuesday Nov. 6, 8:00 p.m. Nov. 10, 8:00 p.m. Nov. 14, 8:00 p.m. Nov. 3, 7:30 p.m. Scramble RainForest RainForest Canfield Signals New Work II* Signals Second Hand Second Hand Tread Canfield How to Pass, Kick, Fall and Run Sunday Wednesday Saturday Nov. 7, 8:00 p.m. Wednesday Nov. 15, 7:30 p.m. Nov. 4, 8:00 p.m. New Work II Canfield Canfield Nov. 11, 8:00 p.m. Signals Scramble Signals Signals* Tread Tread Second Hand Signals New Work II Thursday Sunday Nov. 5, S:OO p.m. Nov. 8, 2:00 p.m. Friday Walkaround Time RainForest Nov. 13, 8:00 p.m. Second Hand Second Hand Walkaround Time Tread Signals Programs subject to change. New Work II *Premiere
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BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 I 9
Saturday Evening, October 24, 1970, 8:00 p.m.
Brooklyn Academy of Music
The American Ballet Company
Clockwise
INTERMISSION
The Consort
INTERMISSION
Intermezzo
INTERMISSION
At Midnight 10 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970
CLOCKWISE (1970)
Choreography by Bruce Marks :Music by Jean Francaix (L'IIorloge de Flor) 1 Cosluntcs by Stanley Simntons Lighting by Jules Fi her
I Karen Kelly, Christine Kono, Elizabeth Lee, Christine Sarry, Cristina Stirling Larry Grenier, Edward Henkel, Daniel Levins, Richard Munro, John Sowinski
II Christine Kono Larry Grenier, Kenneth Hughes, Richard Munro lll Christine Sarry
IV Daniel Levins Karen Kelly, Cristina Stirling, Kerry Williams
V Elizabeth Lee, John Sowinski
VI Olga Janke, Eve Walstrum, Kerry Williams
VII Full Company
CHRISTOPHER KEENE, Conductor
Costume~ executed by Grace CO$tumc Company. Uy :1rran~cment with Theodore Presser Company, agent for Editions Mu s i c :~lcs Trans:ltlantiqucs, Paris.
INTERMISSION BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 I 11
THE CONSORT (World Premiere)
Choreography by Eliot Feld Music by Dowland, Neusidler, Morley, and Anonymous Composers r Orchestrated by Christopher Keene Costumes by Stanley Simmons Lighting by Jules Fisher
Marilyn D'Honau, Olga Janke, Christine Kono, Elizabeth Lee, Cristina Stirling
Larry Grenier, Kenneth Hughes, Daniel Levins, Richard Munro, John Sowinski
CHRISTOPHER KEENE, Conductor
This ballet was made possible through a grant from the National Endowment for the Arts and also with the assistance of The Rockefeller Foundation.
INTERMISSION
INTERMEZZO (1969)
Choreography by Eliot Feld Music by Johannes Brahms .. Costumes by Stanley Simmons Lighting by Jules Fisher
CHRISTINE SARRY ELIZABETH LEE OLGA JANKE ELIOT FELD JOHN SOWINSKI LARRY GRENIER
GLADYS CELESTE MERCADER, Pianist
This ballet was made possible throu~h a gr:tnt from The Rockefeller Foundation.
