INFORMATION TO USERS

This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted.

The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction.

1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity.

2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame.

3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a deHnite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.

4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department.

5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy.

UniversiV Micixxilms International 300 N 2EEB ROAD. ANN ARBOR. Ml 4810G 18 BEDFORD ROW. LONDON WCl R 4EJ. ENGLAND 1314800

JAFFE. PHVLISS SIMCER A COMPANY IN TRANSITIONS AN ANALYSIS OF THE NEW YORK CITY BALLET MANAGEMENT AND FUNDING 1964 1979.

THE AMERICAN UNIVERSITY, M.A., 1980

COPR. 1980 JAFFE, PHYLISS SINGER Univers*/ /yUomnrts IntanaOonal s o o n , z e e b r o a d , a n n a r b o r . m ( « b id s

© Copyright

by

Phyliss Singer Jaffa

1980

All Rights Reserved PLEASE HOTE:

In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark .

1. Glossy photographs 2. Colored illustrations

3. Photographs with dark background

4. Illustrations are poor copy

5. °r1nt shows through as there is text on both sides of page

5. Indistinct, broken or small print on several pages throughout

7. Tightly bound copy with print lost in spine

8. Computer printout pages with indistinct print

9. Page(s) lacking when material received, and not available from school or author ______

10. Page(s) ______seem to be missing in numbering only as text follows ______n. Poor carbon copy ______12. Not original copy, several pages with blurred type

13. Appendix pages are poor copy ______

14. Original copy with light type ______

15. Curling and wrinkled pages ______16. Other

Universnv MiadTiims IntemarionaJ 300 \ :=== 3-D i.=l30? M: 45?06 313: 751-4700 A COMPANY IN TRANSITION:

AN ANALYSIS OF THE NEW YORK CITY BALLET

MANAGEMENT AND FUNDING 1964-1979

by

Phyliss Singer Jaffe

Submitted to the

Faculty of the College of Arts and Sciences

of The American University

in Partial Fulfillment of

the Requirements for the Degree

of

Master of Arts

in

Performing Arts

Signatures o

Me mb

Member

Dean the College

Date

1980

The American University Washington, D.C. 20016 Ù 1 U THE AMEHICAM UHIVEESITÏ LIBHAHÏ A COMPANY IN TRANSITION:

AN ANALYSIS OF THE NEW YORK CITY BALLET

MANAGEMENT AND FUNDING 1964-1979

by

Phyliss Singer Jaffe

ABSTRACT

This thesis will investigate and examine the factors responsible for the continued artistic prominence of the

New York City Pallet and the School of American Ballet.

The introduction will be a brief history of these two institutions through 1963. Subsequent chapters will provide an analysis of key management and funding policies. The source material was a compilation of personal interviews, memoirs, biographies and journals as well as company, school and foundation archives. Thus this thesis reflects the myriad changes and transitions experienced by the New York

City Ballet in these fifteen years. The research indicates the excellent and unique administrative mechanisms responsible for maintaining the ongoing artistic integrity of this major institution. Table of Contents

Chapter

I. "Dreams" 1933-1963 ...... 1

II. "Metamorphoses" 1964-196 8 IB

III. "Theme and Variations" 1969-1973 ...... 39

IV. "The Gods Go A-begging" 1974-1977 55

V. "Episodes" 1978-1979 ...... 65

Appendix A 196 3 Ford Foundation G r a n t ...... 77

Appendix B 1976-1980 Basic Agreement ...... 87

Individual Artist Contract ...... 113

Appendix C Subscriptions ...... 115

Appendix D Stravinsky Festival Programs ...... 120

Appendix E 197 3 Ford Foundation Grant ...... 129

Appendix F 1976 Musicians Strike...... 140 New York Times

Appendix G 1977 Challenge Grant ...... 141

Appendix H Fundraising Campaigns...... 156

Appendix I 196 3-1979 NYCB Programs...... 169

Appendix J School of American Ballet ...... 201

Annual Report...... 201

Workshop Performance Programs...... 252

Bibliography ...... 262

11 "Dreams

In Boston in 1916 Lincoln Kirstein, then ten years

old, was forced to spend an evening at home while his mother

attended a performance of the "Ballet Russes de Serge

Diaghilev." His parents felt he was too young and Kirstein

was banned from the company's entire Boston visit. His

diary entry for that day reads, ". . . I will never forgive

mother" and when reminiscing on that day years later he

commented, "For years I tried to find onstage the magic

that I was robbed of here."

It is more than conjecture to credit this incident

with the planting of the seeds of Kirstein's passion and

enthusiasm for dance.

Lincoln Kirstein is the son of the wealthy Boston

family whose fortune came from the well-known Boston depart­

ment store, Filene's.^ By 1933, at age 27, Kirstein had

already helped establish and edit a highly regarded literary

journal Hound and Horn, and he had assisted Romola Nijinsky,

^Choreographed by George Balanchine, 19 35. 2 Lincoln Kirstein, Thirty Years: Lincoln Kirstein's The New York City Ballet (New York: Alfred A. Knopf, Inc., 1978), p. 4.

^Joseph H. Mazo, Dance Is a Contact Sport (New York: Saturday Review Press, E.~p I Dutton and Co., Inc., 1974), p. 25. wife of the great Russian dancer Vaslav Nijinsky, with her

biography of her husband. He actively pursued art as well

as dance and wrote many published essays on both subjects.

Kirstein also wrote and published a novel. Flesh is Heir,

and with Edward M. M. Warburg he co-founded the Harvard

Society for Contemporary Art, which has been "credited with

being the germinal source out of which grew New York's 4 Museum of Modern Art." However active he was in the art

world, it was the muse Terpsichore who held his heart:

"Ballet became an obsession with me. For more than the

ordinary influence or attractions of Harvard, the ballet

seemed my real education. As time passed, I was increasingly

magnetized toward some direct participation in it."^ This

participation was to give America its first indigenous

ballet company. This took on a reality when, in 19 33, he

brought George Balanchine from Paris to the United States

to set up and direct a school and company to represent

American ballet.

The initial plan was to set up the school in a new wing of the Morgan Memorial Museum in Hartford. This was with the assistance of Kirstein's friends, A. Everett Austin,

then director of the museum, and Edward M. M. Wargurg, a

4 Quoted in Bernard Taper, Balanchine ; A Biography (New York: Macmillan Publishing Co., Inc., 1974), pp. 159- 160. 6 Harvard classmate who added financial backing. Warburg's generosity was a major factor in bringing about the reality of Kirstein's dreams. In reference to his negotiating with

Balanchine and Vladimir Dimitriev, who acted as Balanchine's manager, Kirstein stated, "Edward Warburg permitted himself to be idealistically involved in my highly irresponsible 7 negotiations."

The site of the school was changed, due largely to

Balanchine's and Dimitriev's disapproval of Hartford. However, there had also been considerable protests from Hartford residents who felt the establishment of a school by outsiders in the Museum to be unfair competition.®

Kirstein and Warburg eventually opened up the School of American Ballet in New York City on January 1, 1934, in 9 a studio that had once belonged to Isadora Duncan.

Announcing the creation of the school, John Martin, the only full-time dance critic in the United States at that time, wrote in The New York Times on October 23, 1933:

In spite of all skeptics who said it could never be done, the actual preliminaries in the establishment of an American ballet are now under the auspices of the Memorial Museum in Hartford. The organizers of the project are A. Everett Austin, director of the

^Quoted in ibid., p. 160.

^Kirstein, Thirty Years, p. 31.

^Quoted in Anatole Chujoy, The New York City Ballet (New York: Alfred A. Knopf, Inc., 1953), p. 21. g Ibid., p. 26. ^Kirstein, Thirty Years, p. 35. museum; Lincoln Kirstein, one of the editors of "Hound and Horn" and perhaps our most energetic "balletomane" . . . and E. M. M. Warburg.

They have engaged George Balanchine to head the enterprise and have wisely refrained from talking about it until it was ready to begin work. . . . Only American dancers will be admitted to the courses and every effort will be made to de­ velop a distinctly American organization. ..." In clarifying the use of the term "American organization" martin went on to explain, "... the ballet is an art form which has been developed through hundreds of years, and if it is given a foothold in America it will be enriched by new impulses just as it was when it was transplanted into Russia. . . . If a ballet stemming from the classic tradition is to be established here, it is essential that it have as its director someone who has had practical experience. Since there has never been an American ballet of this sort, it is obvious that a director must be found elsewhere.

George Balanchine, born Georgi Melitonovitch

Balanchivadye January, 1904, in Saint Petersberg, Russia, is the son of Meliton Balanchivadye, a famous composer.

Balanchine trained at the Imperial Ballet School, now the

Kirov, from 1914 to 1921. After studying three years at the Musical Conservatory, he emigrated to the west and joined the Ballet Russes de Serge Diaghilev. Balanchine served as ballet master for the company from 1924 until 12 Diaghilev's death in 1929, choreographing such works as

^^Quoted in Chujoy, The New York City Ballet, pp. 24-25,

^^Taper, Balanchine, pp. 30-31.

^^Lincoln Kirstein, "The New York City Ballet," in Ballet and Modern Dance (London: Octopus Books Limited, 1974), p. 8. 1 3 Apollon Musaqête, The Prodigal Son and Triumph of Neptune.

Thus, in 19 34, the visionary Lincoln Kirstein with

the choreographic genius of George Balanchine created a

school and company with a philosophy which would not waiver

in its long history to come.

The following quotes, selected from essays in Nancy

Reynolds' Repertory in Review by Kirstein and dance historian

Walter Sorell, exemplify the fundamental tenets of this

philosophy.

When Balanchine began again to produce ballet . . . new works for his fledgling company, the programs con­ formed to the Diaghilev principle of three one-act ballets for an evening.

. . . choreography was to take precedence over personal idiosyncratic performance; the company was to be dominant as a body; novelty both in music and dance, was to be preferred over established reper­ tory- bb

The style of the Russian school was preserved, "but (Balanchine) gave it a new accent, a playful­ ness, a dash and daring. . . . The pathos and suavity of the dying swan, the purity and regal hauteur of the elder ballerina, were to be replaced by a raciness, an alert celerity, which claimed as its own the gaiety of sport and the skill of the champion athlete.

A most significant factor was Balanchine's use of music, and ". . . Balanchine's personal concep­ tion of human movement, how it measured stage-space/ stage-time based on the given meter of music. This

^^Taper, Balanchine, pp. 375-376.

^'^Lincoln Kirstein, "Rationale of a Repertory," in Nancy Reynolds, Repertory in Review (New York: The Dial Press, 1977), p. 3.

^^Ibid., p. 4. ^^Ibid., p. 5. was speed, and also steps; . . . his ballets, short as they were, contained more steps in twenty-five minutes than the old full-length, four-act spec­ tacles . 17

Lacking stars, or refusing to project given dancers into an unwarranted prominence, Balanchine began by distributing virtuosity itself more evenly over his entire corps.1^

Lastly, "Balanchine's tendency to austerity is also manifested in his preference for having his dancers perform in practice clothes (leotards). He regards with mistrust the theatricalization of costumes— if he is not telling a story ballet . . . [it is] because they take too much away from the beauty of the body line.19

Many of these factors were evident in the first piece Balanchine created for his students. Serenade was first presented by students of his School of American Ballet

(SAB) on June 10, 1934 on the Warburg family estate at

White Plains, New York.Created to Tchaikovsky's Serenade in C for String Orchestra, the piece was an ensemble work with moments of speed. It was performed in tunics, and there were no characters.

Once underway, the School remained a constant with 91 Eugenie Ouroussow as its director.“ The company, however, took on different titles performing in a variety of locations

^"^Ibid. ^®lbid.

^®Walter Sorell, "Notes on George Balanchine," in Reynolds, Repertory in Review, p. 17. 20 Nancy Reynolds, Repertory in Review, p. 37.

^^Chujoy, The New York City Ballet, p. 28. The entire fourteen years leading up to the formation of the New York City Ballet (NYCB) were a series of stops and starts— two weeks here, six months there, constant disbanding, reformation, in theaters, movie houses, and high school audi­ toriums. . . .22

During these years the companies were called American

Ballet, Ballet Caravan and Ballet Society. It was not until

1947 that Balanchine and Kirstein's company found a home.

The New York City Center for Music and Drama on 5 5th Street.

Frances Hawkins is one of two individuals credited

with having what was then called Ballet Society adopted as

one of the City Center companies. Hawkins, whom Kirstein

had hired as general manager for Ballet Society, had a back­

ground in vaudeville as a performer. As a manager she had

organized tours for modern dancers Martha Graham and Harald

Kreutzberg and worked in management and public relations at

the Museum of Modern Art. However, it was her work with

coordinating performing arts festivals and programs where

she made her initial contact with Kirstein. In 1936 Hawkins was at the Bennington summer program with Graham and booked 2 3 the Ballet Caravan to perform at Bennington that summer.

In 1947, as general manager, Hawkins felt strongly

that the Company (Ballet Society) should have a permanent

home. She was able to achieve this in the fall of that year

by booking Ballet Society's entire season at the City Center's

2 2 Reynolds, Repertory in Review, p. 33

^^Kirstein, Thirty Years, p. 95. 55th Theatre. The rent for the 2,400 seat house went for

a flat fee of $500 per performance.^^

The man with whom Hawkins worked at City Center was the legendary and fiery Morton Baum. He is acknowledged

as the other integral force in bringing about the birth of NYCB. In 1947 Morton Baum was the Chairman of the

finance committee of City Center, Inc., and in actuality,

though not officially, the managing director of City Center.

A graduate from Harvard Law School, Baum had a practice with his brother Lester, a former state senator, in tax problems.

He was Special Tax Counsel to the City, and was the individual 25 who devised and introduced the New York City sales tax.

He served as assistant U.S. District Attorney under Governor

Dewey and was elected alderman during the first LaGuardia administration. "A man, Kirstein describes, "of consummate warmth, toughness, political sagacity, and sterling in- tegrity." McNeil Lowry, whose work at the Ford Foundation 27 often involved close contact with Baum, described him, with

^'^Chujoy, The New York City Ballet, p. 178.

^^Ibid., p. 202. ^^Kirstein, Thirty Years, p. 96

McNeil Lowry launched the first organized national program in the arts from The Ford Foundation in 1957 and prior to his leaving the Foundation in 1975 was responsible for its investment of some $280,000,000 in the performing arts." The Performing Arts and American Society, ed. W. McNeil Lowry (Englewood Cliffs, New Jersey: Prentice- Hall, Inc.), p. 1. admiration in his voice, as "Hell on wheels".^® Jean

Dalrymple, then director of publicity at City Center, stated

that Baum was . . closed-in, tense, fervid and utterly 29 serious. He had no sense of humor." Kirstein went on

to state that Baum

. . . knew that efficiency lies in the impact of performance rather than in tidy accounting systems . . . he was a genius in the peculiar craft of deficit financing, of raising unsuspected funds in emergencies. . . . He knew without waste motion how to make do with little or, more often, nothing. Later he would be accused of tyrannical secretive­ ness. He held cards firmly close to his chest.30

On appointing Baum chairman of the finance committee. Mayor

La Guardia said, "Morty will keep track of every dollar that comes in and every penny that goes out."

It was after the Ballet Society's 1947 season that

Morton Baum asked Kirstein if he would be interested in making the company a part of City Center, Inc. This season was a critical success, presenting works which are still performing now, over thirty years later. These works in­ cluded the highly acclaimed Symphony in C , Symphonie

Concertante and the world premiere of Orpheus with a

^®Interview with W. McNeil Lowry, New York, May 8, 1979 2 9 Jean Dalrymple, From the Last Row (Clifton, New Jersey: James T. White and Co., 1975), p. 91.

30Kirstein, Thirty Years, p. 97.

^^Quoted in Dalrymple, From the Last Row, p. 92. 10

commissioned score by Igor Stravinsky and sets and costumes 32 designed by Isamu Noguchi. One had to be a member of

Ballet Society to attend the performances, but Hawkins con­ vinced Kirstein to add five performances for non-Ballet

Society members.

Dalrymple commented that Baum's initial attraction to the company was the music used for their programs. An amateur musician, Baum had little interest and knowledge of ballet. It has been written that it was the three works mentioned above that won Morton Baum over and he immediately 3 3 set out to assist and ensure the company's future existence.

The Board of City Center did not share Baum's en­ thusiasm. Dalrymple described the meeting concerning the adoption of Ballet Society as the New York City Ballet of

City Center as the Board's "... most stormy meeting.

Much of the opposition came from Board member Gerald Warburg,

Edward's brother. Noting the enormous financial losses of the earlier years, Warburg cautioned the Board against

Kirstein, likening him to an irresponsible dilettante, also calling him a "visionary spendthrift."^^ However, Baum did triumph, coming out of the meeting with the following proviso :

®^Chujoy, The New York City Ballet, p. 202.

^^Ibid. ^^Dalrymple, From the Last Row, p. 93.

®^Ibid., p. 92. 11

That the company would cover their own deficits and pay for any new productions. City Center would pro­ vide a home, advertising and publicity, staff including musicians, stagehands and front-of house personnel. The company would also serve the New York City Opera, giving additional employment for the dancers.

The NYCB performed on Mondays and Tuesdays, the opera from

Thursday through Sunday.

By October, Baum offered to make NYCB an independent unit of City Center, where previously they were in actually a subsidiary to the Opera. Thus City Center and not Ballet

Society would cover its deficits and Ballet Society would only have to cover new productions. Ballet Society still exists today as a corporation for fundraising and emergency 3 7 expenses. In addition to their new found autonomy, the company would have its own week-long season the following

January.

Thus in 1948 the New York City Ballet (NYCB) begins an ascent which over thirty years later would find itself ranking as one of the most highly acclaimed ballet companies in the world. The individuals working toward NYCB's ascent are an integral factor in the Company's success.

The artistic and administrative personnel for its first appearance as the New York City Ballet were listed

36ibid.

Interview with Betty Cage, New York, December 3, 1979.

3 0 Kirstein, Thirty Years, p. 104. 12

in the program as follows:®®

George Balanchine - Artistic Director

Leon Barzin - Musical Director

Lincoln Kirstein - General Director

Ballet Master - George Balanchine

Assistants to Mr, Balanchine - Edward Bigelow, Herbert Bliss

Executive Manager - Frances Hawkins

Executive Assistant - Betty Cage

Technical Supervision - Jean Rosenthal

Orchestra Manager - Hugo Fiorato

Significantly, this list consists of many people who

later earned reputations as being outstanding leaders in their

fields, e.g. Leon Barzin, Frances Hawkins and Jean Rosenthal.

The following year the young choreographer/dancer Jerome

Robbins, with already impressive credentials on Broadway

(On the Town) and ballet (Fancy Free and Interplay), joined

the NYCB administrative staff as assistant artistic director.

Yet another major aspect of the staff were the seeds

of the continuity within the personnel. In 1948 Edward

Bigelow, in addition to his work as assistant to Balanchine, was also a dancer in the company. He had started studying

ballet in his twenties. Older than many in the company and

®®New York City Center for Music and Drama, October 11, 1948.

^®Chujoy, The New York City Ballet, pp. 213-214. 13

equipped with an eclectic background, Bigelow found himself assisting and gradually involving himself entirely with every aspect of production: stage management, scheduling, advertising, etc.His title has changed often throughout the years, yet in 1979, Bigelow's contribution to the company has continued and grown until presently he is Manager to the company he has worked with since its inception in 19 48.

Hugo Fiorato is another "lifer" and is presently associate conductor. Other important personnel were Madame Barbara

Karinska, "the famous costume designer and couturière

She generously contributed her skills and designs to the

Company in its earlier days. Still with NYCB today, Karinska initially offered her services for only the actual cost of material and labor. This "amounted to a savings of at least fifty per cent on the costumes. . . ."^® In 1958 Leon Barzin resigned as musical director and principal director. Reynolds stated, "he was disappointed that funds had not been approved for "larger, more ambitious works.Robert Irving, this year marking his twenty-first year with NYCB in 1979, was appointed as Barzin's replacement in the same year. Coming directly from his post as principal conductor for the Royal

Ballet, Irving is acknowledged today as one of the world's

^^Interview with Edward Bigelow, New York, February 9, 1979. 42 Chujoy, The New York City Ballet, p. 223. 4 3 4 4 Ibid. Reynolds, Repertory in Review, p. 160 14

premier leader of ballet orchestras. In 1953 the "family", as it is often called, was also joined by Barbara Morgan.

Hired initially as a secretary, Morgan's background included production in summer stock and television. Her work with

NYCB in the fifties involved general assistance to Cage in administration and to Bigelow in production. Morgan also took care of bookkeeping and payroll on the Company's frequent tours to Europe. In 196 3 Balanchine asked her to become his personal assistant, a position she still holds at this writing.As the Company has become more prominent with time, Morgan's position as personal assistant to Mr. Balanchine has gown in magnitude and importance.

Betty Cage succeeded Frances Hawkins in 19 50 as executive manager when poor health forced Hawkins to leave the company. Today, as General Administrator, Cage, like

Rosenthal, Robbins, Hawkins, and Irving, has earned a reputa­ tion as being a leader in her field. Kirstein noted that when Cage replaced Hawkins she "took on the protean task of being at once labor negotiator, certified public accountant, legal expert, mother superior, confessor, psychiatrist, and practicing witch (white magic).

The relationship between City Center and NYCB was a

^®Interview with Barbara Morgan, New York, November 30, 1979. AC Kirstein, Thirty Years, pp. 153-154. 15

very positive one during the reign of Morton Baum. Along with Lincoln Kirstein, he managed to come up with necessary funds at pivotal times and gave Balanchine total artistic freedom. ". . .He never interfered (directly), but he was persistent.He was NYCB's knight in battered yet shining armor. Strong in his views and very determined, not all those who .orked with him shared the aforementioned admira­ tion. He was removed from the Board of the Met for "bad 48 manners in talking out of turn (or talking at all)."

". . .he had asked too many questions for comfort."^® 50 Baum began to refer to NYCB as "his" company and he was actively concerned in finding ways to cover the

Company's deficits. Two outstanding examples of Baum's ingenuity were his involvement in the Company's productions of Firebird in 1949 and Swan Lake in 1951.

When Baum found out that Marc Chagall had designed

"some of the most magnificent sets and costumes . . . for

Stravinsky's Firebird"he tracked them down to Sol Hurok.

Jean Dalrymple relayed the episode as follows:

It turned out that Lucia Chase had commissioned Chagall to do the sets and costumes for her American Ballet Theatre , . . but Sol Hurok now owned them . . . (Baum) gave word to Lincoln, and even before he met with Hurok, Morton was told that Balanchine had gone

^^Ibid., p. 122. ^®Ibid., pp. 162-163.

^^Ibid., p. 105. ^^Dalrymple, From the Last Row, p. 98,

®^Quoted in Ibid. 16

to work with enthusiasm. . . . The ballet opened on November 27, 1949 in which Maria Tallchief made an electrifying appearance, emerging as the nearest approximation to a prima ballerina that we had yet e n j o y e d .5 3

The ballet was a critical and financial success.

The other example of Baum's persistence was his

inducing Balanchine to agree to stage Act II of Swan Lake.

Kirstein commented, "Swan Lake in whatever version, produced

by whatever company, bolsters weak programs . . . a legible

metaphore for classic ballet in the minds of people who

care little for dancing. It is, in truth, reliable in­

surance."^^ Balanchine wanted to do a production of

Til Eulenspieqel which would incur a deficit and Swan Lake would cover that and many future deficits.

At the moment it seemed a glaring retreat from our staunch principle of resisting revivals, adapting our prior prestige to present opportunism. And some of the same people who, ten years before, objected to our insistence on novel or unfamiliar music now considered our use of Swan Lake an abdication.55

Referred to as "Morton's money-maker," the unique staging of the classic continues to sell out performances today.

With the NYCB staff's and Morton Baum's energetic

support, the Company and Balanchine's work gradually built up an enthusiastic and devout following.

The Company stayed at the 55th Street theatre for a total of 15 years. While there, they were allowed to grow

®®Kirstein, Thirty Years, p. 106

®^Ibid., p. 122. ®^Ibid. 17

in size and maturity.

The School of American Ballet had grown as well.

In 1959 the school moved from its original studio on

59th Street and Madison Avenue to the "barn-like pair of

studios on 83rd and Broadway."®®

Due much to the active support of then Governor

Rockefeller, NYCB was selected to be the resident dance

company of the New York State Theater (NYST). Part of the

new prestigious Lincoln Center for the Performing Arts, the ballet company would perform alongside such venerable in­

stitutions as the Metropolitan Opera and the New York

Philharmonic. The company which Barbara Horgan described 5 7 as "mavericks" during its days at City Center would gain a new status and international attention at this new house.

In addition, a large unprecedented grant from the

Ford Foundation to both NYCB and SAB would add an even greater status, stability and challenge to the personnel.

What started out as a young man’s dreams had now been recognized by "the establishment" and was soon to become an international institution.

^^School of American Ballet (New York: School of American Ballet, Inc., 1979), p. 3.

^^Interview with Barbara Horgan, January 26, 1979. "Metamorphoses"

"City Center was like a nest that Baum provided for

us when we needed it. But you don't stay in your nest for­

ever. It was like being in high school. The time comes when you move on to the university.

The university was the New York State Theater (NYST

or State Theater), part of the new Lincoln Center for the

Performing Arts. A 2,729 seat house, it was designed by

Philip Johnson, who incorporated many of Balanchine's and

Kirstein's specifications.^® The design, however, had to

accommodate the New York City Opera (NYCO) and at that time

the City Center Music Theatre. Major compromises affecting

NYCB were the reduction of wing space and the size of the orchestra pit. Attempting to accommodate Balanchine, the concrete-encased pit was dynamited and enlarged, but

Balanchine still feels the pit is too small "to create a proper sound from sixty musicians.Due to budget cuts.

^^Choreographed by George Balanchine, 1952.

^®Taper, Balanchine, p. 346.

^®Walter Terry, "Formidable Balanchine: The Long Reign of America's Ballet Master," Saturday Review, 29 September, 1979, p. 32.

®®Ralph G. Martin, Lincoln Center for the Performing Arts (New York: Prentice Hall, Inc., 1971), p. 55.

18 19

four ballet studios, each the size of the stage, were

reduced to one large and three small studios. Balanchine

emphasized that "it was compromise, compromise, compromise."®^

Kirstein played a large role in the design of the front of

the house, incorporating facets of theaters he had examined

throughout the world. Ralph Martin gives an excellent

description of the theater in his book Lincoln Center for

the Performing Arts ;

The auditorium inside is horseshoe-shaped, with five tiers of shallow balconies above orchestra level. . . no orchestra seat is more than 140 feet from the stage. And the shallow balconies are so carefully recessed one above the other, that sight lines are generally excellent. The balconies sweep around the sides of the hall to the proscenium arch so that the walls seem animated with people. Orchestra seating is continental, with no center aisles [Kirstein's attitude was that the better seats of the house were eliminated by center aisles], and that adds to the sense of intimacy. Lincoln Kirstein described this auditorium as being "a quiet dialogue between ampli­ tude and intimacy."62

There was, however, a considerable political and

financial dispute to be settled before NYCB could take up

residence in the house which architect Philip Johnson says

that he built for Balanchine. The "battle," as it is often

referred to, was between Lincoln Center for the Performing

Arts, Inc. and City Center, Inc. While NYCB had been

selected resident dance company of NYST, it was only

specified for the first two years, 1964 and 1965. Morton

^^Ibid. ®®Ibid. 20

Baum fought to keep control of the State Theatre with City

Center, Inc. Both he and Kirstein were committed to the populist ticket price policy of City Center.

. . . a we11-documented four-year stretch of table banging . . . erupted when fiery Morton Baum, speaking- loudly-in behalf of City Center, stomped away from Schuman's [president of Lincoln Center, Inc.] offer of thirty weeks a year at the State Theater. . . .63

Baum was adamant that his companies occupy the facility as equals of the Met and Philharmonic, not renters.

Baum muscled to victory. Nelson Rockefeller appreciated ballet, and the inimitable George Balan­ chine was close to withdrawing his , . . dancers unless the Lincoln Center administration took in the Opera Company, too. The Met's General Manager, Rudolph Bing, hated the idea. . . .64

Baum refused to compromise winning "with the aid of Betty

Cage's powerful legal and extralegal intelligence,"^^ an arrangement that must be admired: ". . . negotiations that left the State Theater property of the City of New York, which rented dÆ to Lincoln Center, Inc. which then had very little choice about subletting the premises to City Center."

City Center, Inc. signed a twenty-five year lease renting the theater for one dollar a year, renewable for an addi- 6 7 tional twenty-five years.

G^Burton Hersh, "The Secret Life of Lincoln Center," Town and Country, January, 1980, p. 110.

^^Ibid. ^^Kirstein, Thirty Years, p. 181.

^^Hersh, "The Secret Life of Lincoln Center," p. 110.

®^Reynolds, Repertory in Review, p. 225. 21

The move in 1964, with all its implications occurred simultaneously with the receipt of a large Ford Foundation

Grant adding even more pressure to the administration.

Kirstein commented, "Our format was now irrevocably on a grand scale; in some eyes, it was the Big Time."^® Speak­ ing directly about the effects of the grant, he stated:

With so much more money involved the economic pressure is bigger. This is not a money-making business. It's a money-spending business, and you've got to grow . . . everything grows. And it's hard. It goes on being hard. There are two kinds of energy to maintain it. The revolution is easy. Supporting is hard.69

The grant, which went into effect in 1964, was very large and very controversial. It gave the New York City

Ballet $2 million over a ten-year period. The School of

American Ballet, official school of the Company, was awarded

$2,425,000 over the same ten years "to help develop the

School of American Ballet as a national institution."^^

(The complete press release from the Ford Foundation announcing the grants and statements from George Balanchine and Lincoln Kirstein can be found in Appendix A.) An additional grant of $1.5 million, designed to stimulate and improve training in the local communities outside of

®®Kirstein, Thirty Years, p. 184.

^^Quoted in Linda Winer, "Lincoln Kirstein Builds," Chicago Tribune, 8 April, 1979. (no page given)

^^News from the Ford Foundation (New York: December 16, 1963), p. 1. 22

of New York was to be administered by the SAB, "... under the direction of George Balanchine. The grants were part of a larger campaign of the Ford Foundation to "strengthen professional ballet in America.With more than half of the total $7,756,000 going directly to Balanchine institutions and an additional $1.5 million to be controlled by him, there was a general outcry from members of the dance world not covered under the program. Among those more vocal were

Martha Graham, Agnes de Mille, Helen Tamiris, Ted Shawn and

Lucia Chase. The opposition viewed the grant as the demise of any non-Balanchine dance effort. Ted Shawn, regarded by many as the father of American Dance,

. . . dramatically accused the Ford Foundation itself, and especially W. McNeil Lowry, head of the Humanities and Arts Division of the Ford Foundation, of allowing "the true American dance to be crucified on a cross of Ford Foundation gold:"?^

Clive Barnes commenting on the protests in the New York Times stated, "Anyone would have imagined that City Ballet had 74 stolen the money rather than been given it." Balanchine, commenting on the controversy, stated,

I personally added to Ford. You see education for education's sake means nothing. After dancers have learned what they can learn they have to have ballets to dance. So I give anybody in America who asks, small schools, big schools, whatever - I give them

^^Ibid. 72ibid. 73 Terry, "Formidable Balanchine," p. 32.

^^Quoted in Taper, Balanchine, p. 346. 23

my ballets free. [Balanchine only accepted fees from companies abroad.] The critics accuse me of taking Ford's millions, but they never mention this thing I do. No one else gives their ballets free. If I wanted to charge rights to my ballets, I could be a million­ a i r e . [In 1979 Balanchine began to ask a nominal fee for his works to be paid to the SAB.]^®

As noted by Walter Terry, the Ford Foundation grant actually

stimulated new foundation grants that were awarded to many

of the companies associated with the protestors mentioned

earlier.

The magnitude of the grant required expert and

careful administration. With the sudden overwhelming amount

of money, artistic policy and long-term goals could have

easily been cast aside. While both NYCB and SAB are under

the direction of Kirstein and Balanchine, it should be noted

at this point that each operates as an independent corpora­

tion with separate personnel.

Balanchine has always believed that the School is

the lifeline of the Company. Lowry commented that both

Balanchine and Kirstein stated separately that they would have used the grant money for the School if only one of the 7 8 two institutions had been allowed to receive it.

^^Quoted in Ibid., p. 349,

^^Interview with Barbara Horgan, New York, November 30, 1979.

^^Terry, "Formidable Balanchine," p. 33- 7 8 Interview with W. McNeil Lowry, New York, May 8, 1979. 24

As noted in the press release, the SAB grant for

$2,425,000 was to cover operating expenses, rental of space and, most importantly, scholarships: "to enable the school to concentrate its entire program only upon those students who have the highest potential as talented pro­ fessional dancers.Natalie Molostwoff, one of the School's two present directors, noted that as a direct result of the grant, "We became much more selective in accepting students.

Before we had to compromise in order to survive. With the help of the Ford Foundation we became much more critical, more selective." Balanchine agrees with this; while dis­ cussing the School's development, he stated: "... now choosier, before we couldn't choose. We just took anyone 81 who wears pants that looked like a man." The scholarships often included living expenses and travel as well as tuition.

In the first year of the Ford Foundation grant, 1964-65, 73 students (33 from outside New York) received scholarships for the winter-spring term. In the summer term of 1965,

42 scholarships were awarded, and 36 of these went to "out-

79 News from the Ford Foundation, p. 3.

Q n Interview with Natalie Molostwoff, New York, November 20, 197 8. 81 Interview with George Balanchine, New York, November 30, 1979. 25

82 of-towners." As a rule, winter/spring term students do not take the summer course, which acts indirectly as an audition for the winter/spring term. The $1.5 million mentioned earlier was to be used for ballet companies, schools and students outsi-e of New York. This part of the grant was broken down into four programs and administered by

SAB personnel.

The first program covered tuition for an individual's training at a local school. These students were selected by representatives from SAB, faculty members or designated members of NYCB, who traveled to the community schools that applied to SAB and requested that certain students be auditioned for the tuition benefits. The grants were directly to the students. Over the ten year period 400 students were to receive scholarships. A second program was the teacher exchange. An example of this was when the SAB representative auditioning local students also guest taught at the local school. The local teacher would have traveled to New York and observed classes at SAB. In the earlier years of the program, Balanchine taught master classes at the SAB with 8 3 teachers attending from all over the United States. The third program dealt with "group-beginners." In this program grants for tuition were given to a local teacher teaching a

8 2 School of American Ballet Annual Report for Period of September 1, 1964 to August 31, 1965 (New York: 1965), p. 2,

^^Interview with Nathalie Gleboff, New York, November 20, 1978. 26

class of ten beginning students. This would be a matching grant, for the teacher applying to SAB would agree to teach an additional ten beginners at no cost, tuition free. This was more active among public schools, churches and civic groups.®^ Two thousand five hundred scholarships were to be awarded in this program over the ten years.

The fourth program was the resident scholarships.

This enabled 425 exceptional students to receive travel and subsistence scholarships for advanced training at the SAB in New York. This was the most successful program of the

four, with almost fifty percent of all the scholarship students at SAB covered in this section. Auditions were held by SAB representatives in the local communities. Scholarships for students who were residents of New York came from the

$2,425,000 previously discussed.

The $2 million grant to NYCB went into effect just as the Company moved to Lincoln Center. Over a ten year period, the grant covered expansion of the Company's repertoire, extension of employment periods for its dancers and stage manager, and the provision for its dancers to perform with emerging companies. (This meant that NYCB would loan soloists to other companies.)

The grant money was used in NYCB's first production at the new State Theater. The Company had its inaugural

QA Ibid., December 3, 1979. 27

performance on April 23, 1964, accompanied with a gift from

Stravinsky, the twelve-tone "Fanfare for a New Theater, 8 6 and opening words from then Governor Rockefeller. A

Midsummer Night's Dream had been completely redesigned for 87 the new stage.

There were few leotard ballets created during the

initial changeover. Balanchine has commented on more than

one occasion that the choice of leotards in the earlier

years were made more for economic than aesthetic reasons.

He stated, "Once I made a ballet called 'Jones Beach' just

because the Jantzen Company said they'd give us bathing suits 8 8 if we put their name on the program." The new emphasis

on the big productions came as a surprise to many accustomed

to the simple, stark presentations that had been considered

the hallmark of the company. Kirstein defended the new look:

Since being established means having a chance to plan rather than improvise, to enjoy continuity and stability approaching the level of foreign, state-supported institutions, we welcome the epithet. We have always been conservative, in the sense of preserving a tradi­ tional dance language. . . .^9

Q cr Reynolds, Repertory in Review, p. 225.

86Kirstein, Thirty Years, p. 183-4

®^Reynolds, Repertory in Review, p. 225. 8 8 Quoted in Anne Marie Welsh, "George Balanchine," Washington Star, 14 October, 1979. p q °^Quoted in Reynolds, Repertory in Review, p. 225. 28

Balanchine went on to choreograph two lavish new productions in NYCB's first year at the State Theater,

Harlequinade and Don Quixote. However, he did not abandon

his repertory from earlier years. In a number of instances

he expanded the number of dancers in certain ballets and

restaged elements of the work to make full use of the space.

Two examples of this are Serenade and The Four Temperaments, both NYCB classics.^®

Clarifying his attitude toward the change, Balanchine

stated :

We made do there (City Center), we improvised, we did the best we could. But the stage was only forty-five feet, we had no place to put scenery. The State Theatre is a real theatre. It's big, it's beautiful. The stage is ample, we have room for lots of scenery. It's what I always had in mind. I knew we'd have a theatre like that someday, and so during the time we were at City Center I stage everything so it would look good on the big stage I expected us eventually to get. I didn't know how we were going to get it, but somehow I knew we would.

However, not all of the repertory from City Center blossomed at the NYST. Croce lists Agon, Divertimento No. 15,

Donizetti Variations and Orpheus as some of the ballets that have "resisted" the transition.Reynolds lists Orpheus,

Agon and Allegro Brillante as those works that have lost

go Interview with Nancy Reynolds, New York, February 9, 1979.

^^Quoted in Taper, Balanchine, p. 346.

Q O ^'^Arlene Croce, "Repertory Dead or Alive," New Yorker, 18 February, 1979), p. 67. 29

their initial intensity when moved to the larger stage.

While discussing Orpheus as it was presented at NYST in

1979, Croce wrote.

The idea of performing the small works of the repertory on a small stage like the Juillard's is Denby's [Edwin Denby, dance critic]; I pass it on eagerly. It might be the way to a restoration of Orpheus. In 1972, the company went to some trouble to present Noguchi's famous decor in a revised and rescaled version, and — the look of the whole production dropped a notch in meaning from barren to desolate, from provocative to eccentric. , .

As with the productions, the dancers of the Company were given a new status, and enhanced contracts. However,

before noting these changes it is necessary to understand

the dancers' union and its basic agreement with NYCB's

administrâtion.

The dancers of NYCB are represented by the American

Guild of Musical Artists (AGMA). It is the only national

union for dancers and the other major American ballet companies belong to it as well. Unlike Actors Equity, where the union negotiates with representative Broadway producers a basic agreement covering all Broadway shows, AGMA negotiates a different basic agreement with each dance company. As a result, AGMA by itself is not a strong union. It does not have the power of Actors Equity or the American Federation of

Musicians (AFM) to which the NYCB orchestra musicians belong.

93 Interview with Nancy Reynolds, New York, February 9, 1979.

94Croce, "Repertory Dead or Alive," p. 68. 30

(It was not until the 1-79 labor dispute at the American

Ballet Theatre (ABT) that AGMA members as a whole displayed a sense of solidarity. When ABT dancers were in a "lock­ out" situation with their management, dancers from many companies, including NYCB, joined the ABT dancers' picket line along with "names" in the entertainment industry such as Gwen Verdon, Helen Hayes and Joel Gray.)

Each member company negotiates a "Basic Agreement" between AGMA, representing the dancers, and the respective company's administration representatives. The Basic Agree­ ment defines the minimum conditions and compensation to which every dancer in the company is entitled. This includes such items as salaries, rehearsal hours, time off, photo calls and the number of shoes a dancer is allotted a year.

(The 1976-1980 Basic Agreement for NYCB is in Appendix B.)

Bach dancer in turn must sign an "individual artists" con­ tract which includes the conditions of the basic agreement plus the dancer's individual salary and other items negotiated for that particular dancer. A sample contract is included in

Appendix B.

The basic agreement is usually a three year agreement.

With NYCB, the agreement has kept the same basic format for the majority of its 35 years with changes and additions kept to a minimum. The area of most active change has been the monetary compensations. (In the case of the current basic agreement 1976-1980, the only changes from the 73-76 agreement were financial.) 31

The set-up for formal negotiation sessions include

a committee of dancers {selected by the dancers in the

company), AGMA representatives and their lawyers and Betty

Cage representing NYCB management. Occasionally other members

of the administration such as Edward Bigelow and Barbara

Horgan assist Cage at the sessions.The dancers present

their proposals and Cage accepts, rejects or amends the

requests. Herein lies a unique aspect of NYCB. Alan Olson,

National Deputy Secretary for AGMA, has stated that, "Betty's

[Cage] principal interest is with the dancers, she is really on the side of the dancers. . . . There have been sessions where no dancers bothered to appear.(Olson contrasted

this with another major ballet company where management

sent, unannounced, a lawyer as their representative to the

negotiating session.)

The basic agreements of the various companies tend to reflect their artistic philosophies. At NYCB the agreement is in accord with the policies listed in the introductory chapter. The artistic integrity of the Company holds the highest priority. The dancers are subordinate to that policy

(as compared to the basic agreement for "Major Dance Companies" which places its highest priority on recognition and accommo- 97 dation of the individual. Examples would be the long-standing

^^Interview with Betty Cage, New York, December 3, 1979.

^^Interview with Alan Olson, New York, December 3, 1979. ^^Basic Agreement; Major Dance Companies, American Guild of Musical Artists (New York; 1976), pp. 1-31 passim. 32

NYCB practice of the alphabetical listing of the entire

company together where other companies alphabetize within

rank: principal dancers listed first, followed by soloists,

then corps. In Appendix B on page twelve of the NYCB basic

agreement, paragraph 32 (g) insures that an "effort" will be

made to announce to an audience any casting changes of Solo

Dancers [principal and soloist]. In the "major dance company"

basic agreement, when there are changes in casting of

Principal or Soloist category, "an announcement of the q q change shall be made to the audience. . . . In addition

the major dance company has an added element: "Where changes

occur and the EMPLOYER fails to announce the change of cast

to the audience, the EMPLOYER will pay to the replacement 99 ARTIST the sum of Fifty Dollars ($50.00)." NYCB's agree­ ment also has every company member on a weekly salary, where

other companies allow for per performance fees of principal

and soloist dancers.

In the area of monetary compensation NYCB reflects

its attitude that the dancers are an important element in the artistic make-up of the Company. NYCB has consistently provided longer guaranteed work periods for the dancers and higher compensation for the corps, which comprises approximately

^^Ibid., p. 16.

^^Ibid. 33

seventy-five percent of the company members. Olson

stated that NYCB meets almost all of the dancers' demands

that are humanly possible. An example he gave was when

the corps requested a specific number of cots in the 100 dressing rooms.

Cage did not meet the number requested because the

physical size of the dressing room could not accommodate

them. She did, however, put additional cots in the corps

dressing room.^^^

Olson noted that NYCB has been known to keep dancers

on its payroll that are no longer performing. Cage also

noted that a corps dancer, while on an ascent to the soloist

category but not yet at that rank, can receive the equiva­

lent of a soloist's compensation.

The Company looks after the dancers as part of a

family unit. {Throughout the interviews conducted for this

thesis company personnel often used the term "family."

Olson felt that the parental attitude of the administration:

"has detriments, the dancers are overly protected."^02 jjg

noted situations where the company has managed dancers'

personal finances, taken care of bills, and paid their rent,

and the dancer, upon leaving the company, does not know how

^Interview with Alan Olson, New York, May 9, 1979.

^°^Ibid. ^°^Ibid. 34

to manage by himself, to "deal with the real w o r l d . "^93

Noting the difference in attitudes between his company and

those of ABT, Balanchine stated.

They (ABT) are not treated as dancers really. They, each one, has representative go. Each one has an agent to see that the agent will defend rights in front of directors. It only hangs on anger, or on demands. (At NYCB) the main thing is dancers. We all work for d a n c e r s . ^94

NYCB has had a basic agreement since its inception

as the City Center Ballet in 194 8. The first agreement on

file at AGMA dates 1946 for Ballet Society. Generally all

corps members and approximately fifty percent of the soloists

receive the minimum salary set forth in the basic agreement.

The remaining soloists and principals receive varying amounts

above the soloists' base.

As noted earlier, the dancers' contracts, in 1964,

took on an added prestige. UP until the move to Lincoln

Center there had been no differentiation in the basic agree­ ment of rank among the company members other than monetary

compensation for seniority. In this agreement (1964) the

category of "solo dancer" appears for the first time in any

of the basic agreements in the Company's history. "Solo dancer" encompasses dancers listed in the program as soloists

and principals. Illustrating the Company's new stability.

^-O^Ibid.

^Interview with George Balanchine, New York, November 30, 19 79. 35

the 1964 agreement also included a fifty-two week guarantee

with a one week vacation. This was eliminated after one

year at the dancers' request. They preferred a thirty-six

week guarantee with any touring counted as additional weeks.

In past years the Company has had regular residencies at

Washington, D.C. and the Saratoga Performing Arts Center in

New York. It has also performed at a European city each

summer. These additional tour weeks average 8 to 10 per

year. The dancers figured they have a guarantee of approxi­

mately forty-four weeks and still the flexibility of guest

appearances, rest and recovery period or vacations.

Due directly to the Ford Foundation grant, in 1964,

the dancers' salaries were substantially increased. Corps

dancers received $100 per week for rehearsal weeks, an

increase of $20 per week, and remained the same as in-1962

for performance weeks with $110. The new category of solo

dancers received during rehearsal weeks fifty per cent of

their performance pay, a base of $175, or $100, whichever was the higher.Other outstanding features and additions

to the basic agreement will be examined throughout this thesis as they relate to the particular periods.

With every facet of the company undergoing a meta- morphis of sorts, the sacred populist ticket policy at

^^^Interview with Betty Cage, New York, December 3, 1979

^^^Basic Agreement between American Guild of Musical Artists and The City Center of Music and Drama, Inc., Ballet Division (New York ; September 1, 1964), p p . 5-9. 36

City Center was also touched. In 1965, at the recommendation of the Ford Foundation, City Center instituted separate sub­ scription series for NYCB and NYCO.Surprisingly, Morton

Baum was opposed to the idea. The Ford Foundation recommended initiating a subscription series at the State Theater.

Lowry recalled, "Baum didn't believe it was possible to develop subscription in a multiple house, {and a) company 108 with no stars." Lowry sent in Danny Newman, the wizard of theater subscriptions, as a consultant. Baum's protests were unfounded. Still administered today by City Center,

Inc., personnel, the resulting subscription series brought in the largest advance ticket sales in the Company’s history.

The subscription series continues to thrive to the extent that non-subscription performances have to be allocated each season. Ninety-four per cent of the seats were subscribed 109 to for the repertory schedule of the 1979-1980 winter season.

Appendix C traces the number of individual subscription orders from 1968-1978.

In the summer of 1966 the new Saratoga Performing

Arts Center opened in Saratoga, New York, with NYCB as its resident dance company.NYCB has subsequently adopted

^*^^Reynolds, Repertory in Review, p. 225.

^^®Interview with Lowry, New York, May 8, 19 79.

Interview with Rita V. Golden, New York, November 30, 1979.

^^^Reynolds, Repertory in Review, p. 225. 37

Saratoga as its summer home, spending the month of July

in residence. Performing at a pace a bit slower than in

New York City, the month at Saratoga allows the dancers

something resembling a working holiday.

By 1967 the Company was taking full advantage of

its new home, new money and growing audience. With the

production of Jewels during that same year, NYCB also be­

came a "hot-ticket" for the first time in its history.

Choreographed by Balanchine with costumes by Karinska, sets

by Peter Harvey and lighting by Ronald Bates, Jewels was

Balanchine's, and ballet's, first three-act plotless ballet.

Set to music by Fauré, Stravinsky and Tchaikovsky, the ballet's three acts are subtitled "Emeralds" (Fauré),

"Rubies" (Stravinsky) and "Diamonds" (Tchaikovsky), capturing

the mood or quality of the particular gem. The matter of the ballet being plotless caught many by surprise when it became a box-office sensation as well as being critically acclaimed.Melissa Hayden, senior ballerina in 1967,

commented on that time period:

The move was very dramatic for us all. Suddenly, from a caterpillar, the company turned into a beau­ tiful butterfly. It sort of happened overnight. There was no transition. Suddenly, Mr. Balanchine through his school, had a whole new corps of beautiful young dancers to choose from . . . I think he must have looked over the entire picture and decided to ..g have a brand new company for his brand new theater.

^^^Ibid., p. 247.

^^^John Gruen, The Private World of Ballet (New York: Viking Press, 1975), pp. 376-77. 38

In February, 196 8, Morton Baum died of a heart attack. Kirstein said his death,

. . . was a paralyzing blow. It removed an anchor on reality. . . . The house we had jointly conceived and fought for would remain a permanent, populist home for singing and dancing. This was Baum's victory and legacy. . . . With his passing, a chapter was over.

^Kirstein, Thirty Years, p. 198. 114 "Theme and Variations"

In 1969 SAB took up residence in new, custom designed

facilities on the third floor of the newly constructed

Juilliard School. Located on the same Lincoln Center plaza

as the State Theater, the move was the fruition of a dream: 115 "a school, a style, a company, a repertory."

The facilities had been built to Balanchine's

specifications even more religiously than had the State

Theater. The school had four large studios, two equivalent

to the performing area of the State Theater stage. Large windows which stretched across the studio walls and the

floors were of Balanchine's own design: "Balanchine now restudied the systems of the studio floors to provide more

spring than those in the theater. An interface of pine slats,

thinner, but laid in more depth, covered with battleship 1 ' linoleum. 1 ..." ,,116

With the larger space, the SAB administration expanded its curriculum and faculty. An extensive music program was

initiated with members of the Juilliard faculty. Courses included history, theory and piano. The boys' division now included intermediate as well as advanced classes.

^^^Choreographed by George Balanchine, 1947. 115 Kirstein quoted in Taper, Balanchine, p. 341

^^^Kirstein, Thirty Years, p. 206.

39 40

The members of the faculty for the inaugural year

at Juilliard were Felia Doubrovska and Muriel Stuart (the

only members left from the first years of SAB), Stanley

Williams (his first year as a permanent member of the faculty),

Alexandra Danilova, Helene Dudin, Antonio Tumkovsky, Elise 117 Reiman, Richard Rapp and Suki Schorer. The latter three

represented a second generation of faculty, for all had gone through the School as students and had performed with the Company for many years. Suki Schorer was the first of

the younger generation to join the faculty. A principal dancer during her time at NYCB, Schorer now directed the

SAB lecture-demonstration program for the city which she had participated in as a student. (She is presently the only female to teach in the boys' division and also regularly stages Balanchine ballets for the School's annual workshop performance.)

A significant change with the move was that now the

School and the Company were virtually adjoined to one another. The interchange between the buildings was frequent and had a considerable impact on the students. Director

Molostwoff commented,

I think the most important is the proximity to the company. I think that that's terribly important and even when they don't participate (approximately 80

^^^Lincoln Kirstein, School of American Ballet 1934- 1979 (New York; School of American Ballet, Inc., 1979), p. 6. 118 Interview with Reynolds, February 9, 1979. 41

students age nine and above are used in NYCB pro­ ductions of Nutcracker, Harlequinade, Don Quixote, Midsummer Night's Dream, Union Jack, Pulcinella, Mother Goose and Coppelia] the company very often uses our studios for rehearsal, so there is the contact which I think is very beneficial. ^19

The School was now able to serve the Company as did the Imperial School in Leningrad, Balanchine's training ground. In addition to the appearances in the ballets previously mentioned, the Company now took on a select few of the advanced students to apprentice with the Company.

Balanchine discussed the advantages of the students' parti­ cipation with the Company:

They (the students) dance the same music; they get to know everyone; they respect you. When they dance here, you don't have to tell them, "Be quiet." They know. They are quiet. They don't dirty their costumes or spill things or drink or eat.120

It was also noted that by working with company members since they were children in the school they know instinctively what

Balanchine wants; it has been bred into them. The School was growing to the point where Balanchine stated, "Our company can't any longer absorb all the good dancers coming out of 121 the school." It was placing "graduates in every major company in North America and Europe except the Royal Ballet, 122 which was limited only to British subjects."

^Interview with Molostwoff, November 20, 1978.

Mazo, Dance is a Contact Sport, p. 254.

121iTaper, Balanchine, p. 342. ^^^Ibid. 42

Perhaps it was this new breed of dancers coming out

of the school that brought Jerome Robbins back to NYCB after

a twelve-year absence. During his time away Robbins had

been active in a variety of media: he founded Ballets: USA,

which first appeared at the Spoleto Festival of Two Worlds;

he choreographed and directed the stage and screen productions

of "West Side Story" as well as the Broadway production of

"Fiddler on the Roof"; with a grant from the National Endow­

ment for the Arts he helped found and direct the American

Theatre Laboratory, a two-year experiment in "lyric

theater."1^^

With Robbins back, Balanchine was pleased to have

another choreographer in residence. As Kirstein relates, it

was never their (Balanchine's and Kirstein's) desire to have

only a Balanchine repertory, noting the Company's earlier

association with Frederick Ashton and Antony Tudor.

Robbins offered a contrast to Balanchine. For example, he

came to rehearsals with choreography already worked out in

detail, whereas Balanchine had dancers improvise with his

suggestions of movement. Once Robbins finished a piece he rarely changed it, insisting that the dancers continue to

perform the choreography as originally set. Balanchine

123 Deborah Jowitt, "Back, Again, To Ballet," New York Times Magazine, 8 December, 1974, p. 32,

^^^Kirstein, Thirty Years, p. 195. 43

constantly changed his works to adapt a section to a new dancer taking on the role, or in some cases adding another

section of music, or at other times on whim. Balanchine's

credo is "Ballet is Woman" where as Robbins put to use the growing number of men in the Company trained at the School, choreographing works where the men had equal if not dominant roles.

Robbins' return to NYCB came about almost by chance. The way he tells it, he'd stopped off at the NYCB office one day and was asked if he wanted to choreo­ graph something for an upcoming gala. "I had rehearsed Eddie Villella and Patty McBride in 'Faun' [Afternoon of a Faun], and I was so impressed by them that I said well. I'll do a pas de deux for them, to Chopin music, which I love, and I don't know which pieces, but, yes, I think I'll do a pas de deux. . . . And that was the beginning,"125

The pas de deux grew into a work for ten dancers and an hour of what is constantly referred to with reverence as "pure dance." Dances At a Gathering officially marked Robbins' return to classical dance. The piece was an immediate critical and popular success. It also was representative of a coming of age with the Company. "Dances," considered by many critics to be a masterpiece, is a strong ensemble work with simple costumes in solid colors designed by Joe 1 Eula, no set, and understated lighting by Thomas Skelton,

Performed to Chopin with the accompaniment of one piano.

^^^Jowitt, "Back, Again, To Ballet," p. 32. 12fi Reynolds, Repertory in Review, p. 259. 44

"Dances" has been included in every NYCB season since its creation, (It often serves as a spotlight for up-and- coming members of the company.)

Robbins was quite active in the following years, choreographing works well-received by critics. At the same time, Balanchine did not create any major works and many critics were ready to write him off as a choreographer.

The low point came in 1971 with his piece PAMTGG (Pan Am

Makes The Going Great). Based on an elaboration of the score of the airline's commercial, many people felt

Balanchine should retire. Unknown to many was that while standing in the wings at the premiere of PAMTGG,

Balanchine turned to Barbara Horgan, his assistant, and muttered something like "A whole week of Stravinsky. Nothing but Stravinsky." His words did not come out of the blue exactly, for when Stravinsky, [his long-time friend and collaborator] died in April, he had said that he would pay his own tribute in his own way.^27

It was not until the following March (1972) that plans for the Stravinsky Festival were announced.