INTERMISSION 12 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970
AT 1\iiDNIGHT (1967)
Choreography by Eliot Feld Music by Gustav :Mahler (Four Ruckert Songs) Scenery by Leonard Baskin Costumes by Stanley Simmons Lighting hy Jules Fisher
In the ill-judged execution of the well-judged plan of things, the call seldom produces the comer, the man to love rarely coincides with the hour for loving. Nature does not often say "See!" to her poor creature ·when seeing can lead to a happy doing or answer "Here!'' to a body's cry of "Where?" till the hide-and-seek has become an irksome, outworn game. - Thomas Hardy
I ELIOT FELD Edward Henkel, Kenneth Hughes, Daniel Levins, James Lewis, Richard Munro
II CHRISTINE SARRY, JOHN SOWINSKI
III LARRY GRENIER Olga Janke, Karen Kelly, Christine Kono, Christine Sarry, Cristina Stirling, Kenneth Hughes, Daniel Levins, Richard Munro, John Sowinski
'V ELIZABETH LEE, CHRISTINE SARRY, JOHN SOWINSKI
V ELIZABETH LEE, CHRISTINE SARRY, LARRY GRENIER, JOHN SOWINSKI Olga Janke, Karen Kelly, Christine Kono, Cristina Stirling Edward Henkel, Kenneth Hughes, Daniel Levins, Richard Munro
WILLIAM JUSTUS, Baritone CHRISTOPHER KEENE, Conductor
This ballet was made possible through a grant from The Rockefeller Foundation. Costumes commissioned by Barbara Matera, Ltd. By arrangement with Theodore Presser Company, agent for Universal Edition, Vienna. BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 I 13
Contributors to Thf' Arn('rican Dancf' Foundation, Inc., 1970.
PATRONS SPO SORS The Corbett Foundation Mr. and Mr~. R1chard Anthony The ational Endowment for the Arts Dr. and Mrs. Philip S. Bergman The New York State Council on the Arts Iris De La Torre Bueno The Rockefeller Foundation The Pa ul H . Epstein FoundatiOn Mr. and Mrs. Irving Feld BE EFAClORS Mr. a nd Mrs. Milton D . Felson The Marion R. Ascoli Fund The Harold & J ean Goldstein Foundation The Blinken Foundation Herma n C. Gulack J ohn R. H . Blum Mrs. Harold Hermann W illiam Crawford Dr. and Mrs. John S. H ermann Mrs. Henri Doll Mr. and Mrs. Eugene D. Lavery Mr. and Mrs. Benjamin Feld The Overseas Foundation Stanley Go ld ~tein Mr. and Mrs. Leon Pomerance Gilbert Kaplan Mrs. Robert Pomerance The J. M. Kaplan Fund Mr. a nd Mrs. George Schein Paul A. Lepcrcq Ray Stark The Edmond de Rothschild Foundation Frances P. Strauss Helena Rubinstein Foundation Dr. Milton Thomashow R1chard C. Sach> Alice Tully
The Arnerican Ballt='t Cornpany William Crawford, Administrative Director Randall Brooke;, Production Stage Manager Ellen Wittman, Stage Manager David Bixler, Production Assistant G ladys Celeste Mercader, Pianist E lonzo Dann, W ardrobe Supervi or Eleanor Munter, Secretary Scenery by Nolan Scenery Studios. Shoes by Capezio. Costumes executed by Barbara Matera, Ltd., and Milo Morrow. The official school of The American Ballet Company is The New York School of Ballet, Richard Thomas, Barbara Fallis, Eliot Feld, Directors, 2291 Broadway, New York, N. Y. 10024. The activities of The American Ballet Company and The ew York School of Ballet are supported by The Amen can Dance Foundation, Inc. - President : Paul H. Ep!.tein, Vice-President: Richard Thomas, Secretary: Mrs. Richard . Gardner, Treasurer: Benjamin N. Feld, Board of Trustees: Leonard Baskin, Joseph L. Broadwin, Paul H. Epstein, Barbara Fallis, Eliot Feld, Mrs. Richard . Gardner, Mrs. Arthur J. Goldberg, Nora Kaye, Harvey Lichtenstein, Anita Loos, Richard Thomas. All contributions to The American Dance Foundation, Inc. a re tax-deductible. For the Academy of Music Li ghting by Four Star Lighting The Academy of Music is grateful to T he Metropolitan Museum of Art for lending the sculpture Herakles by Bourdelle now on exhibition in the Main Lobby. The statue was a gift to the Museum by Mr. and Mrs. Stephen C. Millett, 1924. A Giant Awakens
For all )-OU know, you might be Sittmg as Director of Audience Development for in the seat occupied by Mrs. Abraham the New York City Ballet and Opera at Lincoln when she attended a production Lincoln Center, dance seemed a logical of the opera II Guimmanto in March. place for him to begin. 