The Stravinsky Festival, which took place at the

State Theater June 18 (this would have been Stravinsky's ninetieth birthday) through June 25, 1972, was a major event in American theatrical history. The festival was a celebra­ tion of Stravinsky. In that one week, the Company presented thirty works, twenty-two of which were world premieres and

127 Nancy Goldner, The Stravinsky Festival of the New York City Ballet (New York : Eakins Press, 1973), p. 229. 45

were created by seven choreographers. Balanchine choreo­ graphed nine of the new works, three of which were hailed as masterpieces: Symphony in Three Movements, Violin

Concerto and Duo Concertant. The same critics who one year earlier were putting him to rest marked the comeback of the choreographer. Those fortunate enough to have attended the festival called it an experience of a lifetime. Clive

Barnes noted, "There has never been as creative an outburst as this in the history of b a l l e t . Richard Poirer wrote in the Atlantic Monthly,

It was an astonishing feat, unequaled in the history of ballet, and the occasion was variously described as "a week of miracles," "the most imaginative week in ballet since the Diaghilev ballet stormed Paris more than 60 years ago," and "one of the highlights of 20th century art." No one who saw the performances would want to quibble. . . .129

Critic Deborah Jowitt captured the aura that surrounded the festival :

. . . Each night of the week, the State Theater was . packed with knowledgeable and wildly excited balleto- maniacs; hopeful gatecrashers panted in the plaza; the dancers, who had to learn up to twenty new ballets and polish up some old ones, challenged their own mental and physical fatigue by dancing with a bold and feverish confidence. The week was full of sur­ prises, . . . and a kind of camaraderie between the audience and the company that the grandeur of Lincoln Center usually doesn't encourage. . . .1^0

128 Quoted in Goldner, The Stravinsky Festival, p. 217

^^^Quoted in Ibid., p. 19 7.

130 Quoted in Ibid., p. 212. 46

When asked what was her proudest moment of the Company,

Betty Cage answered enthusiastically "The Stravinsky Festival,"

In her book. The Stravinsky Festival of the New

York City Ballet, Nancy Goldner described in depth the preparations behind the festival. An examination of this

staggering venture can serve as a microcosm of the unique

relationship between the artistic and administrative per­

sonnel of NYCB. Goldner pointed out that,

. . . it (NYCB) operates more as a family business under a benevolent dictatorship than as a corporation. Balanchine talked about Stravinsky week but there were no conferences or other organized channels of communication within the company [at this point Balanchine and Kirstein had met with Richard Clurman, then chairman of the board of City Center. Balanchine explained Festival plans, including the necessity to have the theater dark the week preceding the festival for rehearsals and technical work. Clurman did not give an answer at their meeting.] There was never a decision (sic) to go ahead with it. Balanchine was determined, Kirstein was determined to do what Balanchine wanted to do, and Clurman had not said "no". (As it turned out, Clurman raised about half a million dollars for the project. . .) Balanchine's "yes" is all that is necessary to spur the organiza­ tion into activity. The company pooled its resources and did it, overcoming obstacles as they cropped up and banking on the intelligent muscles of the dancers and the professionalism of the musicians and adminis­ trative staff.131

Referring to the festival, Robbins has stated, "George opened a window and said we were going to fly. We just followed him.

l^llbid., p. 232. 132 Quoted in Reynolds, Repertory in Review, p. 286. 47

The first rehearsal for the festival was in the

first week of October, 19 71. The numerous ballets were

squeezed in throughout rehearsals for the regular season.

Choreographers for the festival had an in-house

look; in addition to Balanchine and Robbins, the list was

comprised of John Taras (ballet master), Company members

John Clifford, Richard Tanner and Lora Massine, and former

Company member Todd Bolender.

Other choreographers had been invited to participate.

Among those turning down NYCB's invitation were Freder ck

Ashton and Antony Tudor .^^^he usual month-long vacation between the end of the winter season and the beginning of

spring rehearsals was cut to two weeks. By mid-May the majority of the festival pieces were in rehearsal. Amazingly,

the dancers were strong.

The spifaling effect catapulted the dancers into the festival in peak physical and mental condition. No one had an accident. Colds and the like were for­ gotten in the excitement.134

The rehearsal hours allotted a work varied and in no way did the hours equate quality. A sample breakdown had

Violin Concerto with the most time at one hundred hours.

However, rehearsal pianist Gordon Boelzner speculated that

"some of the rehearsals were slated just so that Balanchine 135 could hear the music live, so much did he love it."

^^^Goldner, The Stravinsky Festival, p. 232

^^^Ibid., p. 243.

^^^Ibid., p. 243. 48

Works receiving fifty hours rehearsal included: Baiser

de la Fée, Orpheus, Danses Concertantes and Symphony in

Three Movements. Twenty hours were given to Choral Variation on Bach's "Von Hiitimel Hoch" , Karin Von Aroldingen's new dances in Firebird were accomplished in two and one half hours. Scherzo à la Russe— ten and Duo Contertant— fourteen.

The figure given for the total cost of the festival was $348,000. This figure includes the loss of box-office revenue for the week the theater was dark ($130,000). How­ ever, it does not include compensation for the dancers' rehearsal hours, which ran into considerable overtime.

In order to avoid an added deficit, the Company did not plan any new productions for the following fall. In addition to the money raised by Clurman, the Ford Foundation gave a grant. Also a special Stravinsky Festival Committee was established to solicit contributions and there were the 138 regular sources, NYCB Guild and patron tickets.

The production coordination was chiefly under

Edward Bigelow (sets and costumes) and Ronald Bates, pro­ duction manager and lighting designer.

The most ambitious productions on the technical end were Pulcinella, a joint choreographic venture for Balanchine and Robbins (both of whom also made brief appearances in the

^^^Ibid. ^^^Ibid., p. 147.

^^^Kirstein, Thirty Years, p. 208. 49

performance as "Beggars") with scenery and costumes by 139 Eugene Berman, and Orpheus with rescaled sets of

Noguchi's original design. For many of the other "new" productions, sets and costumes were used from older works.

The fact that Bigelow had been with the Company since its

inception had a definite advantage where time was as limited

as it was with the festival.

Kirstein has referred to the preparations for the 140 Stravinsky festival as "a miniature Normandy invasion."

Cage, speaking as if she had been in battle, commented,

"it almost killed everyone! [It was] very emotional, I can't imagine anything comparableA major factor of this analysis of the festival is that Balanchine, while he has a devout company and a staff ready and willing to do any­ thing he asks of them, he would never abuse this trust.

Many have commented on how practical he is in regard to production costs and programming, and that he is approach­ able and amenable. The festival could have easily failed had Balanchine played the tempermental artist, insisting upon receiving priority treatment with rehearsals, new sets and costumes. In addition to his choreographic genius, he is well liked and respected by those who work in close

^^^Ibid., p. 147.

^^^Kirstein, Thirty Years, p. 208.

^Interview with Cage, December 3, 1979. 50

association with him. With a sense of family and a loving

father at the head, the children blossom.

In retrospect, the Company in its first season as

the NYCB, 194 8-1949, performed approximately twenty-four

times to half-filled houses. In the 1971-72 year, the NYCB

gave two hundred thirty performances with an estimated total

audience of 500,000. Taper stated that the number of performances were probably twice as many as either the

Bolshoi or Royal Ballet.Repertory pieces that were

created in those first years were still being performed in

1972. The "Greek" program in the festival, Apollo (1928),

Orpheus (1948) and Agon (1957), is significant, for one could

trace the development of the Company and Balanchine through the works. It shows the style, the constant theme, if you will, and its variations through the years.

Following the artistic success of the festival in

19 72, 1973 brought in a financial crisis with City Center,

Inc. that had been developing since Morton Baum's death in

1968. The basic structure of City Center, Inc. on paper was that it acted as an umbrella corporation of the three sub­ sidiaries: NYCB, NYCO and 55th Street Theater activities.

It had a governing board of directors and provided to its subsidiaries the same benefits specified for NYCB in 194 8

^'^^Taper, Balanchine, p. 348, 51

as mentioned in the introductory Chapter,

The major area of weakness was with the controller and The Board of Governors. When Baum was alive, it has been noted, only he and his assistant Ralph Falcone, an accountant, handled money. However, there were never any problems or complaints from the subsidiaries. After Baum's death, strength and consistency of administration were lost and the board went through a number of administrators. Also, the various administrators did not take up Baum's role as defender and provider for NYCB. The Company became a lower priority. Cage stated that this was due to Opera's problems being more readily visible.

NYCB could not be assured that their money which had been deposited into the City Center General Fund would find its way back to the Company, such as when Cage called the

City Center controller to find out NYCB's cash position and the controller did not know. Another situation Cage cited was when she had sent over an advance NYCB had received for a European tour and the controller used the money for the

Opera. The controller then notified Cage that City Center could not make that week’s payroll (which the advance should have covered). After Cage alluded to vague threats of public 144 scandal, the controller "found" the advance money. Lowry

^Interview with Cage, December 3, 1979,

^^^Ibid. 52

commented on this period (1972-1974), "... sometimes it

seemed money we (Ford Foundation) were trying to give to 145 NYCB or the NYCO went to the 55th Street Theater." Cage

concurred rather strongly, stating, "I just can't tell you 146 what kind of incompetent people they had over there."

This problem escalated in 1973 when City Center

went bankrupt. A grant (Appendix E) from the Ford Foundation

"bailed them (City Center) out. The outstanding con­

dition and salvation, for NYCB, was the stipulation that

separate fund accounting be established. Hope Sydeman,

director of development, commented, "This essentially set up

certain financial requirements for the first time and though

they seemed very primitive, they were revolutionary at the 148 time." In addition, the grant wiped out the Company's

deficit, established a cash reserve and designated reserve

funds for productions and operating expenses. A new con­

troller was appointed at City Center, which, according to

Cage, solved the major problem; "There is absolutely nothing

I can find fault with now."^^^

With one crisis resolved, another one emerged in the winter of 197 3. With the growing status and attention of

^^^Interview with Lowry, May 8, 1979.

^^^Interview with Cage, December 3, 1979.

1^'^Ibid. 148 Interview with Hope Sydeman, New York, May 1979.

^^^Interview with Cage, December 3, 1979. 53

NYCB at Lincoln Center, the NYCB orchestra musicians also took on an importance and international status. Under the direction of Robert Irving since 1958, the orchestra had gained a reputation of being among the best international ballet orchestras. Their importance, however, has also worked against the Company. In 19 73 the demands of the musicians' union, AFM, during negotiations were not being met. The musicians had planned a "walk-out" commencing one month into the 1973-74 winter season. This was when the

"nutcracker" performances were to begin. Their leverage was that the "Nutcracker" is NYCB's big money maker. For the entire month of December, f'The Nutcracker" is performed daily, all non-subscription performances with no ticket discounts. Production costs are kept low, fewer rehearsals are necessary and crew hours are kept to a minimum, for there are no set or lighting changes in addition to those in The

Nutcracker.

In anticipation of the impending musicians' strike, the dancers asked NYCB management for a guarantee of "work or pay" for the scheduled fourteen week season. Management

(NYCB) could not make the guarantee unless AFM agreed to give a "no walk-out" agreement from the musicians, who refused to give one. The dancers voted to strike at the beginning of the season (November 12, 1973) and in doing so, NYCB became the first major American ballet company to cancel performances 54

due to labor dispute with the dancers. There were no ill

feelings of management toward the dancers— the blame and hostile reactions were reserved for AFM. Balanchine is reputed to even have hinted to the dancers that they would 150 only get a guarantee with a strike. The strike ended when AFM settled with NYCB management not getting all their demands met, and the season opened on December 12, 1973, with The Nutcracker, four weeks into the scheduled season.

In 1973, Melissa Hayden, the last of the City Center ballerinas, retired. She had been a charter member, joining the Company in 1950. With the financial split from City

Center, Hayden represented the last link to NYCB's tenure at the 55th Street Theater.

Representative of the future, a gala was given in

Hayden's honor, which served also as a fundraiser benefit for the Company's Production Fund. The Ford Foundation grant of 196 3 came to an end. Thus, the end of the year

197 3 was also the end of an era.

l^^Mazzo, Dance is a Contact Sport, p. 298.

^^^Ibid., p. 299. 152 "The Gods Go A-begging"

1974 marked the tenth anniversary of NYCB at

Lincoln Center. The Company had grown in size to become 153 the largest dance company in the United States.

As the Company developed, so did the problems of managing such a large institution. It became evident with the experience of City Center that NYCB would have to establish their own mechanisms to insure sufficient fund­ ing and control for the Company. The conditions of the

197 3 Ford Foundation grant left only external accounting and subscriptions in the hands of City Center.

As late as 1975, Kirstein noted their (NYCB's) strange predicament.

For a long time it had bothered Betty Cage and me that the title "New York City Ballet" had no legal force. It was a historical, pragmatic fiction. Our company, of itself, did not own one stick of scenery or one shred of costume. Its name was on no contract; cash given or collected for its use was deposited in no bank account which could be released by any of our signatures. The reasons for such con­ fusion were clear enough. Ever since the death of Morton Baum . . . we had soldiered along on lines of procedure he had improvised before 1947. . . . Baum conducted business as a paternalistic amateur patron- director. He assigned us our seasons and budgets. . .

152 Choreographed by George Balanchine, 1928. 1ST Kirstein, Thirty Years, p. 252.

Interview with Hone Sydeman, New York, January 26, 1979.

55 56

It suited our needs then, but it would become an irrational and expensive way to conduct what had become, fatally, big business, employing about three times as many dancers, staff and stagehands as when we had given ourselves the name of New York City Ballet in 194 8, and had moved into the State Theatre in 1964.135

One of the first major actions to combat the am­

biguity that existed with NYCB’s autonomy was the establish­

ment of its own Board of Directors during the 1975-1976

season. The City Center Board of Governors would,"bend

over backwards for Opera.Thus the board was set up

by City Center more as a result of City Center's lack of

action than interference. (NYCO had a Board of Directors

established at the same time.) While Cage had expressed a

dislike at the establishment of the NYCB board, she had

also stated that the "Board is not a danger, nobody on the

board has made a suggestion, artistically. Not even

financially where they might be expected to because they do

a lot of the fundraising."137 went on to give an

example of explaining the accounting for the budget of a

new production to the board. When working in dance it is

difficult to get exact projected figures for a new production

since the variables— costumes, set, number of rehearsal hours— are contingent upon the creative juices of the

^^^Kirstein, Thirty Years, pp. 262-3 passim.

^^^Interview with Cage, December 3, 1979.

l^^ibid. 57

choreographer, the designers and the human factor with inevitable injuries to the dancers. Cage stated that the

Board was "tolerant" with the absence of exact figures; she proclaimed, "You cannot set a deadline for Balanchine.

Would you tell Puccini what is he going to do for 1981?^^®

Artistically, Balanchine's and Robbins' work seemed a reflection of the administrative confusion. No outstand­ ing works were created in 1974-1975. The major productions included a less than successful adaptation by Robbins of

The Dybbuk, a play based on Jewish folklore by S. Ansky.

Titled The Dybbuk Variations, the ballet also had an original 159 score by Leonard Bernstein. Characteristic of Robbins, the piece focused more on the male than the female dancers.

Earlier in 1974 Balanchine collaborated with

Alexandra Danilova on a lavish (decor-Rouben Ter-Arutunian) fairy tale production of the warhorse Coppelia. Typical of the reactions was Nancy Reynolds'; "He would have never done Coppelia at City Center." Much of the old City Center guard and hard-core Balanchine following (those who prefer the leotard/twelve-tone music ballets) were shocked at the blatant "story ballet," as were the Company's following in

19 51 when Balanchine presented his staging of Swan Lake.

The motivation was similar in this instance.

^^^Ibid.

^Reynolds, Repertory in Review, p. 310 58

And now we need a Coppelia, especially for Saratoga, for children [SAB students] for the "masses." I thought that if all the children in the ballet brought their brothers and sisters and parents— already we would have one audience. Saratoga needed something. . . .160

In 19 75 NYCB had another festival celebrating the

centennial of Ravel's birth. Reynolds explained.

The Company decided that to honor Ravel was also to honor France. Said Balanchine in a certain speech at the gala benefit, "La Belle France gave us La Danse. But another thing, one absolutely im­ portant thing— why I am still alive— it's because of the wine. . . ."161

No masterpieces were cited during the festival. There was

one work of note, however. Le Tombeau de Couperin. The work

is always performed entirely by members of the corps. (No

other major ballet company has a work in their repertory

that is danced solely by their corps.)

In 1976 the Company began to flourish as the adminis­

tration continued to build a strong foundation separate from

City Center. Warmly received was Balanchine's work Chaconne,

set to the ballet music from Gluck's Orpheus and Eurydice.

(One side note is that the ballet was first performed in

January of 1976 in white leotards; Balanchine then changed

the costumes to Karinska-designed tunics and gowns in the

spring of 1976.)

Also in 1976 was Balanchine's Bicentennial ballet.

Union Jack, the second part of the trilogy Entente Cordiale

^^^Quoted in Ibid., p. 314. ^^^Ibid., p. 319. 59

(Stars and Stripes being the first part with Tricolore, the

as yet to be created third part) featuring almost the entire

company. The hour long work has three sections featuring

marches of the various clans (dressed in kilt regalia), a

short costermonger pas de deux and the big finale of the

Royal Navy. The work was a popular success and was generally

enjoyed by the critics, who nevertheless did not proclaim 16 2 it a masterpiece.

The Company also had a very successful tour in Paris

that summer. Receiving considerable press coverage in the

American papers, the Paris trip acted as advance publicity

for the Company’s winter 1976-1977 season.

Commencing in September of 1976, the new basic agree­ ment for 1976-1980 had two milestones for the dancers, both

at the behest of Betty Cage. (The entire 1976-1980 Basic

Agreement is in Appendix B.) The first concerned compensation

for rehearsals. Standard policy with major American ballet

companies was that compensation would be given (with certain exceptions) after the first thirty hours of rehearsal each week. In the new NYCB agreement dancers were to receive compensation for every rehearsal hour (at $5.50-$11.0 0/hr.)

in addition to their weekly salaries. (During performance weeks there was no compensation for the first three hours of rehearsal on a non-performance day.) In 1976 the NYCB base

162 Ibid., pp. 332-336 passim. 60

for the corps was approximately the same as other major

American ballet companies. However, after compensation for a minimum average of three rehearsal hours a day, the

NYCB corps member receives approximately one hundred dollars a week more.

The other step forward is that the weekly performance salary for the fifth-year corps dancer was to be $430.00.

This would mark the first time the corps would receive a salary on a parity with the AFM musicians.

Negotiations with the AFM did not go as well. The musicians strike of 1976-77 was, in Kirstein's eyes, the worst thing that ever happened in NYCB's history.

The musicians went on strike four weeks into the winter season on December 12, 1976. The strike lasted six weeks, eliminating the entire Nutcracker season, with little of the originally scheduled repertory performed in the few remaining weeks of the season following the strike. Among the casualties was the cancellation of a revival of

Balanchine's Seven Deadly Sins with Bette Midler as the sing­ ing Anna. At one point in the strike, John Samuels III,

Chairman of the NYCB and City Center Board, put an open letter in the New York Times explaining the Company's position and frustration with the musicians' demands; also on the same page was an appeal for those holding tickets to cancelled

^Interview with Sydeman, January 26, 1979. 61

performances to donate the value of the tickets as opposed to requesting a refund. (The ad and letter are in Appendix F.)

Lincoln Kirstein discussed the gravity of the strike; "As our strike continued, serious consequences arose. Balanchine's impatience was manifest, he spoke of leaving for Europe, where every capitol opera house beckoned him. Dancers were released to find work, and many found it. Ultimately the season was cancelled (and only a few weeks restored at the end.) Our loss was in the neighborhood of a million dollars. This marked the lowest point of thirty years endured by our company. Press and public, generally speaking, supported dancers as against musicians. When the strike was at last settled, the orchestra was roundly booed. . . . Today, all this is half-forgotten-except by those (I suspect on both sides) who suffered wounds in the war, for it was indeed a battle, a battle that .^ . threatened the existence and continuity of the company.

Cage said that she was prepared for the strike and would have held out longer, feeling the musicians were about to back down. But Balanchine got impatient ("I'm getting old," he said) and Cage settled with a fifty-fifty compromise which she thought was too much.^^S

In spite of the strike, as if announcing "We're still here" the Company premiered Balanchine's Vienna Waltzes in the summer of 1977 at the State Theater. It is the most elaborate production in the Company's history. The Karinska- designed gowns cost $1,500 each, with forty-five gowns used.

The opulent sets were designed by Rouben Ter-Arutunian,

"Vienna Waltzes was by no means the 'greatest' of our ballets."

164Kij-stein, Thirty Years, pp. 280-83.

165interview with Cage, December 3, 19 79.

^^^Kirstein, Thirty Years, p. 290. 62

167 Vienna Waltzes was, however, the "most successful" work, box-office wise, in the company's history. It sold out every performance for four seasons and continues to bring in capacity audiences.

In 1963 NYCB was among the first to receive the precedent-setting and prestigious Ford Foundation's grants to the dance world. In 1977, the NEA announced the ambitious, challenge Grant program. (Appendix G - NEA Press Release)

Only 59 of 400 organizations which applied were awarded grants in the first year of the program. The Met received the highest grant at 1.5 million. The NYCB grant was for one million. The grant had to be matched three to one within a three year time period, stimulating new sources for fundraising.

The impact of the grant was far reaching. The publicity of a government grant acted as a stamp of approval and attracted new contributors. It was being chosen in the first year of the program that made a significant difference.

Morgan points out that in the first year, 1977, the Endow­ ment's announcement received front page coverage in the

New York Times. Yet in the years following, the announcements were placed elsewhere in the paper. Morgan also stressed the prestige of the grant and how it stimulated more corporate

1^’^Ibid. 63

168 funding for the Company. Sydeman noted that the number of foundations supporting NYCB went from 18-20 in 1977 to

43 in 1978.^^^ The goals cited in the grant were; 1) to set up a development office; 2) by the 1978-80 schedule of the present AGMA basic agreement, the five-year corps members would earn $430 for a performance week, on a parity with the musicians; 3) by June 1980 have a $5 million cash reserve.

As a direct result of the Challenge Grant, NYCB was able to establish another, most important mechanism to enable their own autonomy. The Company officially opened a

Development Office in 1977. Hope Sydeman added the responsi­ bilities of Director of Development to those of Director of

Finance. Among activities covered under the umbrella of the

Development Office was the Ballet Guild with membership categories ranging from $25 to $500. (Samples of fund­ raising campaigns in Appendix H.)

The "Green Room Association" was created for contri­ butions of $1,000 and up. (As of May 1979 the Green Room

Association had 300 members, of whom 175 were individuals.)

An International Committee is in the developing stage and as yet has not asked for contributions.

"Special Events" is another program division of the

Development Office. This encompasses receptions and parties

X 6 fi Interview with Morgan, January 26, 1979.

^^^Interview with Sydeman, May 7, 1979. 64

for which the sole purpose is raising money. There are annual opening night benefits each fall and a "spring Gala."

(The June 7, 1979, gala took in $175,000-200,000.)

The strongest area of development was for new pro­ ductions. Sydeman stated that production grants are easily obtained and "quite often we have more money available than we can spend, oddly enough. More often than not Mr. Balanchine and Jerry Robbins are willing to put on a new ballet that really is not costly.

NYCB, through all the publicity, the money and strikes, still maintained the original principles established in 1934. The Company was now "Bug Business" as Kirstein had stated earlier. Yet, it is a remark of Betty Cage's that best explains the reason behind NYCB's survival and growth;

"We're a mom and pop store that turned into Bloomingdale's, 171 but with mom and pop still over there."

170lbid.

171 Interview with Cage, December 3, 1979. 172 "Episodes"

Balanchine is ballet master, teacher, choreographer, impresario.

He (Balanchine) is also guidance counselor, mentor, and solicitous guardian of the young. It is his in­ spiring daily presence in these guises that make him the company's driving force. Many choreographers set their works, and go away; Balanchine probably spends more hours at the theater than any of his dancers.173

When questioned, "What will happen to the company after you go?", Balanchine replied, "Who's going? I'm a 174 Georgian, I will probably live to a hundred thirty-five."

In 19 78 George Balanchine had a heart attack.

Within dance circles it was kept very quiet, if the subject was broached at all, and terms such as "ill" or "sick" were used, never "heart attack." It was not until he had returned to work for the world to see that he was healthy did it come out that Balanchine had indeed suffered a heart attack. The importance of Balanchine's physical presence was put to a test and did not fare too well.

Tricolore, the third part of the trilogy Entente

Cordiale, had been scheduled to open with considerable hoopla and expectation. As a result of Balanchine being

17 2 Choreographed by George Balanchine and Martha Graham, 1959. 173 Reynolds, Repertory in Review, p. 337.

^^^Quoted from Taper, Balanchine, p. 366.

65 66

temporarily indisposed. Tricolore was choreographed in three sections by three choreographers; Jerome Robbins,

Peter Martins and Jean-Pierre Bonnefous. The work was considered a critical disaster.

There were no strong new repertory pieces created in 1978-1979. Balanchine's chief interest and activity both before and after the heart attack had been in the medium of television. Dance In America, part of the public television series Great Performances, had four programs devoted solely to Balanchine works. Unique to the situa­ tion (television), Balanchine was encouraged to work with the directors/producers of the series, Merrill Brockway and Emile Ardolino. It was a collaborative effort between 1 7 S director and choreographer. Morgan noted that Balanchine 176 "likes the media of film . . . he creates for the medium.

Balanchine actively adjusted his choreography to the camera, suggesting camera angles and collaborating with the editing.

The essence of the works were beautifully captured. The four telecasts were broken down into the following programs:

1)Tzigane, Four Temperaments, 2) Jewels (excerpts), Stravinsky

Violin Concerto, 3) Chaconne, Prodigal Son, 4) Ballo Della

Regina, Steadfast Tin Soldier, Elegy (from Tschaikovsky

Suite No. 3), Allegro Brillante and Tschaikovsky Pas De Deux.

175 Interview with Morgan, November 30, 1979

^"^^Ibid. 67

Planned for spring of 1980 was a new production of L'Enfant et les Sortilèges, choreographed by Balanchine specifically for television.In addition to providing Balanchine with another choreographic challenge, the Dance in America series also brought NYCB into the homes in many towns where the

Company would never tour. Reynolds credits the Company's work on the Great Performances series for the recent capacity houses.

In late spring 1979 Balanchine had triple-by-pass heart surgery. He then went with the Company in October to

London for their important three-week run at the Covent

Garden Opera House. And while he did not have any new pro­ ductions in the winter season of 1979, he was at the State 179 Theater daily rehearsing the repertory.

Thus this analysis has reached the present. With

John Taras joining the Company in 1960 as assistant to

Balanchine, the personnel has remained intact for twenty years. (Appendix I NYCB program listings 1963-1979) Very few organizations of any kind could boast of such a record, let alone one in such a volatile field as the arts. Bigelow credits the continuity of the staff to ". . . the brilliance 180 of Balanchine and Kirstein."

^^^Interview with Balanchine, November 30, 1979. 17 0 Interview with Reynolds, February 9, 1979. 179 Interview with Morgan, November 30, 19 79. 180 Interview with Bigelow, February 9, 1979. 68

The mechanics involved in the programming of a season have changed considerably from the early years at

City Center. Cage noted that in the early stages of NYCB,

Kirstein

. . . was more active in the collative end. He had ideas for ballets, designers, music. He was more of an impresario, a Diaghilev. It was necessary then, not now. Balanchine is older now, he has so many ideas in his head he can't, won't catch up with them.

In 1979 the person responsible for initiating pro­ gramming for the season was Robert Gottlieb, president of 182 Knopf Publishing and a member of the NYCB Board of Directors.

For the last three seasons he has been putting together the subscription programs. "Gottlieb is unique in that he is 18 3 doing the work of a staff member." In working out a spring season, Gottlieb would start to talk to Balanchine and Cage about the spring programs in the previous November.

He would put together a subscription program, taking into account what past subscribers would have seen for the previous three seasons. Then Balanchine, Robbins and Ronald

Bates, production manager, studied the program. Ideally the subscription series are to be mailed in January. In reality it goes out late in February for the May season.

Other factors taken into account are the annual spring gala in June and any new works that will need a premiere treatment.

^Interview with Cage, December 3, 1979,

^^^Interview with Morgan, November 30, 1979

^^^Interview with Cage, December 3, 1979. 69

Morgan stated that NYCB does "... try to have two , maybe 18 4 three new pieces a year." Morgan could not recall a season where at least one new piece was not presented. (In fall 1973, the season after the Stravinsky Festival, there were no new productions.)

Technically, if Balanchine has decided that he would like to do a new production, as Morgan explained.

It usually starts with me to call people, the de­ signer, whatever is necessary. And then it moves out of me and it goes to Eddie [Bigelow] who does more of the physical arrangements in the sense of being in touch with the shop, painting, design and lighting. And then he works directly with our technical director, Bonnie [Bates]. But it sort of again goes around, we pick up where the other one left off.^°^

Cage also commented on the cycle;

[it is] more of collective ideas, collective up to a point; if George tells me of an idea and I say "it's terrible," if he believes in it he'll do it anyway. However, with money George will be much more flexible. For example, if he wanted to commission a design, he will listen to me if it's too costly; he might say, "We don't need any sets." It's more a matter of give and t a k e . ^ 6 6

Sydeman concurred: "He's also very aware of costs, if not in a specific way, but in a sort of generic way, he is aware that you just can't have carte blanche whenever you want."

For the 1980 spring season Balanchine had planned to

184 Interview with Morgan, November 30, 19 79.

^®^Ibid.

^^^Interview with Cage, December 3, 1979. 1 p7 Interview with Sydeman, May 7, 1979. 70

use costumes from the ill-fated Tricolore for a new work.

Ballade, set to music by Fauré. Balanchine noted about productions in general,

. . .[I] think twice before we have backdrop painted. You can buy a house and live it for one backdrop, or Rolls Royce. Do something with black, something we already have, easier, much less money.188

Before each season. Cage will get together with

Balanchine and go through the company roster. At that time, the dancers' promotions and salaries are decided on by

Balanchine. An example Cage has given of the way Balanchine works is that a corps dancer may be doing a lot of solo roles, but Balanchine may feel that the particular dancer is not ready for the promotion to the soloist category. How­ ever, Balanchine will specify that this dancer receive a 189 soloist salary.

Considerable attention has been given to the "no star" policy at NYCB and the alphabetical listing of dancers.

However, in investigating the programs from 19 48 to the present, it is only in recent years, and infrequently, that the alphabetical roster is used. {Appendix I) A unique factor of NYCB, and one that enhances the development of the younger dancers, is that a dancer may be given principal roles to dance on a regular basis, while still a member of the corps. This practice is rare in other major American

^^^Interview with Balanchine, November 30, 1979.

Interview with Cage, December 3, 1979. 71

ballet companies.

The School remains an integral factor in the Com­ pany's existence. In 1978, 85% of the Company received training at the School and 14 of the 18 principal dancers attended SAB.^^^ The Company no longer holds auditions; instead, Balanchine selects new members from the graduating students at SAB. (Sample SAB Annual Report - Appendix J)

The few dancers trained elsewhere are asked to take Company class as an audition. The School has grown considerably in reputation and size, training more dancers than NYCB has room for. "Since the School is considered to be among the best in the world, directors from dance groups all over the 191 world use the advanced classes as their supply depots."

These companies include American Ballet Theatre, Pennsylvania

Ballet, Houston Ballet, Jeffrey Ballet, Los Angeles Ballet,

San Francisco Ballet, Boston Ballet, Zurich Opera Ballet,

Royal Danish Ballet, Frankfurt Ballet, Israeli Ballet,

Béjart's Ballets du XXme Siècle, Metropolitan Opera Ballet,

Geneva Ballet, Stuttgart Ballet, Dutch National Ballet,

Berlin Opera Ballet, and Malmo Stades Teater-Sweden (Gala).

Among SAB students who have gone on to careers as company directors, choreographers and teachers are Alicia Alonso,

Gerald Arpino, Ruthanna Boris, Harold Christensen, Merce

^^^School of American Ballet, p. 6.

19lNancy Goldner, "The School of American Ballet," in Reynolds, Repertory in Review, p. 26. 72

Cunningham, William Dollar, Erick Hawkins, John Clifford,

Melissa Hayden, Jillana, Robert Jeffrey, Nora Kaye, Michael

Kidd, Arthur Mitchell, Annabelle Lyon, Patricia Neary, Mimi

Paul, Patricia Wilde, and Barbara Weisberger. And of the 10 permanent principal dancers on ABT's roster (spring

79), four received training at SAB: Patrick Bissell,

Fernando Bujones, Gelsey Kirkland and Marianna Tcherkassky.

Betty Cage noted that Lincoln Kirstein has centered most of his attention and activities in recent years to the

School. "He believes the school is the lifeline of the company.And while Cage claims that Kirstein is not interested in choosing a successor to Balanchine, that it is not possible, "... not something (someone) can be pro­ grammed, another Balanchine, "194 stated that Kirstein does want to be sure that the "instrument of the school and 195 company will be able to continue." Cage reiterated that

"Lincoln's major concern is holding the two together [SAB and NYCB] to keep it self-perpetuating."^^®

While much attention is given in print to Balanchine’s successor, little is mentioned of Lincoln Kirstein. His role is very clear in some respects and ambiguous in others.

^^^Kirstein, School of American Ballet 1934-1979, p. 7.

^Interview with Cage, December 3, 19 79.

^^^Ibid. ^^®Ibid. ^^®lbid. 73

Lincoln Kirstein, a very private man, has been and still is the major force behind organizing the Company and School and assuring their continuity. In the early days it was primarily Lincoln Kirstein's personal fortune that kept the

Company going. (In later years his personal income financed dancers' salaries during a strike to provide them with ,197 rehearsal wages.)

After analyzing NYCB, one must admire the relatively smooth operation of an institution that went through myriad changes and transitions yet was able to maintain its artistic integrity. Being

A new repertory, supported by unfamiliar music old and new, for new surprising dancers, has been a key to the continuity of Balanchine's work from 19 34 to the present time.

It is doubtful that the Company would stay together for any length of time after Balanchine's death. In addi­ tion to the love and admiration for the man and his choreography, a major factor that must be considered is that the greatest attraction, as stated frequently by the dancers, is that Balanchine is constantly creating new ballets and adapting older ones to fit the newer company members.

Another factor to be considered is that often a well-known principal dancer will state that they are

^^^Ibid. 19 8 Kirstein, "Rationale of a Repertory," p. 4. 74

sacrificing a considerable amount of money in choosing to dance with Balanchine. This statement can be backed up with figures in that the highest NYCB performance salary in 1979 was $1,000 weekly. (During rehearsal weeks the figure is $500.) This dancer would perform a minimum of three times a week. A dancer of the same international status at

ABT would be on a $2,500 per performance salary and would 199 also average three performances weekly. A major factor for the future of NYCB is whether the major stars of the

Company will still choose to give up the higher salaries with other companies without Balanchine there to create new pieces for them.

Much is made of Balanchine's successor. Any speculation on this subject seems pointless. In looking at dance history there have been perhaps three major figures who have made an indelible mark on ballet: Petipa, Bournon- ville and Balanchine. The lifeline to NYCB in addition to the School is the fact that Balanchine has created both a technique and a repertory of major works that number over

140. To talk of a successor implies that Balanchine is immediately replaceable. History argues that the chances of a choreographer of such magnitude coming along are highly unlikely. Nonetheless, it is the repertory on which atten­ tion should be focused.

^^^Interview with Olson, May 9, 1979. 75

Recording the masterpieces created by Balanchine and Robbins to ensure reconstructions as accurate as possible, ought to be given a higher priority. At present,

Most ballets are recorded only in someone's memory, an imperfect storehouse; not long ago, Balanchine was obliged to create a few new measures for the venerable Concerto Barono, a piece now more than thirty-five years old, because in one section no one could recall the steps.

Cage spoke of Kirstein taking an active role in keeping School and Company "self-perpetuating." Cage ex­ pressed the need to reorganize her position since she is

62. She is conscientiously including other staff members in on meetings and consultations: "It is a shifting of V, • ,,201 emphasis.

Lincoln Kirstein and George Balanchine have built up a magnificent company and school. What has been a strong factor in its success is the strict direction of the Com­ pany, to serve George Balanchine. Were one to apply this theory after Balanchine is gone, it should be to perpetuate not George Balanchine's work, but that of the new director, whoever that may be.

When asked recently what will happen to NYCB when he is no longer there, Balanchine replied.

^^^Reynolds, Repertory in Review, p. i.

^^^Interview with Cage, December 3, 1979. 76

It doesn't have to continue. The company should reform itself and do something else. Someone will come along and do something new. NYCB will not dis­ appear at once. It will rearrange. I think it should happen. I don't work for posterity. Two hundred years from now, people will laugh at us— what we do now. Ballets get old, too. 20:

^Quoted in, "Footnotes," Ballet News, March, 1980, p. 7. Appendix A

196 3 Ford Foundation Grant

News from the Ford Foundation

477 Madison Avenue, New York 22, N.Y. Office of Reports PLaza 1-2900

FOR RELEASE MDHDAY. A. M.. IBCEMBgR l6 . 1963 .For further Infomatlon: Richard Megat or Donald h^rus Heme phones: Magat, Mhint Vernon 4-7078; Mtyrus, TEmpleton 1-4719

HBVr YORK, Dec. l6 — A many-faceted, $7,756,000 program to strengthen professional hmllpt in the United States vas announced today by the Vord Foundation. Partici­

pants Include performing companies, ballet schools, private teachers, and promis­ ing students. A significant pert of the new program is designed to improve instructionand performance in local communities. It vill be implemented through a $1.5 million grant to the School of American Ballet under the direction of George Balanchine, nie School also will receive $2,425,000 over the next ten years to strengthen it

as a national ballet-training Institution. (Details on page 3 ) The New York City Ballet will receive $2 million over ten years for expan­ sion of its repertoire, extension of employment periods for its dancers and stage

managers, end provision for its dancers to perform with emerging ccmpanies in

other cities. (Details on page 5) % e Foundation announced the following grants for other participating ballet companies and schools: San Francisco Ballet...... $644,000 Utah Ballet, Salt Lake City. .$175,000 National Ballet, Washington, D. C... 400,000 Houston Ballet...... 173,750 Pennsylvania Ballet, Philadelphia... 295,000 Boston Ballet...... 144,000

(MOREj

77 78

Ford Found«tloD/2

"Ibla nev program for the long-range professional development of ballet," said Henry I. Eeald, president of the Foundation, "^nay be regarded as of ecoparable significance to that undertaken last year by the Foundation to strengthen professional resident theater in the United States.

(note: On October 10, 19&2, the Ford Foundation announced grants totaling $6 . 1 million to nine theater ccmpanies to help them reach and maintain nev levels of artistic achievement and financial stability.)

"The ballet grants, too, are carrying the Foundation's program in the arts to a nev dimension. They are designed to strengthen permanent perform­ ing and instructional resources in the country. The objective is national and developmental in scope," Hr. Eeald said.

The nine grants announced today caaprise a program with the following objectives for the long-range_develonmcat of professional resources in the training and performance of ballet;

— strengthening the School of American Ballet as a national ballet school; -- raising the standards of ballet instruction at the local level and giving scholarship assistance to gifted students in their own communities;

— strengthening both the established and developing professional - ballet ccmpanies with strong artistic direction. "Although mounting interest of new audiences for ballet as an American dance form is apparent," V. McNeil Lowry, director of the Foundation's Human­ ities and the Arts program said, "two great and almost universal problems are also clear. The standards of instruction are dangerously low. And those young dancers who are fortunate enough to receive thorough training at sane stage in their careers often cannot be assimilated in the few conpaniea having any sort of artistic and financial stability."

(MORE) 79

Ford Foundation/3

Z A KATZQHAL BALLES SCHOOL The great to help develop the School of American Ballet aa a national institution is to be paid out at the rate of $242,500 a year for the next ten years. The funds are to help provide nev faculty, to intensify train­ ing, to strengthen administrative staff, to provide scholarships to highly talented students in Nev York, and to enable the school to concentrate Its entire nrogram onlv. upon those students vfao have the highest potential as talented professional dancers. Over a ten-year period the Foundation's grant is expected to be supple­ mented by tuition inccme and tuition scholarships front other .sources. The increased revenue is «^ected to raise the operating budget of the school from its present $118,000 to $3 3 ^ ,0 0 0 in 1 9 7 3 «

II OPPORTUNITIES FDR LOCAL TRADEKG

A. Hationwide Program

Of the $1.5 million granted to the School of American Ballet — to support instruction at the local level — funds have been earmarked for scholarships; selection, evaluation, and instruction (including financial assistance at seminars) of teachers fixa local schools; for a program to train choreographers; end for two teachers on the School of American Ballet staff to inspect the classes of local teachers or to conduct one-veek to alx-veek classes themselves. l) Individual Scholarships for Local Training

Students, from age nine to seventeen, considered to have potential talent vill be identified through auditions by local teachers, who vill then make recamendations for scholarship assistance frcm a fund held by the School of American Ballet. Payments vill be made directly to the students. (MORE) 80

Ford Foiad&tlon/4

Hiey will be tndned In local ballet schoola. Ibis part of the program

la expected to begin in the full of I9 6U. Ibzoo^ 1973* about 400 individual, local scholarships will be granted.

2 ) Group Scholarships for Local Training Scholarships for beginners in groups of ten each will be made under

contracts by the School of American Ballet with local teachers, provided

the teachers agree to instruct ten additional beginners tuition-free.

Prospective students will be auditioned without regard to financial means. Those students In the group program found to have talent worthy of further

development will be granted additional assistance frcm the national fund.

Through 1973 some 2.500 paid group scholarships will be granted.

3 ) Resident Scholarships During the next t m years about 425 exceptional students will receive

travel and subsistence scholarships for advanced training at the School of

American Ballet in New Yorfe. 4) New York Area Scholarships

Approximately II5 dancers already studying in New Yolk will receive

scholarships each year to the School of American Ballet. (These stiiolar- shlps will be provided out of the $2,425,000 grant to the School.)

B. Other Scholarships Scholarships for training future professional dancers also figure

heavily in the grants made by the Foundation to the ballet companies and

schools outside New York City. The artistic director of each of these

organizations will select its own scholarship studoit* from any part of the country.

(MORE) 81

Fppd Ibundatioc/5

i n IRCBEASS) PBOFZSSIOKU. PBIP0IMANCE3 To help achieve the other goal of the program announced today — the provialon of more and stronger outlets for professional performances — each grant was particularly tailored as follows; Hew York City Ballet ($2 million)

The Pbundation's grant extmds over a ten.-year period. Additional funds guaranteed by the City Center of Music and Drama are expected to total

$1,775,000 over the same period. One objective of the additional funds Is the extension of dancers ' onploymait, throu^ Increased rehearsal time in

Hew York. Another is the development of dancers in other companies through the loan of soloists from the Hew Y o A City Ballet.

The Hew Yoik City Ballet and the School of American Ballet are closely associated, Lincoln Kirstein is general director of the company and president of the school; George Balanchine is artistic director of both the coogiany and the school. San Francisco Ballet ($644,000)

The Foundation’s grant is to be paid out over ten years. It will be matched by $250,000 in new funds and a ccmni'baeat by the San Francisco Ballet Guild to maintain the existing levd of its contributions to the ccwupany's performance program. The Foundation's assistance goes largely to a more intensive pro pram of training by the Son Aancisco Ballet School and to lengthmlng of contracts for a nucleus of the conpany's dancers.

Lew Cbrlstmaen, artistic director of the San Francisco group, h M since 1959 managed a Ford Foundation régional scholarship program for intermediate and advanced ballet students in the Vest.

(MORE) 8 2

Psrd Foundatlon/6

Nation"! Tuiiet, Washington, D.C. ($400,000) of the Fotmdation's grant will give partial support to the company’s projected Increase in number of performances from sevmteen this season to about seventy in 1 9 6 7 -6 8 . Under the increase thirty- five rather than twenty-five dancers vill be enqployed. The other half will help support, over a five-year period, a more selective and intensive program of professional training at the National Ballet School. The total grant requires matching by other contributions of $550*000» The National Ballet, under the direction of Frederic Franklin, had its first performance in January, I963. Pennsylvania Ballet, Philadelphia ($295,000)

The foundation;'d grant includes $45,000 in assistance to the 1 9 6 3 -6 4 training end performance activities of the company and $2 5 0 ,0 0 0 — to be matched by $5 0 0 ,0 0 0 from other contributions — to help support development of the school and the company for a ten-year period:

The Pennsylvania Ballet Conqiany and Its school were formed in Philadelphia by Barbara Veisberger in I9 6 2. The first performance of the new ccoq^iany was

g i v m in July, I9 6 3. Utah Ballet, Salt Lake City ($175.000) The Foundation’s grant — to be matched over a five-year period by

contributions of $100,000 — vill be used to help support performances and to provide scholarships, thereby helping to maintain a nucleus of professional danacrs in Salt Lake city. The Utah Ballet was established in 1952 as an outgrowth of the interest of local patrons in the ballet training and performance activities of Wiliam ■

(correct) Christensen at the university of Utah in 1951. Hr. Christensen

(MORE) 83

Ford FDimdatlon/7 or^mlzed the Sen Francisco Ballet Company and vas ballet master and choreographer to the Sen Francisco Opera Coapaay from 1)38 to 1)51.

Houston Ballet ($173.750) The Foundation's grant, to be matched equally by local contributors over a five-year period, will go largely toward the group's training activities. The con^any was formed in 1955 under the artistic supervision of Tatiana Smmova, whose debut as a soloist was made in 1931 at the Theatre Mo^dor, Paris, in Orpheus, choreographed by George Balandiine. Since

1958, Kiss Sonenova’s students have performed with both the Houston Grand

Opera Association and the Houston Symphony.

Boston Ballet ($144,000)

The Foundation's grant will assist Virginia HllUeins, director, in the dcvelopmmt of a permanent professional company with four nev productions in each of the next three seasons. Performances of the Boston Ballet (formerly the New Brgland Civic

Ballet) have for the past three years been given largely in connection with the Boston Arts Festival.

Not counting the nine grants announced today, the Foundation, since 1959* has made two grants designed to draw the varying elemmts of the American ballet scene together.

Hecopiizing that in many communities there were young dancers who would never find an opportunity to appear on a stage except in one or two performances of a civic ballet coeqpany, the Foundation sent Hr. Balanchine and his staff through the Bast, and Lew Christensen and the staff of the

San Francisco ceeipaoyjbhrou^ the West. They selected promising young dancers for advanced professional training and mnploymmt in the New York

(MOBE) 84

Ford Foundatlon/8 and Son Francisco companies. Approximately fifteen srhnljirahlps a year are glvei to the schools of each company. The newest first dancer in

Hr. Balanchine's company, Suzanne Fhrrell of Cincinnati, Ohio, is one of these students; others are soloists or mmbers in the corps de ballet at both

San Francisco and New York. This $150,000 scholarship program is in its last year.

The second grwt, of $25,000, was made to the Ballet Society for a formal study of resources for Instruction and professional development.

"So mcouraglmg was the Impact on Mr. Balanchine and Mr. Christensen of vdiat they saw in regional centers, that they extaded their developmmtal activities beyond the Foundation's assistance," said Mr. Lowry.

The Foundation's action today does not include direct grants to the approximately e l ^ t y civic ballet companies in the United States.

"Some means of working throu^ these civic companies was investigated and discarded," Mr. Lowry said. "Most such companies actually constitute recital programs for students of one or more dance teachers in the com­ munity.

"Thxou^ the Foundation's program the next decade can be a time of consolidation in American resources in professional training and per­ formance in ballet. The program is made particularly timely throu^ the

Intmae Involvmaent of George Balanchine in the efforts of local and regional schools to professionalize their activities. At the same time, our separate assistance to the training and performance programs of six other artistic directors will allow for a variety of influences upon the further development of ballet as an American dance."

(64-9) 85

gtmtement of George Balanchine :

» We have In this country some of the best dancers in the world and a large potential from which many mors dancers of great talent can be developed. We have unlimited enthusiasm and the willingness to sacrifice everything to our art. For many years we have done what we could to help ballet all over the country, as well as abroad, without financial assistance from anyone. But we have long needed an organized national program to assist in developing our country’s potential talent and j.resenting it in the most favorable theatrical conditions. The Ford Foundation’s generous grant will by no means solve all our problems. But it will provide an atmosphere in which we can breathe, and will allow us, through our school and our company, to help others to the best of our ability.

Ballet is not an industry in which you can measure so many pounds of raw material and count on obtaining so many ounces of finished product, Ballet must be transmitted from individual to individual in a climate of trust and friendship. No other art depends so much on a community of faith and effort. In our ballet family we have held together and helped each other, hoping that soma day a miracle would happen, — and here it is. If it had not happened, we would still have pursued bur aim and helped others like ua to further achievements, but now the process can be accelerated. We must put all our energy, heart and soul, into this process of furthering the pure tradition of classic ballet. 8 6

Statement of Lincoln Kirstein:

The decision to aid the field of the traditional classic ballet in the Ihiited States, on the part of the Trustees and officers of the Ford Foundation, is the moat Important milestone in the development of the art of theatrical dancing in this country. It means that theatrical dancing has been legitimized, together with orchestral music, opera and the drama. It means that the most responsible native American ballet companies which have served and survived various long and arduous apprenticeships may now look forward to a decent hope of continuity. It means that the instruction of the academic classic dance may come to have standards of professional excellence comparable to the highest qualifications of the great European and Soviet state, schools. It is difficult for the layman to realize that the teaching of dancing in the United States compares in science and ethics to the permissive Instruction in medicine in colonial America, before the organization of the medical associations. Personally, it means much to George Balanchine and myself, who have worked for thirty years entirely by improvisation. In the next decade, the Ford Foundation will make it possible for us to plan our activities longer than three months ahead, to ensure conditions leading to year-around employment for our dancers, as wall as a permanence to the School of American Ballot, which for almost a third of a century has provided the ablest and most coherent instruction for ballet in

this country. PLEASE NOTE:

Copyrighted materials in this document have not been filmed a t the request of the author. They are available for consultation, however, in the author's university library.

These consist of pages: 87-119

239-261

Uni international 300 N. ZEES RD., ANN ARBOR, Ml 48106 (313) 761-4700 Appendix D

Stravinsky Festival Programs

Crty C «nlef 0»

r

G ΠS ^ I N S K Y

1 2 0 1 2 1

4 1 2 2

First Ei/ening—/une 18

Greeting Prelude (Happy Birthday) Coudueior; ROBERT IRVING CTTY C S H T U OF MUSIC AND DRAMA. INC. PRESENTS 56lfi Nfw Vorii Staton Fireworks Ccnduttor ROBERT IRVING

sna^iNSKY FEsnm Scherzo Fantastique

Jun*Whlo2S Evfttiitg. Sunt IE. 1972, af P.DD FM Ctmdueior: ROBERT IRVING

OELSEY KIRKLAND BART COOK

RRYAN PITTS STEPHEN CARAS VICTOR CASTElil

nmAMimiN

Symphony In Three Movements

Chortcgraphy by Gtorgr BiUrKtuOr Lighting by RoMid Bliev Cani/mti». ROBERT CRAFT Firebird Ckorngrgphy fty George Baliacfaiw tad Jcrcene I. fre«#e>g/td roarnm/j dtugntà by IRarc O w fali ( I945J SARA L E L MARNEE MORRIS LYNDA VOLRTH irenery raeeweZ under the Mpervwon p/ Volodia Odiaoàov Cowwnea tuttsttd by Ifahnaha HELGI TOM^SSON EDWARD VILLELLA ROBERT WEISS Utkting by Rouid Baits UBBOHAh JUHSNA K.IKKLANU UELlA PETERS Conductor. ROBERT IRVING SUSAS PILARRE OISELLE RUBtlCC DEM I 4MOM ROBERT MAIURAM) FRASR QllMAS rtftbird KARIN von AROLDINGEN EARLE SIEVELtNO BRUCE WELLS Prive /ran PETER MARTINS Princes Bride GLORIA CÛVR1N Deb". \u>iir!. Bonua borne. VicLi Bromberg, Ga»1 C'riu. Mêidetti Merrill AtMe>. R tnte Eaidprnal. Pnvn^ OijJkuorv Line Ku w » Ann CoJditein. We; Oofdon. Kathleen Haignr». Glorienn HtcLi, Linde Hwr** W ilM mirtj Frankluri, Alice Paielwtti. Lisa dr Ribere. Jotiiuu Kilhland. Delta Peters. D ofiu NuLrit. She*) I Ware. Heaihci W»Hh, GarieUe Wtaiiik CmJIe Roberge, Donna Sacieii. II. M ujorie Spohn. Lynne Stetson. S\RA LELAND EDWARD VILLELLA M utkc Slilei, Virginia Siuan Jam*« B opn. Sttpben Carta. UI. Richard Dtytkn. Robert Minvano, EJitirc CitH Lorca Matwne. Dw'wl RKhardtOR, Francit Sackeii, Michael SiecU. IMIUMIUIOM Richard Tanner. Jtobcn Weiu. Bruce Wclli. William Weak»» XairMrr the tVttard a Paul Sackcti wnh Debra A «tin. Violin Concerto Tracy BrtiAeii. Vicki Bromberg. Bonita Bonw, Victor Caatelli, Chortogtapht by George BaUncbuK Ban C ool. Penny Dudlewon. Elite Flagg. *) Ronald Bates Ughiiitf EluabcUi Ceyer. Anne OoUaiein, W u iwWimur JOSEPH SILVEKSIEIN Meg Gordon. Linda KomeL. William iohoaofl. Deborah Kooliih. Co W mciO' ROBERT IRVING Peter Naumann. Aiwa Paielton. TOCCATA Bryan Ptuv. Tetri Lee Pori. U a de Ribere, ChriWibe Red path. KARIN son AROLDINGEN KAY MAZZD Stephanie Salend, Lilly Samweli. JEAN PIERRE BONNEFOLiS PETER MARTINS Polly Shelton. Nolan TSam. Sheryl Ware. Heather Watu. Sutanne I 'a n . Renee Estdpinal. Kalhletn Hiifnc>. Caihciirse Morrii, Gariellc Whnilc, Sandra Zigar* CoHrer: Sear . VJerforic Spuhn. Lyniw Section. Gerrclk Wnuik Jiu> fie'ieii. Jemet Bogan, Peler Nautninn, Da«td Richafjion, Fiuh.., Sjcktti, Paul SacLvit. Michael Steele. Solan rS a ai Napa I Btnkdmt ■} arrange memi #mh Bumy 1 Ha#lm lac , AibLOiert end t&vyrighl ARIA I Stiutif fam w iw r Jhre* t t b, jrraagtmeiii wwh Bd»m-Mil» Pwblikhwif i w p . «ok œ n(> Itu B yhcw% Swttuw KARIN SOT AROLDINGEN JEAN PIERRE BONNEFOLG Mami. puai»her> and kupiiight o«net, fmtbud Ry arTaofraeni «ata MCA Mowc pwtWiei* ARIA II K.AV MAZZD PET ER M ARTINS

C a PRICCIO Enurt Caw

iMiUMmaoH 69 12 3

Second Evening—june 20

Symphony in E Fiat {World Premier#) an CENTSS OF MUSIC AND DKAMA. INC. PRESeNTS Ckortogrmpky br John Cliflord 56A New York Seaton CcetmrnutUihüng kf àf Sunter RoAtU Sùnnxm hua Conductor; ROBERT IRVJNG GELSEY KIRKLAND PETER MARTINS And neuu york cily bolleH a l l e g r o m o d e r a t o DEBHA AUSTIN. SUZANNE £IUON. K A T H L E E N HAIGNEY. CHRISTINE REOPATII. POLLY SHELTON, VIRGINIA STUART T RACY BENSETt. VICTOR CAÏTELLJ. RICHARD DRYOEN. PETER NAUMANN. PAUI SACKETT. NOLAN rSANl Sna^INSKY FESni^L SCHERZO ÛLORIANN HICKS TUNA McCONNUI. Jun*Whto2Sttv1972 ■CTTIJANE SILLS L Y N N E STETSON JAMES BOGAN STEPHEN CARAS ROBERT WEISS BRUCE WELLS Tucidof Ertning, June 20, i 972, at ®.D0 PJ4 LARGO Bonita Borne, Eluabcih Ceyci, Ann Gotdwcm. M if Cordon, Linda Homel. Deborah kcwlith, Catherine Mornt. Karen O'SultiiM, Alice Paiflion. Sheryl Ware, Heather W«iia, Ga/icllc WfaJttk FINALE. ALUÎGRO MOLTO CrMire Cam

tMTaauiiiioN

The Cage ICONCERTO )S D)

CImtorogby by J*tme Rohbua Cottuma bf Ruih Sobotia Deeor m d Itghttng by J c u RemeothmJ Prtmmr Jyoa 14. ItJl