1861. But the changes did not happen right Since before the Civil War, the Brooklyn away During his first season in Brooklyn, Academy of Music has been an artistic oasis Lichtenstein kept things the way they had for generations of audiences. Some of the been, offering visiting dance companies on most important figures in literature, theater, the Academy stage for one night stands. music and dance have appeared here, in The 1967-68 season saw Paul Taylor, cluding such singers as Enrico Caruso, Donald McKayle, Jose Limon, the Joffrey Madame Schumann-Heink, Feodore Chalia Ballet, Alwin Nikolais and Merce Cunning pin, Lilly Pons and composers and musi ham. Cunningham was given the longest cians such as Sergei Rachmaninoff. Heifetz, New York season he had ever had - Paderewski, Casals and Stravinsky. Sinclair eight performances. Lewis, William Jennings Bryan, Sir Win ston Churchill, Edna St. Vincent Millay and Because Cunningham did so well that and Booker T. Washington spoke here. year Lichtenstein decided to chance a while Edwin Booth, Sarah Bernhardt, Ellen more extended season. So the next year, Terry and Mary Pickford starred in Aca 1968-69, the Academy took a big plunge demy productionc;. Among the early ballet and offered Martha Graham, Paul Taylor, companies to perform in Brooklyn was the Alwin Nikolais, American Ballet Theatre. Russian Imperial Ballet with Anna Pavlova Alvin Ailey. Merce Cunningha m. Anna and Michael Mordkin. And Isadora Dun Sokolow and Erick Hawkins in longer en can danced barefoot on the Academy stage. gagements. "It was a difficult season and The list goes on and on. we had a lot to catch up with," Lichtenstein said. "We were fairly new in terms of the Then for many years Brooklyn lay a general public." half-sleeping giant. Things were still hap pening, but not as much as was possible. But there was enough response to en In 1967 the sluggish spirit of the Academy courage a new idea: resident companies. was re-awakened by its new director Har Knowing only too well the nomadic exist vey Lichtenstein. He -.et out to find a new ence foisted on many a rtistically important direction for the then 109 year old in theater and dance compa nies. the Academy stitution. invited Merce Cunningham, Alvin Ailey and Eliot Feld (who was in the process Having been a dancer himself, Lichten of creating his American Ballet Company stein ha-. a knowledge and natural sym at the time), as well as the Chelsea Theater pathy for dance. And with his experience to work in Brooklyn. With the move, the BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 I 15
Chelsea Theater, which had then been per ancc by people who have had little prcviou~ forming at the Episcopal Church of the opportunity to go to the theater. Holy Apostles in Chelsea, became New York's first professional borough theater Chelsea attracts a mixed audience - outside of Manhattan. men and women from middle and upper social-economic groups, young students The Academy offered the dance com (black and white, high school and college panies a guaranteed season and performing age), the regular theater buff from the fee without financial risk on their part. Village and East 60\, as well as the family The gap between box off1ce receipts and from Flatbush and Bcnsonhurst for whom running costs is met by grants from the the theater has generally meant a once a National Endownment for the Arts, The year trip to Heffo, Doffyl Ford Foundation and· other contributors. During the 1968-69 dance season 40% As Academy residents, the companies of the subscribers came from Brooklyn and al o receive rent-free office space, storage 60% were from the other boroughs, New room for props and sets, as well as Aca Jersey, Connecticut and elsewhere. Sixty demy support in fund rai ing campaigns. A per cent of the current dance subscription Rockefeller grant of $350.000 over three audience comes from Brooklyn and 40% years was given to the Academy to sub from other areas. The audience this season sidize new works and new productions by appears younger than in previous years - the resident companies. one third of the seats for the Graham per formances were occupied by students. Last year Cunningham premiered Tread and Second Hand; Feld premiered Early In addition to luring people from other Songs, lnterme-;:.zo, Cortege Burlesque, boroughs to cross the river, much has been Meadowlark, Pagan Spring; and Ailey pre done to build community consciousness in sented eight new works: S!reams, Gymno Brooklyn itself, including discounts for pedies, Three Solos, Masekela Langage, ghetto area residents, senior citizens and Panamhi, Threnodies, Dance for Six and neighborhood organizations. Poeme. The Chelsea Theater Center, pre sented the world premiere of LeRoi Jones' "We are in Brooklyn. We feel that with Sfaveship, the American premiere of Wil the developing concern for community and liam Golding ' The Brass Bullerfly and the local involvement among New Yorker'>. we New York debut of Daniel C. Gerould's can also serve an important purpose in Candaufe.