Conduetof HUGO FIORATO Tbé g/ovKt MELISSA HAYDEN The £)»##■ GLORIA GOVRIN Danses Concertantes TAa n NICHOLAS MACALLANES ud {Wotid Premier#) BART COOK Heu ChmengrepBf by G eer# RelemrBlne fh#Otamg Merrill Athky. Renee EaidpuuL Scenery gad cottumet by Fn#rw Rcraaa KoAleeo Haigae), GloriaAn UjcM. {Origiagiij gr^dueed by tie Maliet Âwtm de Monte Carlo. Seeaery a Linda Homek. Delia Ptiert. eeunny of The SaUei Pfmodatitm.) Lna da Ribere. Donna Saekew, Cenduetar: RORCRT IRVING Marjorie Spoha. Marilec Siika, VsiiRia StwL Garielk WBiuk LYNDA VOURTH JOHN CUFFOJID Deborah FteM c Suaam Pdanv Mahorit Sfohn Carall FraoBOhaoa DaalLflttOtt Renee EaüSpinal Code# Neary Merrill Aa&ley Soaai Fraocia SaetM Tracy BcaoBtt Concerto for Piano and Winds 5 f eken# in E Pie* peblahed by C F. P ttm Cerp. {World P»rmi###> Caaetno ut D t«e Jtp«rgi rfhr C«g#| and CeervrMter gnaa and Wiadt by 4 •rah Bdoeey é He#!#*. let, PuNiiken,tad eoyyr#w onpcn Cbortogtggby by JohaTaraa Dm*#* CM rr»f**n by ■ rru g n m eab Rel*ie»Mdb Pvahsbiag Cerp, eeie UA. a# W Cnarnmej by Roubea Ter Anmwwae for B Shea 1 Seehae Muet indikbm sad rnprruM o«nrrv LigAiMt by Boftâid Bates CfHttiui fe#Srmgkont ta £ Fm and Comterio 1er gmne and Waidt. cuoM d by Barbara Huera Ltd th e n by C a p m and La Ray TiBKa and k n ar da by Cepe** and Pmaia: GORDON BŒLZNER Conductor. ROBERT IRVING BRUCE WELLS ROBERT UAIORANO FRANK OHMAN TRACY BENNETT VICTOR CASIELU PETER NAL'UANN James BoRW kepheu Caras Rithatd Df>dee Rrrae fus David BKbtidwo Fraacia SacicU Pul Seckan Nolu TXnmi

iMiiauiaeio*

95 12 4

Third Evening—June 21 Octuor Ckort,er,ptj ty lUcturd T u w t , RodaU Bam

Cm WiiC»»; ROBERT IRVTNG EUSE FLRGC DEBORAH FLOMINE DEUA PETERS USA lit RIBERE TRACY BENNETT JAMES BOGAN DANIEL DUEU. JEAN PIERRE FROHUCH CTTY CENTER OF MUSIC AND DRAMA. INC. PRESENTS JItTIAMIAAIDN 56th New York Season Serenade in A Ckoeeoftapky by Todd Bokndrr m e w u Couumei M SucUr) SimmoR» Litkiint by Ron* Id Baiei fuiiui. M A D E i X l S L M . M . R A U X SLSAS HENDL ROBERT MAIORANO STRRIINSKY FESTIUIL ROBERT WEISS Mccril) AfcbUy. D ebu Auuin. T o n t McC o bh II. Bcitiiine Silk Jun*ttmto2»M972 StcpbcB C arti, Bui Cook. Rr>»a P,;n David Rithudaofi

Wedneiday Cvrnirtg. June 21, 1972, ct 8 0 0 P \f

The Faun and the Shepherdess Mettfyufprano. FRANCES BIBLE Conductor: ROBERT IRVING

Divertimento from Scherzo a la Russe Chtwcotropky by O*ot$e BnliWfht** “Le Baiser de la Fee” Comânu by KartnI War*

Circus Polka Ebony Concerto Ckortotragby by Jemma Robfata* LigMing by Rrvntd Bata* Ckorectr*phy by Joha Tara* Lighrmg tiy Ronald Baui Conductor.- ROBERT iRVtNO Conductor. HUGO FIORATO Carolyn DevluL Laura Oodioo, Ingrid Ehrenberg. Lc«lk Ehrltcb, *Bcrnadetit Erktm. Pamela Giardmo, Ntwl* Grace, Calherm* Holton, ALLEGRO MODERATO Ltw latuMii. Mary Joyce, liUana Lapiker. lane Lcvia, Sara Lalaad Veronwa Roth, Patricia Savage Kate Wiluui. Alteon Woodard Delia Pciffi Folly SBalina Ban Cook Amity Aecbai. Tracy Da via. Karen Ford. Su u m c Goldman, Sughan Cara» Bryan Fin* Suiaaac Kimball, Mtiiam Mabdaviant. Cormo* Merz. I*alia Pamidg*. JohnCliBord Mauraeo Paul, Tracy Prat* at. Juiic Pureu, Amy Robb ma, Chriuin* Radpaib Deborah Flooin* Carlyn Rotenbcrg. Tata Sherman, Tr«»a 5«v*r»ky. Jcuiea Waamin, ANDANTE Diaa* Baer. Lutu Bartow, IcnrUCct Cokman, U*a Daniaa, Sara La land and Jobo Clifford Genevtcv* Ffaml, SuuDiik FriKh. Leilir Crcmbautn, Lori Motitgomery, Lori Pavaner. K itui Powull, Dabra S aliU tg. ElicabaUi VIVO CyDthJa Snyder. Lt** Stearoa, Thera Vaaitiadn, Antotnttu While Chnttinc Radpatb Deborah PlomiM Delta Patcii Poll) Shelton Jtkg bdêtut: ttm m Robbhu and Oruop. Sctmmdt m A. Ohwwwur* /tom Le Bnieet de U fee. by « Sara LaJaed a H aakh |ac, pobhshen and copyright ovacrt John Clifford Ban Cook ya# Teun end >he Shtpberdeu by attangmcDC anb C F P n m Mm ____ Cottfftto by arraagrmem neb Edww H M ena Muuc PubU cn Stephen Caru Bryan Pnu bckerut e le dmur by arraagemest *uh A#e*i#ted Huuc PwUoMn Cutnt PpMj by arraanemem vitb Belvrta WiMt PuUuJuag Corp. ao#e LTA a # * Utmt't &o«hAC. Mauu. pubUhrn aad copyright ovmr» * o iNtaauiaaioM Cmiume* toi Settutde m A eaacuted by Barbara Haier* ltd Sbo*» by Capeuo aad La Ray

107 125

Fourth Everting—June 22

Scenes de Ballet CAmeOfrnpAy by iohn Term* Couumei by Kartatka UtbtiKt by RcnaJd I t u t CtmZmmr: ROBERT XRVISG PATRICIA McBRIDE JEAN-PIERRE BONNEFOUS CTTY CENTER OF MUSIC AND DRAMA. INC- SUZANNE EJlLON. DEBORAH FLOMINE. DEUA PETERS. PRESENTS New York Setuon CHJUSTIKE REPPa TH. POLLY SHELTON. MROINIA STUART Oebia Aialtn, Baruu Bom*. Vicki Bronbcrg. 0«U Cn*a* Aaa Gotdiietn. Mtg Gordon. K irn O'SuH.m. Alice Pautaoo, Tern Lee Pori, Donc* Sukett. Heather W iui, Liu de Ribcrt n e w i p t k ciîiyi b o llM

Duo Concertant Sn^lNSKY FESnWL Choreotriphy by George BiUacbiM Jun»imito2Sm.N?2 Lithrtng by RooaW Bi:#» Fio.^yiur: LAMAR ALSC'P pMiurr CORDON* B0EL2VER Thurtdey Evening. June 22, 1972, at PAT KAY MA2ZO PETER M.\RTtNS

rTtiMiteioH

The Song of the Nightingale Choreography by loka Taru ("oifewwr omS prop» dtagattS by Roubrs Tcr*AniiuaiiO Capriccio for Piano and Orchestra ligJiunf Eji Roftikl 8au* RUBLES Coaductoe; ROBERT IRVING Choetot^tphy by George .VifJrijflffll# GELSEY KIRKLAND bi*FRANCISCO MONCION PENNY OUDLESTON Conatnet by Karinika F .thtrm on PETER NAUMANN fiM o Scio GORDON BOELZNER U tm b e ti oi r*ir Cotirr Hotwn MziornOr Fra&k Otuzun, Vicki BrOffibetg. Liada Hooek. Conrfrfwr. HUGO FIORATO Cathcrtoe Mocri*. Cotkea Semry, PATRICIA McBRIDE EDWARD VILLELLA Karen O'Sulljvan. Alice PaiebM. Doruu Racket*. O arklk Wkiiüc. KARIS *oD AROLDINGEN Daniel DuelL WUUui JotoMA. SbauA O'Srvn, Paul Saekeii. Iknct Botw Stepbea Cani Richard Drydeit Bruce Walla HicbuJ Sleek, Robert Weua. Tracy fietioetu Viclof CaatcUL Bonita Borne, Gad C rui. Suzanne Erion. Elue Flagg. lamea Bogan. Fraocia Sackett. Deborah FJomioe. Jobnaa Kirkland, D elu Petera, Liu de Ribere David Richardkoo, Bruce Well*, Rcoet Eitopioal. Kaihkeo Rugney. G loruna Kjcki. Deborah Koolrib, C i T f 1er P m n o mnJ Ortheuta Ci>*t‘r»iertr, Tkf Scat at ik* Sttktuigait b y tr * Marilec Stilea. Marjorie Spoka, ckrtmwRl *ith Bo m ) A Nmkc» I&. pJbuüirrk end tupriighi u*iyi« SicfAn Cir*v Bart Cook. a r>vi d t bélier by airaagemcPt «tlh A.wi«wC Mitn. C^%i«unri Iw 7A#Sang of tht .kigVvtraJr tucuud b> Barber# Miicra Lid. B chard Dr) den, lean Pierre Froblkh, SCijn br L'apezio and La Ray. Bryan Pim. Nolaa TSaat iêpaneâe Arnouadon Drni Limont. Rrchard Rapp. E irk Skveltflg, William Wetlow

«taaieiaaioit

119 1 2 6

Fifth Evening—June 23

Concerto For Two Solo Pianos Ckortofrtphy by Richard T u M f CMtHin» by Sualci SmsMfii c m r CEPOSJt o f m u s ic a n d o i u m a , i n c . Ufhtjag by looild Baici PRESENTS fttm itte: Itnutry 21. 1971 56th New Yorh Season Fiëfûm'. GORDON BOELZNERX ûtU JERRY ZIMHERM.aN COS M OW CHRISTINE REDPATH BART COOK LYNNE STETSON BQMTA BORNE n@ w ^ork d!iyi bolE ef Detxa Auttio, Vieki Brooibcrg, Alice Patataoo. M arjork Sfoho. V iriiaii U Siuan. GariaU* Whittle KOTTUfLVO CO LLEEN NEa RY ni J a M ES BOGAN Sna^lNSKY FESHML QUATTBO VAlUAZlOSt Vmistkm |: TRACY BENNETT with JUWlMntD29»Xl993 Dabra AuHio. Vicki Bfombarg. Atic* fatcbon. M ujoti* Spoha, Virftaia Smart. GaneU* R ^u k F/Uqt Jw iJ. IVfl. *1SM tU YjrOn'on W Chrisiinc k d padt. Bruc« Walla Variatioa ill: Lynne SuiMMi. Bonita Borne Variation tV: Tracy Baftocit, lama: Bogan. Ban Cook IV PRELUDiO e FUQA Enilra Catt

HO iMTiaMiaaioH

Pulcinella (Woeld fremiere) Chturotrgpfif by George BalaochjAc and Jerome Rnbbini Piano-Rag- Music Scentty aad tottumtr by Eugene Barman Li(hrr#iy by Ronald Batn (WoeU fttanfU ) %Qptano ELAINE BONAZZl Teno# ROBERT WHITE CkoteOfrapHy by Todd Boltodar Bmi. W JLUaM METCALF Cottu/nrt by hanky Simmon# tifhrinf by Ronald Batat Conduetot. ROBERT IRVING PwaiiJ MADELEINE MALRAUX Thu piodMiioA ha* been midc powbk by a tmernuk .;oniribuuoa fieib LttEitber T M em GLORIA GOVRIN and JOHN CLIFFORD Pwlfimr((e EDWARD VILLELLA Girl VIOLETTE VERDV Fulci/ielluf Father MiCHALL ARSHANSXY Oetil FRANCESCO MVNCtUN. SHAUN U BRIEN C'onCubinei W illiam Johnmn, D aiid Rtcbardun Li/tJr Boy PhJIip Olio Ode FoJifrmrn Robert MaiOrano. Frank Ohmao SettAfi George Ealknchiac. Jerome Robbin# {WotU haadart) MuMia/ir Lorca Mauioe, Paicr Naumann. Choerogreph) by Lneca Makune RKhard Rapp, Earle SMvtUng. titb n a i by Ronald Bata* Richard Tanner. WUIiam Wetio» JOftnipeppte Victor Barbee. Peony Dudlctton. Candactor ROBERT CRAFT Elizabeth Geycr, Re*io Higginbotham. CHRISTINE REOPATH COLLEEN NEARY Roman Jawmtky. Linda Homek, Catherine Morru. Alice Pate boo, ROBERT MAIORANO EARLE SIEVEUNQ Donna Sackcti, Franen Sackeit. Paul Sackeit, Heather Watt#, Dabra Auwo. MerrUI Aabky. Sheryl Ware OazieUe WbiuU, Sandra Zigara VidOT C atrthi Bayen Putt. N okn TSami Deni lamomi, Robert Wrm and Tracy Bennett. Jame* Bo#». Stephen Caraa, Victor CaiUUi, Bari Cook. Richard Drydco. Daniel DuelL Jean^Ptarre Frohlkh, Bryan Piiis Bruce Well* Chri$iopber d'Aittboiw, Pamela Ciardino, Dumbarton Oaks Michaeia H ard. Jefiey Horne, ( World frtm irre) Mare Horne, Vicky Lykiardopoulot. Ckareafra/ky by Jerome Robbeni Cormoe Hera, Wendy RowAfacrg, Cauramei by Pitrick Zipprodi VeroiucB Roth. Tara Sherman. by Raoald Bote* CatbJeen Sokol, Tree# Sneraky CmMm-for. ROBERT CRAFT Caarmo fo« Ta« gal* P*moi. Owmkawe* Oak*. Ode b> atTaageinm *nb Mtwie-MîUk ALLECR a KENT ANTHONY BLUM Pwblnkmg C'Dip. w h U 4 egeai# Im B Short'» Sochnc. Maine, publuben tad eopyrighi MerrU Aahley, Suunoe D b a , Renee TilflRinel. CoUeen N euy, fjua^Rag Wwir by arrenpemeei «ah G Sclurrarf. Mime fubtnbm Cluntio* Bidpitb, Merjorie Sro Mi FukmHta by uranfew ni *nh Boomy A H#*tei. Inc.. pvbb#hir> and copytighi a# ten Tracy Bennett. StegAvo Car ne. Victor CadeUl Rmhard Dry den. CoMwflw* fw OamMfioe Omkt and Pwo-JUe-Maw i we wed %y Barbara M«Uf» Ltd Scenery Jw PWrwrUa aaaeWcd by Noiaa Wrnery SiudiM Maaki aad prop* by Aermii DeraJ Rshardaoa. Noba TSent Shan by Capaiw aad La Ray IW»» and tew aid* by Caper*: end Damikio The chiidrtn epptarnt w Ftâktntda art iiwAeai* o( the School af Aarrtcea Be Bet

r Veeh C lo BnBw ##eefn#y hekw *hd#ee ■ r tar the TftiiitaBj FeMkW Wraw#B # p a #Im Me Nwlewil I aeoaM * Aitb M 7 12 7

Sixth Evening—June24

CTTY CENTER OF MUSIC AND DRAMA. INC PRESENTS 56th N w York Season Apollo

Ckortct*^P*ty Sy Ceorfi M tachiar n e w I U fA ffnf k y RiwiiM B am frtfM frfr Novcmbtr 13» 1931

A fo th JACQUES d'AMBOlSE 3RRIINSKY FKHMl U rtM u h o n KAY MAZZO M y h y m itii KARIN von aROLDINGEN Jun»Whto2Sttv1972 CelBtpe G L O R IA C O V R JK HêtidmaUtiu fUiwc Eodrinal, LyMt Sutwn S am rd i) f u n in t, Junr 2 4 .1922. at a.flO PM U tc. AficO^'t »tHlur CldriifiD UkkA Caa4aclor: BOBEST HVENG

Ag(on Cbofêot^aphy by Gcorfa Balaflchiac U g h tiK t by Ronald Batai Orpheus Framkn: December 1 .1937 Choe*^*phy by Ccor|« BtUftthiM ALLEORA KENT MELISSA HAYDEN Scett*ry And eo siu m ti b'- Lunu No|ucfei ARTHUR MITCHELL ANTHONY BLUM lifA n n f b f RooLj Balt* and frim U re. ApriJ 2t. 194| SLSAN PllARRE CAROL SUMNER E.ARLE StEVELlNG BRUCE WELLS O rphtut JEAN PIERRE BONNEFOL'S Mcrhil A ibky. T t c u McCoeioeil. Bctiiyaoc Sdii» Lynne Slelioo Dtti Af\ftl FRANCISCO .MONCION raftT 1 lu fy d K t MEUSSA HAYDEN far dé ftm trr Four Boy» H u to Paul OombU f i t d* dnal/e EiShi Girli Sat)/ William W kmo * Tripti far éê f narre Eigk Citli, Four Boya A p o ih Lorca Maoca Nbttirt Spin» Caii Ctiaa Dcbotah Kooliib. PAiT a PoUy Sbcliffs. M arika Siika Fim f u da Tret» FmtUi D E M LAMOST mod Dcbia Auttia» SmrmhiHde Anthony Blum B oaiu Botbc . Vkki BrocabcTA OadUa/d Suiao Pilarrc, Carol Sumner Etiubclh Gfjtr, Ann GoUiuui» Coda Anthony Blum. Satan Pdane M et Gordoc. Tern Lac Pon. Lata dc Ribcre CaroJ Sumner Lott Soalt Tracy Banttttl. Vtcior CatUliu Second Pu da Trail WUliim JoftatM. Peter NtuBiana. Sw uJa Simple Eat la Skvclios. Bruce WcUt Richard Tasacr PfatW# Cay MitiM Hayden BarrAonm CLDRJa GOVRIN and Gloriano HicLa. SrcRilr OoubU (de Fattoui Milma Hayden P ra ty Dttdkvoo» Linda Honack. Eatle Siotlinn. Brace Welli Ckihcriaa Morria Colkvn Ntary, faa da d n u Alkfra Kent Arthur HiuhiU Alkv PaiaSoa. Donna Saclcn. ra n t m Haatbcr %laaa Ganctk Whiuk OetiM dar damera dm* Four Thine pritmdi Orpseux Penny Oud^^ton. Linda HomcL Dmue dei 4metn trial Four Trine WiUtam JobDCOo Ceda Four Boyi

MkMC by artanottneni wui Roomy k Haokei. ioc. Pvblnhen mod e*#yn#bt e«M*t teenery (or Orfbna vucMtd by Pelki Scenery Stade» Haak* and profa by Rcrwl lo rn

•ec 1er Ihn BbmeMAy i M lh n A m

165 12 8

Seuenth Evenings June 25

Choral Variations on Bach’s “Vom Himmel Hoch” (World Premiere) CboreofrifAs by G*of# BdinchuK CITY CENTER OF MUSIC AND DRAMA. INC Stemtrj bt R0ub«h Tcr«Antlu2u u PRESENn L fA iu f by Rooaid Baui 56(Ji New York Seaton Cxmàmto» ROBERT IRVtNG KAkiN von .\ROi,DJNCEN MEUS5A HAYDEN SAR.A LELAND MOLETTE VERDY new ANTHONY BLLM PETER MARTINS Boiuu fiomc, Elyie Born*. Vkkt Brombert, GaiJ CriM. PcAfy [>udlr*toft. Lauia Flagg. W ilhtlmina Fraokfiirl. Meg Cordoa. Uada H nâcà. Elite tngall», Catherine M ornt. Alic* PaiclMA. Stephanie Saland. Lilly SatnucK Sindra Zigar* s n a u i N S K Y f e s i m . John Clifford, Dcfti Lamont. Shaun O'Brien» Frank Ohman. Rkbard Rapp. William W ttlûu. Tracy Brnnctl, William fohnuxL Peter Naumirui. Francn Sacketi, Paul Sacken, Jun»1Mhk>25IM972 Michael Steele, Robert Wciu Pamela Ciirdino. Mk'haela Hat«j. Corinne Men. Rrgioa OTaary, Sunday Evtnint, June 2S, 1972, 7.00 PM Tracy Prctem. Carlyti Rownbetg, Wendy Rotcnbcrg. Verooka Roih, Tara Shermao. Cathlccn Solol. Trt«a SwttUy, Aliwa Woûdaid

inTittetiiroM

Requiem Canticles (World Premtere) Clioeeo/rapAjr by lerom t Robb'ttu Monumenlum Pro Gesualdo IdtbtOif by Ronald Bate* Scftûnû; ELAINE BONAZZI Brut WtUJAM METCALF Ch£w# -grapfc> by Gcoege BaUnthine f * by Roubcn Ter'Aruiuoiao Condttcm: ROBERT CRAFT P*e»niVr» November 16, IWO Danetd by Ce^AMCtor ROBERT IRVING MERRILL ASHLEY SUSAN HENDL GELSEV kJRKLAND CONRAD LUDLOW BRUCE WELLS ROBERT MAIORANO Lynne Slclion, Suwn Kendl. luhnna Kirkland. Ciulle Roberge Raoee E it^ in a l. KatbWeo Haigney, O lo ru u Hkka. Deborah KoolWt. Donna Saclt:: lamer Bogan Mariiez Ssilev Delta Paten. Terri Lee Port Lynne Stitnn H em te Ccmdé, Rye hard Deydea. David Richard ton. Fraocu Sackcii, fame» Bogan, Stephen C ana, Victor CaiiellL Bart Cook. HKbael Sccclt Bitwe Walla Rkhard Drydaa. David Rtchirdaoo, Bryaa Put*. David Rifhirdion

Movements for Piano and Orchestra Symphony of Psalms CLavr.^ epAv by George Balihchisr Stt/m y k j Row bat] Tcr*Artdnaiâfi I r w * 6v Roubcn ret«Arulu&ian Ptemitte May 9.1943 CWucror: ROBERT CRAFT Condmwr ROBERT IRVING KAY MAIZO JACQUES d'AMBOISE THE GREGO SMITH SINGERS: Dbecior Gregg South and John D Broome ) _ , Renee EatdpinaL Suwo Heodl. Teena McConnelL INmna Sacketi, O o u u Crow ! Uaciorte Spoba. Lynne Sutaoo Meek by mfr#a#*cat «idi Booeey A Kavkct. Lae. pwWnhcra and copyright o m en tAott by Ceperia ead La Ray Scntfo iueuied by FHLar Scmery Mudim twtaawtaaio* The children appearing ta ChonaJ Vtttentm* m Bnrfe'j "Vom Ummel gfpeh art iTUdeati of The Scàûd of Ammcnn Ballot

Mm YooRdtp f .. I NaRmM lAdaewet Arti.

179 Appendix E

1973 Ford Foundation Grant

Excerpt from Draft Letter of City Center of Music and Drama Grant Notification ______New York City Ballet

The grant; conslats of:

(a) $1,400,000 to stabilize the projected net current position of the

New York City Ballet at the close of the fiscal year ending June 30,

1976.

The total of $1,600,000 includes the following:

(1) $855,085 for the liquidation of the New York City B allet's net

current liabilities outstanding at the close of the fiscal year

ended June 30, 1973; and

(2) $566,915 for operating support for the New York City Ballet in

the fiscal year ending June 30, 1976;

(b) $300,000 for operating support for the New York City Ballet in the

fiscal years ending June 30, 1976 and 1977, as follows:

{!) $125,000 in the fiscal year ending June 30, 1976; and

(2) $175,000 in the fiscal year ending June 30, 1977;

(c) forgiveness, when matched, of the $500,000 Ford Foundation recoverable

grant made in February 1973 to the City Center of Music and Drama, Inc.

for interim operating support of the New Yotx City Ballet; and

Cd) $1,000,000 to be paid in four Installments beginning in the fiscal

year ending June 30, 1976 for the establishment of a restricted or

separately designated cash reserve fund for the exclusive use of the

New York City Ballet.

12 9 130

2 -

This grant Is subject to the following conditions:

(1) That the period of grant is seven years beginning July 1, 1973;

(2) That the amounts referred to In clauses (a), (b) and (c) above

totaling $2,200,000 be matched by the City Center of Music and

Drama in the fiscal years ending June 30, 1974, 1975, 1976 and

1977 in the annual amounts specified in Attachment A to this

letter and at an overall ratio of $1. SO In matching funds for each

$1.00 granted by the Ford Foundation.

Only outright gifts of cash or marketable securities at their market

value at the time of transfer of ownership received during the period

July 1, 1973 through June 30, 1977 are eligible for matching purposes.

The matching funds oust be raised from sources other than earned

income, or the Ford Foundation and be exclusive of federal, state

or municipal grants and contributions.

If matching funds in excess of the amounts specified above are raised

during any of the fiscal years ending June 30, 1974, 1975, and 1975,

, they may be used to fu lfill matching requirements in subsequent years.

Contributions committed or received prior to July 1, 1973 are not

eligible for matching purposes.

(3) That the matching funds referred to in condition (2) above be raised

specifically for and in the name of the New York City Ballet rather

than as unrestricted contributions to the City Center of Music and

Drama which are later allocated, directly or indirectly, to the Ballet. 131

- 3

These matching f.unds must be reflected solely within the New York City

B allet's portion of the statement of income and expenses in the City

Center of Music and Drama's audit report.

(6) That, effective July 1, 1974, payments of New York City Ballet expenses

of any nature be Jointly authorized by the Ballet and City Center.

Appropriate procedures agreeable to the Ballet and City Center should

be developed for authorization of payments, and a sunssary description

of these procedures should be submitted to the Foundation prior to July 1, 1974 ;

(5) That, effective July 1, 1974, monthly aged accounts payable for the

New York City Ballet be made available to the Badlet for review and

recom m endations ;

(6) That box office receipts of the New York City Ballet be applied

solely to meet the expenses and obligations of the Ballet;

^7) That incerfund transfers for any purpose from the accounts of the New

York City Ballet may not be made without the authorization of the Ballet;

(8) That $855,085 referred to in clause (a) above be applied only to

the payment of such net current liabilities as are reflected in the

accounts of the New York City Ballet in the audited financial state­

ments of the City Center of Music and Drama for the fiscal year ended

June 30, 1973; chat $544,915 for operating support be applied against

Che projected net loss of the New York City Ballet in the fiscal year

ending June 30, 1974; 132

(9) That the City Center of Music and Drama establish for the New York

City Ballet a restricted or separately designated Cash Reserve Fund

within it's financial statements beginning in the fiscal year ending

June 30, 1976 with the $1,000,000 referred to in clause (d) above, from

which withdrawals for use in the general operating account may be

made within each of the fiscal years ending June 30, 1976, 1977,

1973 and 1979 on the condition that each such withdrawal be fully

repaid in cash to the reserve fund, out of unrestricted contributions ,

or net income from operations, prior to the close of the fiscal

year in which each such withdrawal is made. Furthermore, the Cash

Reserve Fund balances must be maintained in cash accounts physically

segregated from all other assets held. Any withdrawals from the

Cash Reserve Fund must be authorized by the New York City Ballet;

(10) That, furthermore, at the close of each of the fiscal years ending

June 30, 1976, 1977, 1978 and 1979, the cumulative total of the

Foundation's contributions to the restricted or separately designated

Cash Reserve Fund be held in cash or cash equivalents (e.g., cash

maintained in checking accounts and cash invested in savings accounts

— passbooks, certificates, etc.). The balances, if any, maintained

in the Cash Reserve Fund at any time during the course of the fiscal

year must be held in cash or cash equivalents ;

(11) That at the close of each of the fiscal years ending June 30, 1975,

1976, 1977, 1978 and 1979 the balance sheet of the New York City Ballet

reflect no net current liabilities. For purposes of this condition,

the net current position w ill be calculated exclusive of any inter-

fund account balances ; 133

- 5

(12) That, In the event the New York City Ballet achieves a net current

asset position In excess of $75,000 as at the close of any of Che

fiscal years ending June 30, 1975, 1976, 1977, 1978 and 1979, a

transfer of monies to a fund, established for such purpose, and entitled

the "Designated Reserve Fund" w ill be required. The actual transfer

to the "Designated Reserve Fund" would be the lower of:

a) The amount of net current assets as at June 30, in excess of

$75 ,000 ; or

b) The "eligible excess cash" (the excess of cash balances over total

current liabilities) as at June 30.

For purposes of this condition "cash balances" are defined as cash

accounts (e.g., checking, saving—passbooks, certificates, etc.) and

marketable securities (e.g., stocks, bonds, etc). The "Designated

Reserve Fund" must be reflected separately In the balance sheet accounts

of the New York City Ballet and the assets must be physically segregated

from all other assets held. The amounts used to calculate both the

net current position and the "eligible excess cash" w ill be chose

recorded on the books and records of the New York City Ballet as re­

flected in the audited financial statements of the City Center of

Music and Drama.

The transfer of monies from the General Fund to the Designated Reserve

Fund must be made no later than 90 days after the close of the fiscal

year upon which the transfer is based. Further, the audited financial

statements for the fiscal year upon which the transfer is based must

contain a footnote which discloses that the transfer was made on a 134

— 6 -

timely basis in accordance with Che conditions of grant. The footnote

should include the appropriate calculations to support the amount

transferred^

(13) That withdrawals from the "Designated Reserve Fund" referred to in

clause 12 above be used only for new New York City Ballet productions

or, beginning in the fiscal year ending June 30, 1978^ for general

operating expenses of the New York City Ballet) any withdrawals from

the Designated Reserve Fund must be authorized by the New York City

B a lle t;

(16) That in the fiscal years ending June 30, 1976, 1975, 1976, 1977, 1978

and 1979 there be no increase in the New York City B allet's long-term

liabilities in excess of those reflected in the audited financial

statements for the fiscal year ended June 30, 1973 ($0), with the

exception of debt dollars earmarked for or applied to capital.improve­

ments and the acquisition of fixed assets. For purposes of this

condition, long-term liabilities as at June 30, 1973 have been cal­

culated exclusive of the Ford Foundation's recoverable grant of

$500,000 to the New York City Ballet;

(15) That in each fiscal year during the seven-year period of grant, the

annual general operating expenses of Che New York City Ballet be main­

tained at a level no less chan $5,000,000;

(16) That the City Center of Music and Drama submit to the Foundation

financial statements for the fiscal years ending June 30, 1976, 1975 ,

1976, 1977, 1978, 19 79 and 1960, which have been audited and upon

which an opinion has been expressed by independent certified public 135

- 7 —

accountants. These statem ents (to consist of balance sheet, income and expense statement, statement of equity and statement of changes in fund balances) must cover Che same twelve-month period and be prepared in accordance with generally accepted accounting principles applied on a basis consistent with those submitted for the fiscal year ended June 30, 19 73.

These statements must in all instances reflect separately the accounts of each constituent and the combined accounts of the City Center. The City

Center Special Productions & Foreign Attractions portion of the Statement of

Income and Expenses and Changes in Fund Balances should re fle c t separately the accounts of the City Center Affiliated Constituents and ocher activities of City Center Special Productions & Foreign Attractions. Data submitted for the Affiliated Constituents must reflect separately the accounts of the

Jeffrey Ballet, Alvin Alley Dance Theater, and City Center Acting Company, and if later included under the activities of City Center Special Pro­ ductions and Foreign Attractions, the Cinematheque,

Not w ithstanding the accounting method u tiliz e d , the Cash Reserve Fund and the Designated Reserve Fund each must be reflected as a restricted or separately designated fund within the New York City Ballet accounts in the audited financial statements.

The statement of changes in fund balances of the New York City Ballet also should reflect the separately designated Cash Reserve Fund and Designated

Reserve Fund.

If the audited financial statements do not specify current assets and current liabilities, a separate statement of current assets and current liabilities of the New York City Ballet prepared by City Center's inde­ pendent certified public accountants must be submitted. Further- 136

— Ô —

more, if cucrenC assets reflect a pledges receivable balance out­

standing at the close of the fiscal years ending June 30, 1976, 1975,

1976, 1977, 1978, 1979 and 1980, a schedule be prepared by City

Center's independent certified public accountants setting forth the

details (date, source and amount of each pledge). If the audited

financial statements do not normally contain details regarding sources

of grants and major contributions, we would ask chat a separate

schedule or footnote providing such Information for the New York City

Ballet be included in the audited financial statements;

(17) That all financial statements reflect accounts only on a "gross"

basis within the Statement of Income, Expenses And Changes In Fund

Balances. Further, for each fiscal year during the period of grant a

separate schedule should be prepared and submitted to the Foundation

which reconciles the "gross" financial statement data to Che Goals Case

budgets submitted by the City Center of Music and Drama on a "net" basis ;

(18) That interim financial statements (balance sheet, income and expense

statement, statement of equity and statement of changes in fund

. balances) prepared without audit be submitted to the Foundation at Che

close of each quarter within each fiscal year. Further, a summary of

p e rtin e n t operating data must be submitted on forms provided by the

Foundation. The interim financial statements and summary of

pertinent operating data must be prepared for the New York City Ballet

and Total Funds,

(19) That all questions concerning satisfaction of requirements of the

terms and conditions of grant be subject to adjudication by the Foundation; 137

9 -

(20) That fa ilu re to meet any of the above terms and conditions may resu lt

in immediate termination of the grant;

(21) That this is a nonrenewable grant and the Ford Foundation has no

obligation to provide other or additional support for the New York

City Ballet. 138

a o s I m «u Pi

o in o

o o

o o o

&c o § oa o o o

ÙQ O o

%

o

CO 139

CITY ce:;t2R of xusic Aim drama. i;jc. THE FORD FOUNDATION GRANT

Set forth below Is a brief outline of the Ford Foundation grant. A r.ore detailed analysis of the grant, the terms, the history and the potential problem areas has been prepared should further discussion be desired. . . I THE TE?.:a OF THE GRANT 1. Two separate grants (one to the New York City Ballet and one to the New York City Opera) *were made on June 25, 1974. 2. The total grant "package" was $6,300,000 payable as follows: BALLET OPERA Cash subsidy to Liquidate net current deficit as at June 30, 197% $ 855,085* $ 300,890* Unrestricted cash operating subsidy payable during the fiscal year ended June 30, 197% 544,915* 4 9 3,1 1 0 * 1975 1 2 5 .0 0 0 125.000 1977 175.000 175.000 Payment to a Restricted Cash Reserve Fund over a four year period(lf monies are used for current operations such sums must be replaced by the end of the fiscal*year.) (Restriction lapses June 30, 19o0.) 1 ,000,000 1 ,000,000 Forgiveness of a previous in­ debtedness to the Ford Founda­ tion 500.000** 500.000** $3.200.000 $3.100.000 ♦Funds already received from the Foundation ♦♦Forgiveness conditioned on meeting matching terms of grant and other requirements The cash nayments as set forth above are conditioned on the City Center raising (in the name of the Individual constituent company) matching funds from sources other than operating income and gov­ ernmental support- The matching fund requirement is as follows: FISCAL YEAR ENDED ' -BALLET ■O^ERA June 3 0 , 1974 $ 592,295 $ 704,775 June 3 0 , 1975 945,003 1,293,002 -June 3 0 , 1975 1 ,434,910 1 ,323,005 June 3 0 , 1977 1 ,013,945 1 ,279,945 To the extent that the funds raised in any one year exceeds that year's matching fund requirement, such excess may be carried forward to the subsequent year. At July 1, 1975, the Ooera's carryforward .■ was $3 2 3 ,0 0 0 and the Ballet's was 360,000. Thus, in fiscal 1976 funds from the private sector must be raised in the name of the Opera and Ballet of $1,000,000 and $1,355,000 respectively. 4. The grant requires that the two companies maintain net current .assets positions at the end of the fiscal year- To the extent that such net current assets exceed $75,000, such amount must be transferred to a Restricted Designated Reserve Fund that may only be used for new productions. Such restriction lapses June 30, 1977. Appendix F

1976-77 Musicians Strike

rvvr OPEN LETTER TO Membwi of tfw New Vbric City M M , employ##» of * # No* ^tortc St»t# Tlwatar, and nw nbtr» of til# auoltnG#: H i# Board ol Dfroctora of ttw N#w Mortt City BilM fatto that th# facia regarding the current etrfke agalnat tlw ballet company by Local M2 of the American Fadaration of Muaiclana altouid be made public. The chief laauaa Involved are ttw demands of the union that the New Ybdt CHy Ballet pay a higher weekly rata for fewer perform mancea than any other ballet company. The union else de­ m ands that the New York City Ballet guarantee the orchestra 37 weeks of work In New York each year. The New York City Ballet _ . rJrf' ilWii has an annual season of 23 weeks, considerably longer than any other ballet company. "M E AEW YORK CITY BALiET Any other ballet company playing at any theatre In New York NEEDS YOUR HELP new pays Its musicians $330. a week for seven performances, ttw New Vbfk CHy BsCsl has been shui down with no guarantee of weeks of work. The New York Oty Ballet since December 13 fay a musicians' «hke. The lias offered Increases In salary from $330. up to $395. In ttw company Is working desperaleiy lo achieve a fair third year of the contract, but Local $02 is asking $425. a week and raaiistic settiemtni. but as yet Unit progress Immediately for only six performances and 37 weeks of guaran­ has been made. And with each passing day. the financial strain on New fbrk Ctty Balwi grows teed employment more critical. Yfb consider these demands thraatsnlng to the vary existence " of the company. • HOW YOU CAN HELP The union Is asking parhy with ttie New York City Opera In If you hold Ucfcets tor a pertormancs which has erformancea per week. The Opera plays six performances of Iwen cancelled, they rnay be returned as a fully TAX-DEDUCTIBLE oonlribulion. H the value ot SVt hours each, or a total of 21 hours. The Ballet pisya seven your bckets b $25 or more, you will beoome a performances of 3 hours each, also a total of 21 hours. member cf the New Yprk City Batisi Guild. Your Although the contract with Local 802 expired Labor Day 1976, support wM mean so much to aU members of theoompany. Mail rickets to New Yxk CHy Ballet Guild at the New York Slate Theater, Lincoln Center Plaza, negotiating. The company asked the union to guarantee the New York, N.Y. 10023. A receipt for your gift will first seven weeks of the season with no strike, out the union besenL refused, offering only a week's notice before striking. On December $, the strike notice was given effective December 12 at midnfghL Since that time no performances have been given. The union ties stated on numerous occasions tfiat It will net accept a contract unless it contains 1) an Increase in salary, 2> a reduction of performances per rveek and 3) additional guaran­ teed weeks of work. The last two demands are not possible for ttie company to accept and tlwrcfore negotiations are at a standstill, despite the skillful efforts of Vincent McDonnell and his staff at tlw State Mediation Board. The New York City Ballet Is deeply sorry for tlw loss of employ- nwnt for the gther union personnel and for the loss of enjoy­ ment for the audience. It was only after serious consideration and consuttation that the directors were forced to remain firm In the face of possible loss of the season, rather than accept terms which would shortly lead to ttw dissolution of the company. In the event of agreement, performances can be resumed Immediately. tMs hope for everyone’s aeke that this will prove possible. John 8. Samuels, 3rd., Chairman i I Board of Directors New York CHy Betlat Lincoln Center, New York

140 Appendix G

19 77 Challenge Grant HEIUS n R T o n P L LURSHIHGTOn EnDDUjmEnx D C. 2G 5G B EOR w A Federal agency advised by the THE RRT5 National Council on I he Arts

Information contact: IMPORTANT Florence Lowe Do not release before Katherine M. Christie Wednesday, 202-634-6033 July 27, 1977

ARTS INSTITUTIONS TO BENEFIT FROM $200 MILLION

IN NEW MONEY

WASHINGTON, B.C. — An estimated $200 million in new money will

be made available for the arts as a result of the first round

of grants under the new Challenge Program, the National Endowment

for the Arts announced today.

The 59 Endowment grants awarded for the Program will benefit

more than 75 cultural institutions in 23 states and the District

of Columbia. The federal contribution to the Challenge Program

is $27 million. In addition, matching funds from other sources

projected by the grantees are expected to total more than $180

million--far exceeding the required $3 to $1 match. MORE...

141 142

— 2—

Endowment Chairman Nancy Hanks said, "The nearly 400 grant applica­ tions we received provided dramatic evidence of the vitality of the nation's arts organizations and their commitment to community service. The applications told us of the impressive efforts being made to achieve the primary goal of the Challenge Program: the long-term stability and independence of our nation's cultural institutions.

"The enthusiasm of members of Congress and the support of the

President for the challenge concept has certainly been justified by the tremendous response to the program."

Miss Hanks also noted the widespread interest in and support for the challenge concept within the private sector. She specifically pointed to the newly-created matching grant program of the Andrew W. Mellon Foundation as "an excellent example" of how government and the private sector can work together.

"The Mellon Foundation, with its traditional foresight and concern for the nation's arts institutions, has worked in cooperation with the Endowment to establish an $8 million fund to assist major symphony orchestras. Its action is closely linked with the Endowment's Challenge Grant Program in that most orchestras

MORE... 143

—j- which receive awards under the Mellon Foundation Program will be able to use these funds, as well as funds raised to match tne

Mellon award, toward the matching requirements of a Challenge

Grant. Thus, the two programs are both complementary in function and similar in purpose," she observed.

Discussing the Challenge Program, Miss Hanks noted that varied types of consortia had applied for grants. "It was evident that numerous cultural institutions were joining together to broaden their appeal and cooperate in fund-raising efforts."

Six consortia are among the current grantees.

Altogether, the volume of requests to the Endowment for the

Challenge Program totalled nearly $130 million, far more than the combined $27 million available for fiscal years 1977 and

1978. Therefore, many worthy applications were held for later consideration in the Program, which is expected to continue for several years.

Miss Hanks said, "While we regret being able to fund only 15 percent of the applications received in this first round.

Congressional and Presidential support for the program is strong and we hope to be able to work with all eligible groups sometime during the next few years." M O R E ... 144

—4—

Applications for the second round of grants are due December 19,

1977 for funding after October 1, 1978. Eligible for the

matching Challenge Grants are cultural institutions or groups

of institutions having artistic quality and programs of national

or regional impact.

Grants awarded to cultural organizations in the first round represent almost all artistic disciplines within the Endow­ ment Programs. Most will be used to retire deficits or

to augment endowments which have not kept pace with the growth in operating costs.

The grants are made on a one-time basis. However, the time

period for many grants covers more than one year (maximum of

three years). The match requires at least $3 or more in private

funds for each $1 in federal money, and must come from new or

increased funding sources of a continuing nature.

Miss Hanks noted that the selection process for the grantees had been "thorough and detailed."

The Challenge Grant Program, developed by the Endowment during I the past several years, is designed to help cultural institutions

achieve;

1. a stronger, broader and more reliable annual funding base;

2. improved management, especially in the area of long-range

planning; MORE... 145

- 5— 3. increased audience participation in, and appreciation of,

cultural programs;

4. more effective links with other cultural institutions

in order to better serve the public; and

5. greater citizen involvement in planning the cultural

development of a conmunity.

The Arts Endowment is also encouraging the pursuit of these goals by means other than the grants program. It sponsored a

"Support THE ARTS" meeting June 16 and 17 in Washington, D.C.

More than 350 arts trustees and administrators; national, state, local and regional arts agency representatives; and business, labor and civic leaders met to begin developing plans for local activities that will help to achieve the challenge Program goals.

In addition, the Arts Endowment, in cooperation with the Ad­ vertising Council, has initiated a major advertising campaign;

"Support THE ARTS. That's Where the People Are!" to stimulate public awareness of the arts.

With its July-August issue, the Endowment's newspaper. The

Cultural post, which has a circulation of 30,000, will include

reports on financial and management issues of specific interest

to cultural institutions.

The National Endowment for the Arts is an independent federal age? advised by the 26 Presidentially-appointed members of the National Council on the Arts, created in 1965 to encourage and assist the country's cultural resources. 146

— 6-

NATIONAL ENDOWMENT POR THE ARTS fTHAT.T.RNGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS______

American Conservatory Theatre Foundation S 400,000 San Francisco, California To raise funds to meet increased operating costs, to eliminate a long-term mortgage debt and to renovate the Geary Theatre.

Art Institute of Chicago $ 500,000 Chicago, Illinois To launch a five year comprehensive fundraising campaign to eliminate annual deficits and achieve financial stability.

The Arts Council, Inc. S 700,000 (Winston-Salem Arts Council) Winston-Salem, North Carolina

To coordinate the fundraising campaigns for: The Arts Council of Winston-Salem to renovate the Community Center. The Moravian Music Foundation to establish an endowment and increase services. North Carolina School of the Arts Foundation in behalf of: Carolina Theatre renovation and restoration as a performance facility; North Carolina Dance Theatre for increased e:q>enses and purchase of equipment; Piedmont Chanter Orchestra to meet increased operating costs. Old Salem, Inc. to meet increased operating costs and augment their endowment.

Atlanta Arts Alliance. Inc. $ 500,000 Atlanta, Georgia

To raise funds to augment its endowment and for increased operating expenses of the Atlanta Symphony, Alliance Theatre Company and the High Museum of Art.

Atlanta Landmarlts. Inc./Fox Theatre $ 300,000 Atlanta, Georgia To launch a major campaign to retire the mortgage on the Fox Theatre, a national historic landmark that has beert operating as a performing arts center. Failure to pay off the mortgage will result in the theatre's demolition in June 1978. 147

CHALLENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (eor.t'd)

Baltimore Museum of Art, Inc. S 800,OCC Baltimore, Maryland For their fundraising efforts in meeting the costs of installing a climate control system, renovating and constructing a new wing, developing an outdoor sculpture garden, and establishing an endowment.

Baltimore Symphony Orchestra Association. Inc. g 600,000 Baltimore. Maryland To launch a campaign to eliminate its accumulated and operating deficit and to augment its endowment.

Brooklyn Academy of Music. Inc. $ 35:,::: Brooklyn, New York To raise funds to eliminate its deficit and to meet increased operating costs associated with expansion of programming.

Brooklyn Institute of Arts and Sciences $1,000,000 Brooklyn, New York To raise funds to augment the Brooklyn Museum Endowment Fund, to cover operating costs, to provide capital improvements and to purchase equipment.

Carnegie Institute and the Pittsburgh Symphony Society, Inc. $ 2,000,000 Pittsburgh, Pennsylvania To launch a joint campaign to raise funds for; Carnegie Institute(Museum of Art and Museum of Natural History) to meet increased operating ezqpenses, to augment their endo%enent, to renovate and expand facilitates* Pittsburgh Symphony to meet increased operating expenses of the symphony and Heinz. Hall.

The Chicago Theatre Group, Inc. $ 200,CO : Goodman Theatre" ' Chicago, Illinois To help the Goodman Theatre develop its own base of support ir. the coinnunity as it separates from the Art Institute of Chicago, Funds will be raised to meet increased operating coats, to establish a cash reserve and an endowment. 148

—8—

CHALLENGE GRANT PROGRAM - FISCAL 1977 and 197B GRANTS (cont'd)

The City Center of Music and Drama, Inc. $1,000,000 (New York City Ballet) New York, New York To raise funds to help establish a development office for the New York City Ballet, to meet increased operating expenses and to establish a cash reserve fund.

Coluirbus Association for the Performing Arts $ 350,000 Columbus, Ohio To raise funds to retire the mortgage on the Ohio Theatre, to establish an endowment fund for arts programming and to complete needed improvements to stage equipment.

Connecticut Players Foundation. Inc. S 100,000 (Long Wharf Theatre) New Haven. Connecticut To raise funds to establish a cash reserve fund, to meet increased operating costs resulting from expansion of services and the remounting of productions for other major regional theatres and the New York Stage.

Craft and Folk Art Museum. Inc. $ 100,000 Los Angeles, California To launch a campaign to retire an accumulated debt, to establish a cash reserve, and to stimulate audience growth, increase private and corporate giving, and insure sound fiscal management.

Cunningham Dance Foundation, Inc. S 100,000 New York, New York

To help launch a campaign to raise funds to meet an anticipated deficit from an annual New York season, to establish a pension plan for its dancers.

Dallas Museum of Fine Arts $ 75,000 Dalias, Texas To launch a campaign to establish aji endowment and a cash reserve as well as to meet increased operating costs. 149

-9- CHALLENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (eont'd)

Denver Art Museum $ 75,000 Denver, Colorado To raise funds to obtain unrestricted operating income, to retire a construction debt and to establish an endowment.

Detroit Symphony Orchestra. Inc. $1,000,000 Detroit, Michigan To launch a campaign to establish an endowment and a cash reserve as well as to meet increased operating costs.

Educational Broadcasting Corooration/WHST $ 250,000 New York, New York To raise funds to complete the construction, equipping and furnishing of a new broadcast center to meet the growing demand for programming for national public television system.

Foundation for the Jeffrey Ballet. Inc. g 450,000 New York, New York To launch a campaign to meet increased operating costs and to help maintain a cash reserve fund.

Founders Society, Detroit Institute of the Arts g 750,000 Detroit, Michigan To raise funds to develop and eaqpand educational services, improve museum security, renovate and upgrade facilities.

Global Village Video Resource Center. Inc. g 80.000 New York, New York To raise funds to meet increased operating costs of expanding their Annual Documentary Video Festival into a year round activity, to expand current workshops and upgrade equipment and facilities.

Greater ^uisville Fund for the Arts. Inc. e 332,000 Louisville, Kentucky To increase contributed income and initiate a broad employee solicitation campaign on behalf of: 15 0

— 10—

CHALLENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (cont'd)

Greater Louisville Fund for the Arts (cont'd) Actors Theatre of Louisville to meet its increasing operating costs resulting from strengthening of new experimental productions • Kentucky Opera Association to meet increased operating costs. Louisville Ballet to stabilize its base of operating support emd to eliminate current deficit* Louisville Orchestra to eliminate its deficit, to initiate a core orchestral unit that will provide services to the coinnunity, including school programs.

The Greater St. Louis Arts and Education Council S 250,00 3 St. Louis, Missouri To stimulate broader-based and greatly increased annual fund drives for member organizations including the Community Association of Schools of the Arts, The Loretto-Hilton Theatre, the Missouri Botanical Garden, Adult Education Council, Dance Concert Society, KETC-TV, Little Symphony, Mark Twain Summer Institute, St. Louis Art Museum, St. Louis Symphony Society, and Young Audiences. Group I toting Comply, Inc. $ 60,000 (The Acting Company) New York, New York To raise funds to establish a "Sponsor and Audience Development" office which will enable them to book, contract, publicize and service their own tours with longer residencies.

Hartford Stage Company $ 100,000 Hartford, Connecticut To launch a campaign to augment Cash Reserve Investment Fund, to meet increased operating costs and to purchase equipment for its new theatre.

Henry Street Settlement $ 125,000 New York, New York To develop a fundraising program to meet increased operating costs and expansion of programs and to establish a cash reserve.

Houston Grand Opera Association, Inc. $ 500,000 Houston, Texas To raise funds to meet increased operating costs, to establish a cash reserve, and to eliminate a deficit. 151

- 11- CHALtENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (cont’d)

Lincoln Canter for the Performing Arts $ 500,OOO New York, New York To raise funds to develop a Deferred Gifts Program to make available to Lincoln Center's individueü. donors the most advantageous gift plans under current tax laws; to broaden the base of support for the Mostly ffezart Festival; to develop a mechanism and system vdiereby televised performances from Lincoln Center can generate revenue for the Center and for the performing artists.

Lyric Opera of Chicago $ 600,000 Chicago, Illinois To raise money to meet increased operating costs, to establish an endowment, to purchase a computer for modernization of fundraising and ticket sales, to purchase stage liohtino eouio- ment, for special projects celebrating their 25th Anniversary Season in 1979.

Martha Graham Center for Contemoorarv Dance. Inc. $ 250,000 New York, New York To launch a campaign to raise funds to eliminate their accumulated deficit and to establish an endowment fund.

Metropolitan Museum of Art $1,000,000 New York, New York

To stimulate annual giving to meet increased operating costs and to augment endowment funds to reduce the threat of deficits.

Metropolitan Opera Association $1,500,000 New York, New York

To raise funds for increased operating costs and to launch a five-year endowment campaign.

Minnesota Opera Company S 150,000 St. Paul, Minnesota To launch a major campaign to raise money to meet increased operating costs resulting from expansion of the company's repertoire and for extended tours and residencies throughout the Upper Midwest Region. 152

— 12— c h a l l e n g e g r a n t p r o g r a m - FISCAL 1977 and 1978 GRANTS (cont'd)

The Muaeum of Modern Art $1,000,000 New York, New York To stimulate a major fundraising campaign to increase the museum's endowment, to expand their facilities, and to generate new and increased sources of ongoing operating income.

Museum of Science $ 400,000 Boston, Massachusetts To raise funds to double the museum's present endowment, to eliminate deficits, to build a hall containing exhibits on energy.

Musical Arts Association $1,000,000 (Cleveland Orchestra) Cleveland, Ohio To launch a campaign to raise funds to eliminate their deficit, to meet increased operating coats, to accumulate a major endow­ ment by December 1978, the 60th Anniversary of the Orchestra.

Nashville Svmphonv Association S 100,000 Nashville, Tennessee To raise funds to meet increased operating costs, hire needed personnel, and to expand its educational programming.

National Svmohonv Orchestra 51,000,000 Washington, D.C. To launch a fundraising campaign to increase their endowment and to meet increased operating ejqienses.

New York Landmarks Conservancy, Inc. S 48,000 New York, New York

To help generate contributions for a general operating fund and cash reserve.

Oregon Symphony Society S 100,OCO Portland, Oregon

To launch a campaign to raise funds to meet increased operating costs for the symphony's education and outreach programs. 153

-13- CHALLENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (cont'd)

The Palace of Arts and Science Foundation $ 50,000 (The Exploratorium) San Francisco, California To raise funds to meet increased operating costs and to initiate a cash reserve.

Performing Arts Council of the Music Center oi l^T~Angcle3 $2,040,000 Los Angeles, California To launch a major campaign for: Center Theatre Group/Mark Taper Forum to meet increased costs; to e:^and programs, such as the Xmprovisational Theatre Project for children and the Forum/Lalxjratory: to augment its existing endowment. Los Angeles Master Chorale Association to meet increased operating costs, to initiate a cash reserve, to acquire scores for choral music library, and for choral workshops. Los Angeles Philharmonic to eliminate their deficit, to add to their endowment, to meet increased operating costs.

Puerto Rican Traveling Theatre Company, Inc. $ 100,ODD New York, New York To raise funds to renovate an old building that will provide the company with needed space for training and expansion of their repertoire.

Rhode Island School of Design S 50,000 Providence, Rhode Island To raise funds and develop new sources of continuing support that will provide operating expenses for their museum.

Richmond Symphony S 150,000 Richmond, Virginia To launch a campaign to meet increased operating costs by increasing their endowment fund, to initiate a cash reserve, and to purchase and install an acoustical shell.

St. Louis Svmohonv Society $1,000,000 St. Louis, Missouri To help launch a major fundraising campaign for operating and endowment funds keyed to the celebration of the orchestra's Centennial in 1980. 154

— 14— CHALLENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (cont'd)

Seattle Symphony Orchestra. Inc. $ 600,000 Seattle, Washington To raise funds to eliminate accumulated debt, to increase the size of the orchestra's endowment, to establish a cash reserve fund, to meet increased operating costs, and to expand the symphony's role in the community in celebration of its Diamond Anniversary.

Settlement Music School of Philadelphia $ 100,000 Philadelphia, Pennsylvania To broaden base of support for the school by launching a funds drive to establish an endowment, to provide for operating expenses and to increase outreach programs.

South Coast Repertory. Inc. $ 30,000 Costa Mesa, California

To raise funds to eliminate the current operating deficit, to create a cash reserve fund, to help meet increased operating expenses resulting from the coitpany's move into a new theatre.

Sponsors of the San Francisco Performing Arts Center, Inc. $1,000,000 San Francisco, California

In cooperation with the San Francisco Ballet, the San Francisco Opera Association and the San Francisco Symphony Association, to raise funds for the completion of the San Francisco Performing Arts Center.

Trinity Personne Companv/Trinitv Square Repertory Theatre $ 40,000 Providence, Rhode Island To launch a major campaign to raise funds to meet increased operating costs.

Twyla Tharp Dance Foundation. Inc. S 50,000 New York, New York

To raise funds to meet increased operating costs resulting from Increased touring and expansion of their repertoire, to initiate a cash reserve fund, to establish an endowment. 155

-15- CHALLENGE GRANT PROGRAM - FISCAL 1977 and 1978 GRANTS (cont’di

Urban Gateways S 60,000 Chicago,Illinois To improve their fundraising efforts to broaden their base of support in the Chicago area. Funds will be used to meet increased operating expenses.

Utah Symphony Orchestra $ 365,000 Salt Lake City, Utah To raise funds to meet increased operating costs resulting from the Symphony's move to a new concert hall and for escpansicr of their season.

Volunteer Lawyers for the Arts $ 40,00: New York, New York

To raise funds to develop a Clearinghouse of documents, legal texts and cases for attorneys, artists and others in need nf research tools to deal with legal problems'and for increased operating costs.