\, Commissioner, along with four being Brooklyn\ theater. We arc here." other play . Lichtenstein says emphatically, "and we want to feel a kinship with the people in 'Though we are not exclusively intere~ted the area." He seeks to create a relationship in contemporary work, our greatest em with the community analogous to the one phasis i there," Lichtenstein said. "We the Dodgers once had. want to give exposure to living creative artists. This includes not only our own re ''Though the people felt the Dodgers be sident dance and theater companies, but longed to them, the team abo had a na we also want to present the work of other tional significance. We want to produce companies." The Living Theater, Jerzy works of general importance and general Grotowski' Polish Lab Theater. Martha appeal, but not parochial in terms of quality Graham and American Ballet Theatre are and content. We want Brooklyn to feel among those who have appeared on the proud of us, of what we do, and to support non-resident guest list. us. because in a sense this theater belongs to Brooklyn." Lichtenstein does not intend Brooklyn to be a cultural carbon of Manhattan theaters. Because its programs can not be dupli Just the opposite. He sees the Academy as cated anywhere else in New York, the size a unique idea, a place for talented artists of the audience (from all parts of the City) who haven't had a chance to show their has increa ed dramatically over the past works on a major stage. few years. This once- lumbering giant, with its great historical and arti~tic heritage, has Becau e of the ideas implicit in its goals been re-awakened! C helsea is a good example: it does not wish ELLEN W. JACOBS to compete with Broadway commercial theater. Seeking to offer significant theater experiences to the widest spectrum of so ciety, the plays selected for performance arc generally controversial works with themes directly related to the current prob lems facing society. Performances are of fered at low or no CO'>t to encourage attend- Farrell Dances in Brooklyn Suzanne Farrell will appear on the New York stage for the first time in nearly two years when she performs with Maurice Bejart's Ballet of the ·r wentieth Century in its American debut at the Academy from January 25 to February 7. Miss Farrell's husband Paul Mejia will also appear with the Bejart company. The pair will give their first performance with the company in Brussels this fall. Tickets for the exclusive two week. en gagement go on sale at the Academy, A & S stores, Bloomingdales and Ticketron on November 2. Two Cunningharn PrPrniPrt~s
~fercc Cunningham will premiere two works during hts company\ two week. en gagement at the Brooklyn Academy of M U'ii<:, extending from November 3-15. r he engagement, will feature perform ances of Rainl· orest, Second Hand, Tread, ( anfteld, Walf..around 1 ime, Scramble and How to Pa\.\, Kick, Fall and Run.
Suzanne Farrell and Paul Afejia in Syll·ia Pas de Deux
I 970-71 Ordu·~tra St>rit•s ) A(. J,. M 11< It I I I \len l' ( unnutglwm and composer Appearances hy the Boston and Pith John (age burgh Symphony Orchestras will highlight the eighty-third '>ea.,on of the Academy\ Orchestra Series which begin'> on Novem ber J 2. ~tgna/,, which was premiered at the ·r heatre de France in Paris in June and William Steinberg, Erich l eimdorf. Gun performed at the f estntal of the Two Worlds ther Schuller and Michael ·1 Jl..,on Thoma.., in ~poleto in July, will have its American will conduct. Soloists will include Michael debut in Brooklyn on November 4. The Rabin, Joseph Silver'>tein, Jo..,eph Kalich mU'>IC wa.., compo'>ed by John Cage, David stein and John Browning. Tudor and (,ordon Mumma. Cunnmgham's other ne\\ 'v\Ork, as yet untitled, is a group Subscriptions for lhe ... erie.., of fhe con dance for the entire company. It is sched certs range between $13.00 and $:!6.00 and uled to he premiercJ on November 10. arlo! <~vailablc until October ~Oth Complete program mformation l'o a\ all able 1n the Tidch arc available at the hox oflke. lobh\. Double Feature The Brooklyn Academy of Music and the Museum of Modern Art join forces to present a double film series, Cinema Clas.\ics and What's Happening?, at the Academy beginning this month. The Cinema Classics series, which takes place on Wednesdays, will feature impor tant films from the archives of the Museum of Modern Art. What's Happening?, sche duled for Friday evenings, will present cur rent documentary films that deal with the contemporary social scene in America. Special film memberships, which include admission to both series, may be purchased for $10.00. Student film memberships are available for $5.00. For specific information regarding titles, dates and times, call 783-6700 or see the calendar of events in the lobby. Herakles, the Bourdelle .lculpture now in the Main Lobby, arrivinf? at the Academy. It is on loan from The M etropolitan Museum of Art.