Walker Art Center. Inc. 5 600,000 Minneapolis, Minnesota To help raise money to augment their endowment, to eliminate accumulated deficit, and to provide sources of annual financial support for the Center's wide range of programs.

WGBH Educational Foundation. Inc. $ 375,000 Boston, Massachusetts To generate funds for their Arts Progranning Independence Fund which will finance national programming of and about the arts.

# # # # # Appendix H

Fundraising Campaigns

156 157

' P i e

ç ^ r e e n

The Green Room of the Neio York State The­ Founding Members of the Green Room As ater is a generous gift from the Chairman of sociation (contributing annuaily S23.000 the Board of Directors of the S e w York City and upward! are entitled to persona/ use of Ballet and the s e w York City Opera, it is the room, whose furnishings and design located on the orchestra right lobby level, arefiexibie enough to offer a wide variety of and features rare English I3th century uses. Arrangements may be made, at chinoiserie panels mounted alternately member's expense, for luncheon or dinner with bronzed mirrors on ueluet-lined walls, service for up to thirty-six sealed guests, or it is the setting for occasions arranged sole­ the room can accommodate as many as ly for Association members to mingle with sixty-five guests for a reception or other less anists and staff of the S e w York City Ballet. formal occasion.

S'ew York City Ballet staff members will l>e pleased to help arrange for private use of the room by Founding Members. 158

ç ^ r e e n ^ssôciatiôn The Board o f Directors of the New York City Annual membership contributions heip the Ballet is pleased lo announce theformation New York City Ballet complete the matchinc/ of the Green Room Association, an organi­ requirements of a recent SI million Chal­ zation created to recognize those individu­ lenge Grant au.»orded tothe .New York City als whose generosity and commitment to Baiiei by the National Endowment for the the New York City Boiiet contribute signifi­ Arts. cantly to sustaining the Company 's on;sf/c excellence and continued growth. Details of membership and the services of fered to Green Room affiliates are discusser I Benoits of membership in the Green Room in this brochure. Association range from invitations to re­ ceptions and oiher euenis in the Green A membership application is enclosed Room fo o telephone reservation service for which can be completed and reiunted in the purchase of specially designated seats the postage-paid envelope provided ftn at petformances. Members are also wel­ your convenience. come to attendselected rehearsals and tour the Ixickstage areas of the New York State Additional information about the Green Theater. Room Association is available by calling 873 3609. The Green Room Association recognizes and pays tribute to the generosity of its The Board of Directors of the .New York City members fhrough four categories of mem­ Ballet looks foruvird with pleasure to wel­ bership: Associate(Sl.OOO-4.999): Member coming members of the Green Rt n im .\sst >■ (S5,000-9.9991: Sustaining Member dation to the Neu' York City Ballet in its (SIC,000-24.999/: and. Founding Member /lotne at the New York State Theater. (S25.0OO and upward). 159

Founding Members (contriburmg annually S25.000 and more) receive all of the abiK'c membership privileges in addition to: .■\ssocjores. Members. Sustaining and Founding Members are all entitled to the the right to reserve the Green Room, at Joilou'ing ben^its of membership in the member's expense, for personal usr for Green ftonm Association: luncheon, cocktails, or dinner before a performance, and for dessert and coffee ini"itatio/js to receptions and other eoenis or cordials at intermission. arranged exclusively for Green Room As­ sociation members. All annual membership contributions are fully tax-deduaibie as provided by law. telephone reservation service for pur­ Membership in the Green Room .Associa­ chase of tickets to Seu' York City Ballet tion expresses memJjers' unique commit­ petformances. ment to the highest standards of artistic excellence associated with the Meiv York to rehearsals and backstage City Ballet and enables the Company to tours. continue providing the finest of ballet kj a vast audience of all ages and incomes. acknowledgement of contributions In the Green Room Association Membership To learn more about becoming a member Roster, as well as in the nightly programs of the Green Room Association, please con­ atui other appropriate gift rosters, if de­ tact the Development Office of the S ew York sired. City Ballet at [2\2) 873 3609. Or uTife to: various activities offered through the The Green Room Association S e w York City Ballet Guild which include New York City Ballet seminars and travel opportunities to Mew New York State Theater York City Ballet tour locations. Lincoln Center New York. New York 10023 160

The CREES ROOM ASSOCiATIOS of the NEW YORK c m ’BALLET The CREE\ ROOM .^SSoaATIos assures the Vcu • Yorli City Baltei's conttnueh role as a eltal and inte­ gral part cf the world and the an of dance. Your annual participation In the G REE\ ROOM ASSOCIATION’ of the .\eu' York City Ballet is mo.si welcame and deeply appreciated. Yes. J would like to become a member of the GREEN ROOM ASSOOATION of the S ew York C ily Ballet Yes. / u'ou/d like to renew my contribution to the Sew York City Ballet as a CREE.\ ROOM j ASSOCIATIOS member.

I ------

'jf Address______J

T elep h o n e

’ I enclose m y contribution tnihe.\'eu''i'ork CityBaliei In th e am r >uni o f s ______' PIeo.se enroll m e in the GHEE.s Roo.\( • ASSOCIATK ).V as 0(0) , ASSOCIATE __SCSTAI.N7.VC f M E M B E R lSIO.(XK)24.yHbi

MEMBER FOL'.SDI.SG ■ IS3.(XXJ-9.yy9i MEMBER tSJS.lHk) I a n d oL'en Y es. I mould like to hooe m y name appear on the CREES RO O M ASSOCIATIO.N ME.MBERSHIP ROSTER, as well as in the nightly programs and other appropriate gift rosters as

PU^riA.r P rint Plea.se make your check payable to. Seie York City Ballet. Inc. ' You) rj)|p roihc.V eii' IVifk O ruB ulict jsJuH ukiv ((I'lluiiidh-))- ' priK'nlerl Ijiv hm- ciik I ii-itl )n )(< i d <(if itxm )(iiii| reyutrfm fins u (« .VuiintMd KiMA'iMiw )i(/ur ilic.^rrs t.'/KpHowft : Criini ( A nifiu'Y itii' (ri-si fHlouuOuKmriulnimndli-U u iih iHr \i ii >'()fh .Sn)(cfji«jr() ii( .Sf ton) H'i-/)rjrc ) i k ) i / (N’oPiHHtitil iifn in ! rc)|U(!sitiu IIntiPNoii .\i iiAiok Sinn nixifiiiD.Sixml iM lttii, I fÿfiri-Tiiui’r. E))i(>ifi'.Siiin-/')n/n .MJxini) \e ii-Yurh IJJJ.I I 0>uO'nrcr 11).\lusir niHf Oninm. Jill iHikiHriHiilieou \i n I t'DfJv, Y y IIKG.'l i TErOfrt'i) JJiKDll .Assnriiiiiimiij iJn .Si iiAiiik CmiHiilli'i \i ii I Ilf* Sinir'ThrtJicT. (jnrnln cViiirr. .Ni'ir Viifk .VriiAiifJ. linrji I J2JÏI H7.13W») 161

GEORGE BALAXCHINE

Dear Friend :

On behalf of the New York City Ballet — Its dancers, musicians and other company members — I invite you to become a member of the New York City Ballet Guild. After you have read the enclosed letter from Edward Villella, you will know a little about our past history and our present plans. We Invite you to join our future. Thank you for your interest and support. 162

t i 16 3

P r

J ■f'ir • ' tr

i m u n i 164

YES! I ACCEPT YOUR INVITATION TO JOIN THE NEW YORK CITY BALLET GUILD 1 mm encloalns my tax-deductible contribution for membership in the category I have checked below. MEMBERSHIP CA1HG0RIES: #25 0 $500 #100O #2500#500O RfhnnalpMM 1 4 4 4 a Gala PaMes. other #t»at# at* «e n* S# mi mat# adih dancera gw «e e* Trawl Oppomirtdtt -■ b*" ✓ GwW NtHlfTTtr - 10% Gift Bar dl*caunt 1 Armual Mfirtberlhip Meeting ✓ Mrtcfacàtt Piiortty Seating < e* Ticket Rtsefvaaon Servtce b" Sachatagc Taur ✓ SpfdeJ Donee Reception

Mr. Mrs. Miss

Address

City State Zip

Telephone: Day Evening

Membership: New □ Renewed □ Please make checks payable to: All contrtbatlons are tax deductible as provided The New York City Ballet Guild by law. A copy of the last annual financial report New York State Theater may be obtained by writing lo: New York State Lincoln Center, New York, New Vbrfc 10023 Board o f Social Welfare, Office Tower, Empire State Plasa, Albany, N.Y. 12223 or to City Center (TR 7-4700) o f Nualc and Drama, Inc., 1S60 Broadway, New York, N .Y 10023. 165

iVeic York Citu Battet Sijc^Year Opera#inn &WM«ma rn an d P r o j e c t i o n 4f-tt *L iSs5£tiûi>.:".":j9ttu#F7e-î) W.r«tgrmr.wmaimmémmras ______.. _ _ '"77 . " '"7" ___ '"## irtkfi ^sthortemré 9lreet eômtt ^^yertowwimmeee ermmmmj keoellia nod pwirall «mmeêjt 4rllailr •IrrectMf WMfte Btmff» fcelaiste, r*#reenpep*er 4stU• Srearrp ##d Praprnlra ...... Eil.7Enf EM.M# «*».»» .»&### 4#».###»'»###t FromornhKommr pertommrt f flrlbei afOrr, aaàrre.àeasr wnepreweli ... EMMI EEl.iiT in,M« ».#### 15».### »7#### Orrnpaarpi 4rer t'arib Sfafe T&rmirr ...... •Sf.SE5 Md.74E 77#,7»7 #s#,### «##,###73#.### Tlrarel, rariape, «mI prndWm «apenar# fortourê ...... IPf.EM >7#.i»» a»#### 34#### TaMi dtrrri raal af prrfarmaai n EvEEE.ifi È7i%3n sTijr.n# 7##».###a,»7#,### i4diaiali«ra7# 4,1#».###4.31#,###4b»»###•14 ■ailri tmnrr"#raaaaa#railama...... EI37E '»#»» n,#«5 n.### 37,### 3#.### fmirraafaadparrbaa#dlaraaaia ...... 44M4 >4b4l ##,.'» ####* »3b## »»### raarraflamaaadMUrellaarama...... MME «1^*» 4»### 47.### S#b## TaCai Earard laraabrhc$mre pa rermmemt grmmt* d idi Mi 4,tS#,7S7 »,7I#,»7» 4.XMb## 4.447.### 4b##.### Gorcntmeut praataf 4ra>Varl(Sla«r CaaarllaalWdrda...... #M#M r»*,### »7s,»ia #»#,######.####73###J f Citpaf%rirVarlr ...... MEME in,##» f»#.#M 4#»### 13#.### 14#### bailaaal tadaaarmf far i&r drta d f falaa are balairi ...... JEE.#7# . iw .rn l*#b## 13#.### 14####d t Tacal perrrwwral praafa i*#i7,7*E lb#7,4»« ##f.### #»#,####»»###dm facaf Caraed laraaar EM#.f#E s3r»cns »:n7:#* 4(37krrr>vr.r laial: •fSAtrf Wfi MWa

4..I A.IUm I K.a«rm«i(m 7> ife. 4M» Clk.ll.BvrOrmmt (ItmmirhrS StI *V Vim Imrrrm».. .»W #mr #1*.#.. I.###.### CMWrttBinllH »— witrb

rerst. rmmMS-wKAm njxm ijte w n* frw iimivwiuii. ttmmSmiWiu, mma «« v raiu». i"««mv" Jw . m. 166

Z O'/L iCL'J

the magazine for theatregoers iNEWYORKCITVeAUET ^ % i Thirty - Fifth New York Season ■i; S f - Y w i n t e r 1 9 6 3 - 6 4

1 167

NEW YORK CITY BALLET COMPANY WINTER SEASON 1963-64

NEW YORK CITY BALLET

I'rhici/nil i « s . itlyluihi liriilhi

ERIK BRUHN. JACQUES d'AMBOISE, MELISSA HAYDEN, JILLANA, ALLEGRA KENT,* CONRAD LUDLOW. NICHOLAS MAGALLANES,

PATRICIA McBRIDE. ARTHUR MITCHELL. FRANCISCO m ONCION.

ANDRE PROKOVSKY. MARIA TALLCH îEF, VIOLETTE VERDY. EDWARD VILLELLA. PATRICIA WILDE

ANTHONY BLUM SUZANNE FARRELL GLORIA GOVRiN Sa r a l e ia n d Pa t r ic ia n Ea r y m im i Pa u l r i c h a r o Ra Pp ROBERT RODHAM SUKl SCHORER VICTORIA SIMON KENT STOWELL CAROL SUMNER ROLAND VAZQUEZ WILLIAM WESLOW

Karin von Aroldingen Karen Batiii Ma[orie Bresler Elaine Cornxudl Gail Crlsa James De Bolt Rciemary Dunleavy Truman Finney Penelope Gate: Janet Greichler Susan Hendl Janice James Gail KacKadurian Lise Kenniff Ruth Ann King Deni Lamonr Robert Maioranc Kay Maiio Teena McConnell Karen Merell Marnee Morris Larry O'Brien SKaun O ’Brien Frank Ohpnan Delia Peters Susan Plllersdorf David Richardson Leslie Ruchala Ramon Segarra Karel Shlmoff Ellen Shire Earle Sleveling Bettlfane Sills Michael Steele Margaret Wood Lynda Yourth General Director: LINCOLN KIRSTEIN Ballet Masters; GEORGE BALANCHINE. JOHN TARAS Assistant: VIDA BROWN NEW YORK CITY BALLET ORCHESTRA Principal Conductor; Associate Conductor: ROBERT IRVING HUGO FIORATO Costumes by KARINSKA

* Leave of abie-'.e 16 8

MASON HAMLIN IS the official piano of the New York City Ballet

s t a f f f o r t h e n e w YORK CITY BALLET General Director Lincoln Kirstem Artistic Director George Balanchine Associate Artistic Director .... Jerome Robbins

General Manager ...... Betty Cage Asst. Managers Edward Bigelow, Eugene fanner Company Manager ...... Zelda Dorfman P r e s s R e p r e s e n t a t i v e ...... R o b e r t L a rk m Coordinator of Children's Matinee Fund Ballet Society ...... Nancy Lasseur Production Stage M anager ...... Ronald Bate Stage Manager ...... Kevin Tyle- Asst. Stage Manager ...... Robert McCorr Concert M istress ...... Marilyn Wrigh: Orchestra M anager George Michelmore Orchestra Librarian ...... Theodore Flowermar Staff Pianists Gordon Boelzner. Jean Pierre Marty Head of Ladies Wardrotie Deot. Sophie Pourmel Head of Men’s Wardrobe Dept. Leslie Copeland wardrobe M istress ...... Cornelia de Brauw Wardrotie M aster ...... Arthur Craig Company Physician Dr. Mel Kiddon Administrative intern Carole Deschamps

STAFF FOR THE NEW YORK CITY CENTER MANAGER Angelo Casalmi T r e a s u r e r ...... Frank Surace Ass't Treasurers ...... Fred Santore. Harrison Woodhume House Artist ...... Robert Vertierkmoes Executive Secretary Edna Bauman C a r p e n t e r ...... Harold Lynch Electrician ...... Ernest de Wolfe Propertyman ...... Edward Conley Building Superintendent ...... George Glasten Chief Jsher ...... Marceline Connm

House Physician . . Joseph Pincus

The taking of pictures in this theatre is strictly forbidden.

Dance instruction and rehearsal facilities for The New York City Ballet by courtesy of School of American Ballet, the official school of the c o m p a n y .

Dance Notation Scores of The New York City Ballet Repertory recorded by the Dance Nota­ tion Bureau.

FIRE NOTICE: The exit indicated by a red tight and sign nearest to the seat you occupy is the shortest route to the street. In the event of lire or other emergency olease do not run—WALK TO THAT EXIT. Thoughtless persons annoy patrons and endan­ ger the safety of others by lighting matches or smoking in prohibited areas during the perform­ ances and intermissions. This violates a City ordinance and renders the offender subject to a FINE OF Ï500.00; IMPRISONMENT OF SIX (61 MONTHS: OR BOTH. Edward Thompson — FIRE COMMISSIONER THE CITY CENTER OF MUSIC AND DRAMA, Inc. Executive Offices: 130 W est 56 St., New York IS Officers L-Z-C2 > ROBERT F. WACriNER P r e s i d e n t NEWBOLD MORRIS Chairman of the Board MORTON BAUM Chairman, Finance Committee MRS. LYTLE HULL Vice* Pre aident JOSEPH D. McGOLDRICK T r e a s u r e r Appendix I

NYCB 196 3-1979 Programs

NEW YORK STATE THEATER LINCOLN CENTER FOR THE PERFORMING ARTS

vi

M

'New York City Ballet | The Nulcraeker JUÜ4 ; ^ * * ' / A,

t: : rf-' 'V. 'A ■r. . m

‘È Ê

169 170

WINTER SEASON 19 6 4 New York City Ballet Principal Dancers, listed alphabetically JACQUES D’AMBOISE MELISSA HAYDEN JILLANA ALLEGRA KENT CONRAD LUDLOW NICHOLAS MAGALLANES PATRICIA McBRIDE ARTHUR MITCHELL FRANCISCO MONCION ANDRE PROKOVSKY MARIA TALLCHIEF VIOLETTE VERDY EDWARD VILLELLA PATRICIA WILDE

ANTHONY BLUM SUZANNE FARRELL GLORIA GOVRIN DENI LAMONT SARA LELAND PATRICIA NEARY M IM I PA U L RICHARD RAPP ROBERT RODHAM SUKlSCHORER EARLE 5IEVELING VICTORIA SIMON KENT STOWELL CAROL SUMNER ROLAND VAZQUEZ WILLIAM WESLOW Karen Balizi Marjorie Bresirr Elaine Comsudi Gail Crlsa James De Bolt Rosemary Dunleavy Suzanne Erlon Truman Finney Penelope Gates Janet Greschler Susan Hendl Gail Kachndurtaii Lise Kentttfl Ruth Ann King Robert Maiorano Kay M azzo Teena McConnell Karen Morell Mamee Morris Larry O'Brien Shaun O'Brien Frank Ohtnan Delia Peters Roger Peterson Roger Pietrucha Susan PMIersdorr John Prinz David Richardson Leslie Ruchala Ellen Shire Bettijane Sills Michael Steele Lynne Stetson Virginia Stuart Karin Von Aroldingen Margaret Wood

General Direcior: LINCOLN k ir s t e in Ballet Masters: g e o r o e Ba l a n c h in e , J o h n ta ra s Associate Ballet Mistress; u n a kai n e w YORK CITY BALLET ORCHESTRA Principal Conductor: Ro b e r t ir v in g Associate Conductor: h u o o fio r a t o Costumes by k a r in s k a 171 The City Center of Music and Drama, Inc. Executive Offices; 130 W est 56 St.. New York 19 O F F I C E R S ROBERT’ F. WAGNER P r e s i d e n t NEWROED MORRIS Cfieirmsn of tfie Board MORTON BAUM Cfialrman, Finance Committee MRS. LYTLE HULL Vice-President JOSEPH n. McGOLDRICK T r e a s u r e r MRS. ARTHUR M. REIS S e c r e t a r y FRANCIS J.BLOUSTEIN Counsel and Asst. Secretary Ralph A. Falcone C o n tr o l le r

BOARD OF DIRECTORS Rita Allen Mnrtnn Baum Francis J. Dtouslein Dr. Louis Carp Mrs. Norris Darrell Ceorge T, Dclacorte Hubert T. Delany William Feinberg Mrs. Irving Milrhell Fell Mrs. James W. Fosburgh Mrs. Gwar Hammeralein II Helen Hayes Rrnesi S. Heller Mrs. Lyilr Hull Allen T. Klnts, Jr. .Mrs. Ntiriiiiiu Liissolli Waller 5 . Mack Arnold IT. Msremnnl Joseph H. Martinson Joseph I). MeGnldrirk Albert H. Morgan NewWd Morris Roy R. Neu berger Mrs. John T. Pratt Mrs. Arthur M. Reis William II. Sclieide Mrs. C. Herbert Semler Harvey Stevenson Kdtvard Streeter Nelson Sykes Jean Tennyson Harold D. Uris

NEW YORK CITY BALLET Development chairm an. Production Fund Joseph 8. Martinson Director, Educational Propram Idrs. Norman Lassalle S ta f f General M anager ...... B e t t y C a g e Asst. M anager ...... Edward Bigelow Company M anager ...... Zelda Doifman Administrative A ssts ...... Carole Daschamps, Alexandra Schlerm an, Sally Snead Press Agent ...... Robert Larkin Production Stage Manager ...... Ranald Bates Stage M anager ...... Kevin Tyier Asst. Stage M anager ...... Mel Scftierman Orchestra Manager ...... George MIchelmore Concert Master Earl W. Carlyss Orchestra Librarian Theodore Flowermen Solo Pianists Gordon Boelzner, Harry Fuchs Supervisor of Women’s Wardrobe Sophie Pourmel Wardrobe Mistress Cornelie DoBrniiw Supervisor of M en's W ardrobe. Leslie Copeland iMardrobe Master Arthur Craig Make-up Artist Michael Arshansky Company Physician ...... Dr. Mel Kiddon Staff Photographer ...... Martha Swope Ford Foundation Intern . .Harvey Lichtenstein 172

NEW YORK STATE THEATER L O L N ^’C r E NTER FOR THE P E R F O R M I N G ARTS

V: -y,

f . ) N V

Now York Oilv Fcbniai’}' 19G5

m - # 1

. ' r.- /Y'YAM 17 3

WINTER SEASON 1965 New York City Ballet Principal Dancers, listed alphabetically JACQUES D’AMBOISE MELISSA HAYDEN JILLANA ALLEGRA KENT CONRAD LUDLOW NICHOLAS MAGALLANES PATRICIA McBRIDE ARTHUR MITCHEl.l FRANCISCO MONCION ANDRE PROKOVSKY MARIA TALLCHIEF VIOLETTE VERDY EDWARD VILLELLA PATRICIA WILDE

ANTHONY BLUM SUZANNE FARRELL GLORIA GOVRIN DENI LAMONT SARA LELAND PATRICIA NEARY M IM I PA U L RICHARD RAPP ROBERT RODHAM SUKl SCHORER EARLE SIEVEl.ING VICTORIA SIMON KENT STOWELL CAROL SUMNER ROLAND VAZQUEZ WILLIAM WESLOW Karen Balizi Marjorie Bresler Elaine Comsudi Gail Crisa James DcBoll Rosemary Dunleavy Suzanne Erlon Truman Finncv Penelope Oates Janet Greschler Susan Hendl Gall Kachadurian Lise Kenniff Ruth Ann King Robert Maiorano K ay M azzo Teena McConnell Karen Morell Morncc Morris Larry O'Brien Shaun O ’Brien Frank Ohman Delia Peters Roger Peterson Roger Pietrucha Susan Piliers (lor J John Prinz David Richardson Leslie Ruchala Ellen Shire Bettijane Sills Michael Sirele Lynne Stetson Virginia Stuart Karin Von Aroldingen Margaret Wood

General Director: Lin c o l n k ir s t e in Ballet Masters: c e u r g e Ba l a n c h in e , J o h n ta r a s Associate Ballet Mistress: u n a kai NEW YORK CITY BALLET ORCHESTRA Principal Conductor: r q h c iit ir v in g Associate Conductor; h u g o f io r a t o C ostumes by k a r in s k a 174 The Cily Center of Music and Drama, Inc. Executive Offices: 130 W est 56 St., New York 19 O FFIC ER S ROBERT F. WAGNER P r e s i d e n t NEWBOLD MORRIS Chairman of the Board MORTON BAUM Chairman, Finance Committee MRS. LYTLE HULL Vice-President JOSEPH D. McGOLDRICK T r e a s u r e r MRS. ARTHUR M. REIS S e c r e t a r y FRANCIS J.BLOUSTEIN Counsel and Asst. Secretary Rnlph A. Fak'onc C o n tr o l le r

B O A R D OF DIRECTORS Rile Alirn Mnrinn Itaum Frmnràm J. Itlnuslein Dr. I/mil Carp Mr*. Nnrria Darrell Cnirgr T. Delacnrle Hiilirri T. Drlany William Frinbcrg Mr*. Irving Milrhell Fell Mr*, j entra W. Foiburgh Mri. O ver llatnnieretein II llrtrn Mavra Ktnrat fv. Ilrllrr Mra. l.ytir Hull Alien T. Klitla. Jr. Ml-., l.ii-'-allc Welirr S. Mack Arm III II. Marrmnnt .[■ier|ili It. Martlnaiin J|>.|-|||| D, Mrtlnlllrlrk Allirrt II. Miirgan Newbiihl Miirria HiiV R. Neubcrger Mrs, John T. Pratl Mra. Aribur M. Rrta William II. Schride Mrs Hcrbrri Semler Harvey Slcvrnann Kilwaiil Siri’cicr Nrlsiin Sykra Jean Tennyaon Harnid D. Dria

NEW YORK CITY BALLET Development

Chairman. Production Fund Joseph B. M artinson Director, Educational Program Mrs. Norman Lassalle Staff General M anager ...... B e t ty C a g e Asst. M anager ...... Edward Bigelow Company M anager ...... Zelda Dorfman Administrative A ssts ...... Carole Deschamps, Alexandra Schlerm an, Salty Snead Press Agent ...... Robert Larkin Production Stage Manager Ronald Bates Stage Manager Kevin Tyler Asst. Stage Manager Mel Schlerman Orchestra Manager George MIchelmore Concert Master . .Earl W. Carlyss Orchestra Librarian ...... Theodore Flowermen Solo Pianists ...... Gordon Boelzner, Harry Fuchs Supervisor of Women’s Wardrobe Sophie Pourmel Wardrobe Mistress Cornelie DoBraitw Supervisor of Men’s W ardrobe.Leslie Copeland Wardrobe M aster ...... A rthur Craig Make up Artist Michael Arshansky Company Physician ...... Dr. Mel Kiddon Staff Photographer ...... M artha Swope Ford Foundation Intern... Harvey Lichtenstein 175

L X*. m > 3:?

i

/ Z 7 176

November 15,1966 through February 5,1967 JVEW YORK CITY BALLET 43 rd N e w York Season

Principal Dancers Osud alphabetically SUZANNE FARRELL MELISSA HAYDEN JILLANA PATRICIA McBRIDE MIMI PAUL VIOLETTE ' ERDY JACQUES d'AMBOISE ANTHONY BLUM CONRAD LUDLOW NICHOLAS MAGALLANES ARTHUR MITCHELL FRANCISCO MONCION ANDRE PROKOVSKY EDWARD VILLELLA j GLORIA GOVRIN SARA LELAND KAY MAZZO TEENA McCONNELL MARNEE MORRIS PATRICIA NEARY SUKl SCHORER BETTIJANE SILLS CAROL SUMNER

DENI LAMONT FRANK OHMAN RICHARD RAPP EARLE SIEVELING KENT STOWELL ROLAND VAZQUEZ WILLIAM WESLOW

Karin von Aroldingen Karen Balizi Manola Bichsel Diane Bradshaw Mariorie Bresler Elaine Comsudi Gail Crisa Rosemary Dunleavy Suzanne Erlon Deborah Flomine Penelope Gales Susan Hendl Gail Kachadurian Ruth Ann King Johnna Kirkland Linda MacArthur Linda Merrill Karen Morell Jennifer Naim-Smilh Delia Peters Carolyn Peterson Susan Piilersdorf Nanette Reedy Giselle Roberge Donna Saclcett Lynne Stetson Virginia Stuart Margaret Wood

Wilhelm Burmann Alfonso Cata Riccardo Duse Robert Maiorano Paul Mejia Larry O'Brien Shaun O'Brien Roger Peterson Roger Pietrucha John Prinz David Richardson Michael Steele Robert Weiss

Direciors: GEORGE BALANCHINE, LINCOLN KIRSTEIN Ballet Mailers: GEORGE BALANCHINE. JOHN TARAS Associate Ballet Mistress: UNA K A I Assisiani Ballet Mistress: FRANCIA RUSSELL Principal Conductor, ROBERT IRVING Associate Conductor: HUGO FIORATO Costumes by ICARINSKA