Chelsea Opens with "Saved" Granted When Edward The New York State Council on the Bond's Saved opened Arts recently awarded the Brooklyn Aca at the Royal Court demy of Music a $250,000 grant to help Theatre before a pri subsidize the dance festival, orchestra vate audience in Lon eries and special community programs for don in 1965, it was children and senior citizens. The program banned by the Lord was initiated by Govcr:1or Rockefeller and Chamberlain and the enacted by the State Legislature last spring producers were sub to meet the urgent needs of arts institutions sequently prosecuted. throughout New York State. . Now, five years later, A fan Schnetder it will have its New Each of the Academy's resident com panies American Ballet Company, York premiere on October 28 at the Chelsea Chelsea Theater Center and Merce Cun Theater Center of Brooklyn in the Aca ningham and Dance Company - received demy's Third Theatre. Previews begin Oc separate grants from the Council. tober 20. The play will be directed by Alan Schneider and will be performed Tuesdays through Saturdays at 8:30 p.m. and on Sun days at 3 p.m. and 7:30 p.m. Tickets for all Community Outreach performances are $2.95, except Friday and Brooklyn reaches out to the community Saturday evenings, which are $3.95. The again with a new program designed to limited engagement ends November 8. strengthen the alliance between business, art and people in the community. Ten Brooklyn businesses - Chemical Bank, Manufacturer's Hanover Trust Company, Kings Lafayette Bank, East New York Sav Cafe Bows ings Bank, Y & S Candy Corporation, Ex Lax, Inc., F & M Schaefer Brewing Com The Cafe Academic is now open for din pany, Downtown Brooklvn Development ing, offering a menu that includes appe Committee, Inc. and /\.braham & Straus tizers, sandwiches, desserts and beverages. have purchased subscriptions ~nd have dis tributed them to their own employees or The Cafe will be open ninety minutes to organizations in the community. Groups before curtain time for evening perform to which subscriptions have been donated ances. On Saturday and Sunday matinee include the Bedford Stuyvesant Senior Citi days the Cafe will .be open from 4:30 p.m. zens Council and students at George Win until curtain time. There will also be inter gate High School and Long Island Uni mission service. versity. 18 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970
DIHECTOHY OF FACILITIES AND SE HYICE ~
A(·ad<'my Dant'(' C<'ntcr Tnm ... por·tation Information Cla<,<,cs for ages 6-15 in ballet/ modern For bus schedules from M anhattan and in dance. Please call 783-6700. formation on public transportation, call 857-1575. Bar A bar serving liquor and soft drink<., is Exprc~o~1-. Bu!.CS - Manhattan to BAM located in the Academy's Main Lobby. Direct bu.,es for mO'>t evenmg events leave Service is available one hour prior to cur S.W. corners unless otherwise noted. No tain and during intermissions. reservations necessary. Return: 15 minutes after performance. F-are: $1.25 round trip, Box Offi(·<' 75 cents return (if available). Schedule for Ticket booth in Main Lobby 8:00 curtarn. Buses lea1·e one-half hour Telephone: 783-2434 earlier for 7 · 30 curtain and one-half hour Hours: later for 8:30 curtain. Monday through Saturday Ea:-t Side 9 a.m. to 8 p.m. On performance days Lexington Ave. & 86th St. - 6:54 p.m. 9 a.m. to 9 p.m. Lexington Ave. & 72nd St.-6:58 p.m. Sunday performance days Lexington Ave. & 60th St.-7·02 p.m. l p.m. to 9 p.m. Lexington Ave. & 42nd St.-7:07 p.m. Second Ave. & 14th St.-7: 17 p.m. ChN·k Hoom Second Ave. & E. 5th St.-7:20 p.m . Located in the Main Lobby next to the bar Academy of Music arrival-7:40 p.m. Drinking Fountain!-. Wc!.t S ide Located in the rcstrooms in both the Opera Broadway & 86th St.-6: 52 p.m. House and the Music Hall Broadway & 72nd St.-6:56 p.m. B'way & 58th St. (N.W. Corner)-7:00 p.m. l.l<', a tor ... 7th Ave. & 42nd St.-7:05 p.m. Two elevators from Main Lobby to Opera 7th Ave. & 14th St. (N.W . Cor.)-7: 13 p.m. House Balcony and Third Theater W . 8th St. & Avenue of Americas Information (S E. Corner)-7: 18 p.m. Academy of Music arrival-7:40 p.m. De'>k in Mam Lobby near front entrance or at box office Tran~portation Lo1-t and Found SUBWAYS: (All subway stops are located within one block of the Academy) House Manager's Office, Stage Entrance Atlantic Avenue Stop Telephone: 783-6700 IRT (Lex. Ave.) Lounges und He1-troom ... I RT ( B'way. & 7th Ave.) Opera House IN D ("0" and "QJ" Brighton - BMT) Ladies, Orchestra and Balcony Levels Pacific Street Stop Men, Mezzanine and Balcony Levels BMT ("B": West End, "N '': Sea Beach, " RR": 4th Ave. Local) Music Hall Fulton Street Stop Ladies, Orchestra Level IND ("GG" Train) Men, Balcony Level Lafayette Avenue Stop Puhli(· Tclcphon<'S IND ("A" Train) Main Lobby, Ashland Place Entrance
R e frc~hmcnt-. filoomin~dulc's, Abruhum & Straus Available in Main Lobby during intermis and Ti<·ketron Outlets sions. Please do not bring refreshments into Tickets for the Brooklyn Academy the Auditoriums. of Music's Fall/Winter Festival of He~taurant Dance are available at all Abraham Monday through Saturday evenings open & Straus stores and at Bloomingdale's ninety minutes prior to curtain and during in M anhattan and Hackensack, New intermission. Saturday and Sunday Matinee Jersey. C ustomers may charge tickets days open from 4:30 p.m. to evening cur to their accounts. tain and during intermission. Tickets may a lso be purchased through Ticketron. For Ticketron out Smoking lets, call (212) 644-4400. In Main Lobby, Lounges & Restrooms only
The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are administered by the Parks, Recreation and Cultural Affairs Adminis tration, John V. Lindsay, Mayor; August Hecksher, Administrator; Dore Schary, Com mi ~s ioner. STEP INTO THE PAST ... Before the evening's event at the Academy, enjoy a superb meal in an authentic 'gay nineties' setting.
Winner of 18 annual HOLIDAY GAGE AND TotJLNER Maga zine Award s BROOKLYN'S LANDMARK RESTAURANT
EST Jie'!~~ 372 FULTON ST., BROOKLYN • 2 Blocks from Boro Hall • TRiangle 5-5181 1879 OPEN 11:30 AM TO 9 PM, SAT. til 9:30 • Closed Sundays
Today's Wise Bird Wears suede and leather goggles that tie up with long suede streamers. 6.00 Jewelry - Street Floor
Brooklyn, Garden City, Babylon, Huntington, Smith Haven Mall
MICHEL'S RESTAURANT Estabiished 1910 Founded and Operated by The MICHLL Family Complete Banquet Facilities 346 FLATBUSH AVENUE BROOKLYN, N. Y. Free Parkmg NEvins 8-4552
I Bowing of Cafe Delayed
Cafe Academy, which is described on page seventeen of the program, will not open until a later date due to the delayed arrival of equipment.