Matatt-Homltn It the oBteial piano of the New York City Ballet 177

(Hi- N E W YORK CITY BALLET PRODUCTION FUND Chairman ...... Joseph B. Martinson EDUCVriONAl. PROCRAM D ir e c to r ...... Mrs. Norman Lassalle M a n a g e r ...... Eugene Tanner SUBSCRIPTION department M a n a g e r ...... Harvey Lichtensiein Assistant Manager ...... Christopher Soule Staff General M anager ...... Betty Cage Assistant M anager ...... Edward Bigelow Company Manager Zelda Dorfman Administrative Assistants Carole Deschamps. Alexandra Schiermait Press A gent Virginia Donaldson Public Relations ...... Doris Luhrs Production Stage M anager Ronald Bates Siuge .Manager ...... Kevin Tyler Assistant Stage M anager ...... Roland Vazquez Sola Pianists ...... Gordon Boelzner Harry Fuchs Super!isor of Women's Wardrobe Mme. Sophie Pourmel Supervisor o! Men's Wardrobe Leslie Copeland Wardrobe M istress Comelie DeBrauw Wardrobe Master ...... Arthur Craig Company P h y sic ia n ...... Dr. Mel Kiddon The a/ficial schoot a/ the New York City Ballet is THE SCHOOL OF AMERICAN BALLET NEW YORK STATE THEATER Staff General M anager ...... Edward Choate M a n a g e r ...... Leonard A. Mulhern Assistant M anager ...... Thomas Kelley Executive Secretary ...... William J. Mealy Technical Director ...... Ronald Bates Chiet Engineer Sigmund Finkelmaii Superi isor— Building Operation Edward J. Ryan Box Office Treasurer ...... William Sluis Assistant Box Office Treasurer .. George Beatty Master Carpenter John Walters Master Electrician Harry Romar Master of Properties Lester Herzog

The Baldwin is the official piano of the New York State Theater 17 8 leHMCiDBillit EW YORK STATE THEATER, LINCOLN CENTER y P / I

à

ANNIVERSARY 179

CNE\N . Y O R K ' CITY "BALLET for NEW YORK CITY BALLET onicTO M ...... Ceorge Balinchine, Lincoln Kintein riQoucnoN ruNo Chairman Joseph B. Mirtinsco

AOMDOTTUTm STAFF Central Manager ...... Betty Cage Atstranl M armttr ...... Edward Bigelow Company Manager Zelda Dorfman Frtti Représentative Virginia Donaldson Administrative Assistants ■ Carole Deschamps, Joseph Reese, Akaandra Scbierman Staff Photographer ...... Martha Swope Company Physician Dr. Mel Kiddon

PaOOUCTlON STAFF Ballet Masters George Balanchine. John Taras. Una Kai A u is ta n t ...... Francia Russell Principal Conductor...... Roben Irving Associate Conductor ...... Hugo Fioralo Solo Pianists Gordon Boelzner. Harry Fuchs Production Stage Manager Ronald Bales Stage Manager ...... Kevin Tyler Assistant Stage Manager ... Roland Vazquez Costume Execution ...... Kariiuka Supervisor of Women's Wardrobe ...... hfme. Sophie Fourmel Supervisor of Men's Wardrobe Leslie Copeland Wardrobe M istress Comelie DeBrauw Wardrobe M uster Arthur Craig Make-up Artist ...... Michael Arshansky

for CITY CENTER of M USIC and DRAMA, INC. ZDUCATIONAl. raOOIAM C h airm an ...... Mtt. Norman Lassalle D ire cto r ...... Eugene Tanner •uatcaVTtoH M a nager ...... Joyce A Moflatt liisitronu Christopher Soule. Dayton Anderson. Russell Hume The aSUteS school of the f/tw Tark City taller Is THE SCHOOL OF AJdEIUCAN BALLET. Masaa Hemllm Is the official piano af the Kew York City Ballet. 180

)UETTE TENDU ARABESaUE CAL >IJCTTE FAS DE CH A T SQ U S S U S - ' DEVELOPPE ATTITUDE BRISE EIVu^ ' ; - SSE JETE PmOUE'rrE TTENDU AR ^ à NTRECHAT FOUETTE PAS DE CTRL v SQUE RELEVE DEVELOPPE AElTi - . ASSEMBLE CHASSE JETE PmOUE'i UE CABRIOLE ENTRECHAT FOUEl SSUS PAS DE BASQUE RELEVE DEV iRISE EM B O I T E AS S E M B I E CIÏASSI ' - ENDU ARABESQUE CABRIOLE ENT •AS DE CH A T SQ U S S U S Pr\S DE BA SQ PPE ATTITUDE BRISE EABOITE AS5 : PIROUETTE TENDU ARABESQUE ( [AT FOUETTE PAS DE CHAT SOUSSU SIEVE DEVELOPPE ATTTrUDE BRISI E CHASSE JETE PIR OLE riE TENDL IDLE ENTRECHAT FOUETTE PAS DE L DE BASQUE RELEVE DEVELOPPE ATx DITE ASSEMBLE CHISSE JETE PIROUI )UETTE TENDU ARABESQIT: CABRIOLE >UETTE PAS DE CHAT SQUSSUS PAS DE I DEVELOPPE ATTITUDE BRISE EMBOIT , SSE JETE PIROUETTE TENDU ARABES NTRECHAT FOUETIE PAS PE CHAT SC ; SQUE RELEASE DEVELOPPE ATTITUDE ^ ASSEMBLE CHASSE JETE PIROUETTE UE CABRIOLE ENTRECHAT FOUETTE jr \ y SSUS PAS DE BASQUE RELEVE DEVELO # ^ ÏRISE EMBOITE ASSEMBLE CHASSE JEl v ENDU ARABESQUE CABRIOLE ENTRECI. ■AS DE CHAT SOUSSUS PAS DE BASQUE RE. ^ PPE ATTITUDE BRISE EMBOITE ASSEMBUL C PIROUETTE TENDU ARABESQUE CABRIOi AT FOUETTE PAS DE CHAT SOUSSUS PAS DE ;LEVE DEVELOPPE ATTITUDE BRISE EMBOFI E CHASSE JETE PIROUETTE TENDU ARABES [OLE ENTRECHAT FOUETTE PAS DE CHAT SOU.^ DE BASQUE RELEVE DEVELOPPE ATTITUDE BRIS OriE ASSEMBLE CHASSE JETE PIROUETTE TEN )UETIE TENDU AR ABESQUE CABRIOLA lUETTE PAS DE CHAI SOUSSUS PAS DEVEIvOPPE AITIT U D E BRIS*^ El' SSE JETE KIROUETTE TENT NTRECHAT FOUEJTE I‘AS I _ SQUE RELEVE DEVELOPPE flAlA/ ASSEMBLE CHASSE JETE P _ • • UE CABRIOLE ENTRECHAT X/OrK SSUS PAS DE BASQUE REI J ÎRISE EMBOITE ASSEMBL «.JLCI l\iL _ ENDU ARABESQUE CABR ■ AS DE CH A T SO U S S U S PAJ= 1 M ?PE ATTIT U D E BRISE EM3 Z bJÊ 1 iPIROUETTE TENDU ARA ■ ATFOÜETTE PAS DE CHAI ÏEVE DEVELOPPE ATIITT et , E CHASSE JETE PmOUET . KRR ENTRECHAT FOUET . - . - DE BASQUE RELEVE DEP ; ' ^ OTTE ASSEMBLE CHASS 181

i T V E W .«YORK BALLET for NEW YORK CITY BALLET DniCTORS George BiJanchine, LiDCoLn Kintein RtObUCTJON FUND C h a irm a n Jmeph B. Mjirtiiison

ADMJHISTRATIVE »taff Ctntrai M attattt ...... Betty Cage AttMtant MAttaftr Edward Bigelow Company M anaftr ...... Zelda Dorfman Frtss Rtprtitntativt .... Virginia Donald&on Adm\ni»tfativf Asfiitantf . Carole Descbamp!, Mary Porter, Jowph Rccjc Staff fhoioirapher ...... Manhi Swope Company Phyiiciarx Dr. Mel Kiddon /tdfm>ijr/ranve Inttrn ...... Sunny Asch

FRObUCTtOH STAFF BalUt Afoiierj . George BaUnehine Una Kai, Francia RusmI A stiitant...... Rosemary Dunleavj Musical Direcsof and Principal Conductor ...... Robert Irnng Associate C onductor...... Hugo Fiorato Solo Pianists ...... Gordon BoeUner, Harry Fuchs, Jerry Zimmerman Orchestra M anattr , George Michelmore Orchestra Librarian .. Theodore Flowerman Concert M aster ...... i-*iwf Alsop Production Stoit Manager .... Ronald Bates Stage Manager ...... Kevin Tyler Assistant Stage Manager ... Roland Vuquer Costume Execution ...... Karinska Superiisor a/ fVomen*s Wardrobe ...... Mme. Sophie Pourmel Supervisor of Men's Wardrobe Leslie Copeland Wardrobe M istress ...... Comelie DeBrauw Wardrobe M u te r ...... Arthur Craig Make-up Artist ...... Michael Anhamk>

for CITY CENTER of MUSIC and DRAMA, INC. EDtrCATIONAl. PROGRAM Chairman ...... Mrs. Norman LassaL’ Director Eugene Tanni atJUCElPTUlN Manager ...... Joyce A. Moffati Assistant ...... Dayton Anderson The offleutt ichool ot the Vf* rorit CUr Majiet u THE SCHOOL OF AMERICAN RALLET. hiûsese’HetssUn is f^e offteimt piano of the Hew fo rk City JeUfi. 182

^ I /7?/ Center of Music & Drama, Inc.

ST

f j 183

JVEW YORK CITY

PALLETlA -1-'^ ,-Jf j for NEW YORK CITY BALLET DrucTou George Bil&ncWqe, Lincoln Kintein PEODUCTJON FUND Benefit Chairman .... Mrs. Koman Lassalle administrative staff Ctnetal Manager ...... Betty Cage Atturani Mariagtr ...... Edward Bigelow Company Manager ...... Zelda Dorfman Press Representative Virginia Donaldson Assistant ...... Marie Gutscher Administrative Assistants . Carole Descbamps, Frederick Grryb. Mary Poner Staff Photographer ...... Martha Swope Company Physician Dr. Mel Kiddon PRODUCTION staff Baliet M asters ...... George Balanchinr John Taros, L'na K. Assistant...... Rosemary Dunfea% Mujjco/ Director and Principal Conductor ...... Robert Ifvin Associate C onductor ...... Hugo Fioratc Pianists ...... Gordon Boelzner. Harry Fuchs, Frances Lumpkin. Jerry Zimmermon Orchestra Manager .... George Michelmore Orchestra Ltbrarian .. Theodore Flowerman Concert Master Lamar Alsop Production Stage Manager .... Ronald Bates Stage Manager ...... Kevin Tyler Assistant Stage Manager ... Roland Vazquez Costume Execution Karinika Supervijor of Women's Wardrobe ...... Mme. Sophie Pourmel Supervisor of Men's Wardrobe ...... Leslie Copeland Wardrobe M istress Comelie DeBrauw Wardrobe M aster Arthur Craig Make-up Artist ...... Michael Aiahanifcy for CITY CENTER of MUSIC and DRAMA. INC. EDUCAriOHAL PROCRAM Chairman ...... Mrs Norman Lauall Dlrecfor ...... Eugene Tanot aVRKRiFtlON M anager Joyce A Modal’ Assistant Rita V. Colder The offletel schoot of the Sew York Cay Madet ts THE SCHOOL OF AMERICAN BALLET. Masoiwliamlin ts the offfcM piano of cJh# Sew York CUy MeUet 184

Q l T y

O f ! 185

JVEW YORK CITY 'BALLET DiKECTOR Lincoln Kintein

AOMmiXTRATIVE STAFF Gtntrat M atuittr Betty Cage Attirant Manager ...... Edward Bigelow Company Manager Zelda Dorfman Pteis Representative .... Virginia Donaldson Xrnrranrr .. Marie Gutscher, Clarence Hart Administrative Assistants . Carole Descbamps. Mary Porter Staff Photographer Martha Swope Company Physician ...... Dr. Mel Kiddon

PROOUCTION STAFF Batlei M asters ...... George Balanchine, Jerome Robbins, John Taras X riiifanr...... Rosemary Dunleavy Choreologist ...... Jurg Lanzrein R egisseur ...... Tom Abbott Personal Assistant to Mr, Balanchine ...... Barbara Morgan Musical Director and Principoi Conductor ...... Robert Irving Associate Conductor ...... Hugo Fioraio Pianists Gordon Boelzner, Dianne Chilgren, Jerry Zimmerman Orchestra Manager .... George Michelmore Orchestra Librarian .. Theodore Flowerman Concert M aster Lamar Alsop Production Stage M anager Ronald Bates Stage Manager ...... Kevin Tyler Assistant Stage Manager ... Roland Vazquez Costume Execution ...... Karinska Supervisor of Women's Wardrobe ...... Mme. Sophie Pourmel Supervisor of Afen'j Wardrobe Leslie Copeland Wardrobe M istress Comelie DeBrauw Assistant May Ishimoto Wardrobe M aster Arthur Craig Make-up Artist Michael Arshansky

Thr officiât school of the New Yorh. City Baiiet is THE SCHOOL OF A.MERICAN BALLET Maion-Hamlin ts she otflciaj piano of ihi New York Ctsy Baliet. 186

■ 'i- f^ ..

jf .. '-vC'' :. t ".'T 'T -tort. r 4 - *; ■ t/,

% % , liii m m . 1 ,

- i ÿ e - L .: \ ' : ' r "= :C7%\ -t-- i : V y- #

c f #

-I •' ’, III, _ ’ ' *^/v' 187

CITY CENTER OF MUSIC AND DRAMA, INC. PRESENTS 59TH SE W YORK SEASON New York dity Ballet

This season is made possible with support from the New York State Council on the Arts, a Stale Agency whose funds are appropriated by the Governor and the State Legislature.

Director Lincoln Kirstein Ballet Masters George Balanchine Jerome Robbins Jo h n Taras Assistant Rosemar) Dunleavy Musical Director and Principal Conductor Robert Irving Associate Conductor Hugo Fiorato Costume Execution K a rin sk a

DANCERS Muriel Aasen Jacques d'Amboise Karin von Aroldingen Merrill Ashley Debra Austin Tracy Bennett Anthony Blum James Bogan Jean-Pierre Bonnefous Bonita Borne Elyse Borne Victoria Bromberg Stephen Caras Victor Castelli John Clifford Hermes Conde Bart Cook Gail Crisa Richard Dryden Penelope Dudleston Daniel Duell Suzanne Erlon Renee Estopinal Elise Flagg Deborah Flomine Wilhelmina Frankfurt Jean-Pierre Frohlich Gloria Govrin Kathleen Haigney Susan Hendl Gloriann Hicks Linda Homek Richard Hoskinson Elise Ingalls William Johnson AUegra Kent Gelsey Kirkland Deborah Koolish Deni Lamont Sara Leland Robert Maioraiio Peter Martins Kay Mazzo Patricia McBride Teena McConnell Francisco Moncion Catherine Morris Marnee Morris Peter Naumann Colleen Neary Shaun O'Brien Frank Ohman Alice Patelson Susan Pilarre Delia Peters Brjan Pitts Terri Lee Port Lisa de Ri here Christine Redpath David Richardson Donna Sackett Francis Sackett Paul Sackett Stephanie Saland Lilly Samuels Polly Shelton Marjorie Spohn Marilee Stiles Carol Sumner Richard Tanner Helgi Tomasson Nolan T'Sani Violette Verdy Edward Villella Sheryl are Heather Watts Robert Vi eiss Bruce Vt e lls Gariclle Whittle Lynda Yourth Sandra Zigars 188

NEW YORK CITY BALLET NEW ORCHESTRA Orchestra Personnel INtcd .ilrhabctieally aller princip.iU.

YORK 1ST VIOLINS oancs Lamar Alsop— George Haas—Priiicrpol Concerlmasier Jane Cockran Alan Marlin—Assoc. CM Oboe Sc English Horn CITY Bira Haas James Byars Jojce Mendelson Joseph Pepper Murray Schnee CLARI N E T S Helene Shomer David Weber— Principal BALLET Kalman Smil Lawrence Harr— Dominic Vaz Clarinrt Sc Bass Elliot RosolT Milion Moskowitz ADM [M S I RAT IVE STAFF

General M anager ...... Beny Cage BASSOONS Asiisiani .\fanager ...... Edward Bigelow I S D S Ellas Carmen— Principal Leon Goldstein— Contpaiiy Manager ...... Zelda Dorfman Donald .MacCourt Principal Jack Kniizer Press Representalhe .... Virginia Donaldson Harry .Azcn Assisianis . . Marie Gutscher, Clarence Hart Dixie Biackstone A ssista n ts .. Patricia Avedon. Jack Katz KORNS Thomas Kornacker Paul Ingraham — Principal Carole Deschamps. Mary Porter, Nicholas .Melatii Edward BirdAcIl Newman E. Wait, 111 Joseph Siegelman Kathleen Wilber Staff Photographer ...... Martha Swope Eleanor Waalen Harold Fricke Company Physician ...... Dr. Mel Kiddon

T R U M P E T S VIOLAS PRODUCTIFS s t a f f Theodore Weis — Principal Warren Ladredo— Ronald .Anderson Choteoliigisi ...... Jurg Lanzrein Principal Robert Weber Personal Assistant to Mr. Balanchine Jack Braunsiein ...... Barbara Morgan Laurence Fader Herbert Fuchs P ianists ...... Gordon Boelzner. TROMBONES Liane Marston David liber— Principal Dianne Chilgren. Jerry Zimmerman Susan Pray John Swallow Orchetiru Manager .... George Michelmore Robert Biddlecome Orchestra Librarian . . Theodore Flowerman George F. Michelmore— Orchestra .Manager Concert M aster Lamar Alsop C ELLOS Fred Slatkin—Principal Prodnciion Stage Manager .... Ronald Bates Nellis DeLay Stage .Manager ...... Kevin Tyler Roben Gardner IVBA Thompson Hanks. Jr. A ssista n t .S/oge M a nager . . . Roland Vazquez Esther Cruhn Sliperviwr of H'onien's IVardrobe Aaron Shapinsky ...... Mme. Sophie Pourmel HARP Superinor of Men’s IVardrobe Cymhia Otis BASSES Leslie Copeland Theodore Flowerman— PIANO IV ardrobe .V /irrr«j ...... C om elie DeBrauw Librarian & Principal Jascha Zayde Mtihe-np Artist ...... Michael Arshansky James Brennand Harold Shachner Hair iinti iVig Stylist . James Brusock Das id Walter t v m p a s i Arnold Goldberg

The offii ml .’.hool of the Sen York City Ballet Is FLUTES T ill. V.IIOOL OF AMERICAN BALLET Andrew Lolya — Principal PERCUSSION V ictor Harris— Ronald Gould .Mf,:on-Hanihn ii the officiai piano Of the F lute d Piccolo Joseph Voipe .Vfw York Cay Ballet. Paul Dunkel Robert Bush 189

P»^T A m i 4 à m

m m m

#* l g ^ J m î m ÿ j

:'^f

g m : # mm # m # . w !*?-i??-?wi.*; 190

CITY CENTER OF MUSIC AND DRAMA, INC. PR ESEN TS 6 J jf N Eff YORK SEASON

M W r o R i c / f y baliet THE DAMCERS

Muriel Aaeen Susan Hendl Frank Ohman Jacques d'Amboise Linda Homek Alice Patelson Karin von Aroldingen Richard Hoskinson Elizabeth Pawluk Merrill Ashley Dolores Houston Delia Peters Debra Austin Elise Ingalls Susan Pillarre Tracy Bennett Sandra Jennings Bryan Pitts Anthony Blum William Johnson Terri Lee Port Jilise Bushling Jay Jolley Christine Redpath Jean-Pierre Bonnefous Allegra Kent Lisa de Rihere Bonita Borne Deborah Koolish David Richardson Elyse Borne Deni Lamont Francis Sackett Victoria Bromberg Sara Leland Paul Sackett Maria Calegari Daniel Levans Stephanie Saland Victor Castelli Lourdes Lopez Lilly Samuels Hermes Conde Robert Maiorano Peter Schaufuss B art Cook Peter Martins Marjorie Spohn Gail Crisa Laurence Matthews Carol Strizak Richard Dryden K ay Mazzo Carol Sumner Penelope Dudleston Patricia McBride Richard Tanner Daniel Duell Teena McConnell Helgi Tomasson Renee Estopinal Francisco Moncion Nolan T'Sani Nina Fedrova Catherine Morris Violette Verdy Elise Flagg Marnee Morris Edward Villella Wilhelmina Frankfurt Peter Naumann Sheryl V are Susan Freedman Colleen Neary Heather Watts Jean-Pierre Frohlich Kyra Nichols Robert Weiss Ju«]ith Fugate Shaun O'Brien Garietle Whittle Kathleen Haigney Sandra Zgars

Thiv season is made possible wiih support from the New York State Council on the Arts, a State agency whose funds are appropriated by tne Governor and the State Legislature, and by a grant from the National Endowment for the Arts, a Federal agency. 191

NEW YORK Ü T Ï BALLET ______

D irector ...... Liricoln Kirstein

PRODUCTION STAFF Ballet M asters ...... George Balanchine. Jerome Robbins Jo h n T a ras Assistants .... Rosemary Dunleavy. Tom Abbott Musical Director and Principal Conductor ...... Robert Irving Associate Conductor ...... Hugo Fiorato Company Manager Zelda Dorfman Press Representative Virginia Donaldson Press Assistant Larry Strichman Pianists ... Gordon Boelzner. Jerry Zimmerman. Dianne Chilgren, Hello DeSoto Orchestra M anager ...... George Michelmore Orchestra Librarian Theodore Flowerman Concert Master Lamar Alsoo Production Stage M anager ...... Ronald Bates Stage M anager ...... Kevin Tyler Assistant Stage Manager Roland Vazquez C o stu m e r ...... K arinska Supervisor of Women's W a rd ro b e ...... Mme. Sophie Pourmel Supervisor of Men's Wardrobe .. Leslie Copeland Wardrobe M istress ...... Dorothy Fugate Wardrobe M aster ...... Lawrence Calvert Make-up Artist Michael Arshansky Hair and Wig Stylist ...... James Brusock Production A ssistants ...... Clarence Hart. George Fernandez

ADMINISTRATIVE STAFF General M anager ...... Betty Cage Assistant M anager ...... Edward Bigelow Financial Administrator Hope Sydeman Personal Assistant to Mr. Balanchine ...... Barbara Horgan Secretary to Mr. K irstein ...... Mary Porter Executive Assistants Carole Deschamps, Patricia Avedon

NEW YORK CITY BALLET GUILD Chairman William W. Reese Administrator ...... Robert Cornell

NEW YORK CITY BALLET PRODUCTION FUND C h a i r m a n ...... Mrs. Norman Lassalle Administrator ...... Shirley Rhodes

SUBSCRIPTION OEPARTMENT Manager Rita V. Golden 192

Citv Conîor ot Music nnJ Dnnnu. Inc . proscnr> NEW YORK C IW BALLET

m

1

63RD NEW YORK SEASON Winter 1975-76 November 11 through February 15 193

CITY CENTER OF MUSIC AND DRAMA. INC. PRESENTS 6:inl NEW Y O R K SEASON my YORK CITY BALLET Muriel Aasen Jean-Pierre Frohlich Peter Naumann Jacques d'Amboise Judith Fugate Colleen Neary Karin von Aroldingen John Grensback Kyra Nichols Merrill Ashley Lauren Hauser Shaun O'Brien Debra Austin Susan Hendl Frank Ohman Tracy Bennett Lisa H ess Delia Peters Anthony Blum Niehol Hlinka Susan Pillarre Jean-Pierre Bonnefous Linda Homek Bryan Pitts Bonita Borne Richard Hoskinson Terri Lee Port Elyse Borne Dolores Houston Christine Redpath Leslie Brown Kipling Houston Lisa de Rihere Jilise Bushling Elise Ingalls David Richardson Victoria Bromberg Sandra Jennings Francis Sackett Maria Calegari William Johnson Paul Sackett Stephen Caras Jay Jolley Stephanie Saland Victor Castelli Allegra Kent Lilly Samuels Hermes Conde Deborah Koolish Peter Schaufuss B a rt Cook Deni Lamont Marjorie Spohn Gail Crisa Sara Leland Carol-Marie Strizak Richard Dryden Lourdes Lopez Carol Sumner Daniel Duell Adam Luders Richard Tanner Joseph Duell Robert Maiorano Helgi Tomasson Gerard Ebitz Peter Martins Nolan T'Sani Renee Estopinal Laurence Matthews Violette Verdy Suzanne Farrell K ay M azzo Edward Villella Nina Fedorova Patricia McBride Sheryl Ware Elise Flagg Teena McConnell Heather Watts Laura Flagg Francisco Moncion Robert Weiss Wilhelmina Frankfurt Catherine Morris Garielle Whittle Susan Freedman Mamee Morris Sandra Zigars This leuoo i5 made pOMible wJtb support from the New York State Council on the Arts, a State agency whose funds are appropriated by the Governor and the Sta e Legislature. 194

M ïï YORK cm RALLET _

D .'e cto r ...... Lincoln Kirstein

PRODUCTION STAFF Ballet t. a ste rs ...... George Balanctnne. Jerome RooDins JoHn T aras Ass.slants .... Rosemary Dunleavy, Tom Aboott V.usicai Director and Prme pa. Conductor ...... Robert Irving Associate Conductor ...... Hugo Fiorato Company M anager ...... Zelda Dorfman Press Representative Virginia Donaldson Press Assistant Larry Slncnman Pianists . . . Gordon Boelzner. Jerry Zimmerman. Mack Scnieler. Dianne Ctiilgren, Helio DeSoto Qrcnestra M anager ...... George Micheimore Crcnestra Librarian ...... T neodore F low erm an Concert M aster ...... Lamar Aisop Production Stage M anager ...... Ronald Bates Stage M anager ...... Kevm Tyler Ass.Slant Stage Manager Roland Vazquez C o stu m e r ...... K arinska Supervisor of Women’s W ardrobe ...... Mme. Sophie Pourmel Supervisor of Men's Wardrobe . . Leslie Copeland •Wardrobe Mistress Dorothy Fugate 'Wardrpoe Master Larry Calvert ■Make-up Artist Michael Arsnansky Ha-r a n d VJig S t y l i s t ...... James Brusock

ADMINISTRATIVE STAFF G eneral ‘.’a n a g e r ...... Betty Cage Ass.start -Manager ...... Edward Bigelow F " a n c ia i A d m in .s tr a to r ...... H ope S y d e m a n Personal Assistant to Mr. Baianchine ...... Barbara Morgan S ecretary to Mr. K ir s te i n fviary Porter Executive Assistants ...... Carole Descbamps. Patricia Avedon Administrative Assistant .... George Fernandez O rtn co ed .c C o n s u l t a n t ...... William G. Hamilton, tW.O.

NEW YORK CITY BALLET GUILD C h airm an ...... W illiam w. R ee se Administrator ...... Robert Cornell Aomin,sfative Assistants ...... Anne Hoffmann FerrugiO. Michele DeSitva

SUBSCRIPTION OEPARTMENT M a n a g e r ...... Rita V. Golden

CITY CENTER EDUCATION DEPARTMENT Mrs. Norman Lassalle. Chairman James Hazel, Administrator LECTURE DEr/ONSTRATIONS Suki Sctiorer for tJYC B allet T h o m a s M zrlm for NYC O pera

Mason & Hamlin Piano, is the official piano of the New York State Theater

NEW YORK STATE THEATER STAFF EDWARD J. RYAN, General Manager T«CMAS F. KELLEY, Manager LIAM J f/EALEY. E xecutive S ecretary RGtJALD BATES. Technical Director SIGM UND F i.NKELMAN, Chief Engineer T-iC’.'AS W '/ c k il l OP Box Office Treasurer JOSEPH SCANAPlCCO. Ass Slant Treasurer j Du -j WALTERS. Master Ca'penter JOSEPH LYNSKEY. Master Electrician -i.AR-G’-D SRCNSTEIN, Master of Properties VALERIE HEATH, Chief Usher 195

( iiy ('enterof'Music aiul Drama, Inc. presents •MGZB YOIUC CIT Y IIA IX E T

n f T T T T n 65X11 :^EW YORK SEklSOiY

Winter 1976-77 November 16 through February' 20 196

CITV CKVIKR OF HISIC AM) DRAMA, INC. PRESENTS 6ÿth a t;II YORK SEASON

; CliyALLET

tlrnernl Director : Liiioolii Kirstein

lifillet Musters: (Jt'orfïi- Biilaiifhiiit* J i t o i i i c Rnliltins Jitliii Taray Itoliet Musters: Ro^rinury Dun leas y Tom Alibutl N’fw York Cily Ballet Orchestra Mtisir Director and Frincifml Conductor: Robert Irsing .-ls»ori«/c Conductor: Hugo Fiorato THE COMPANY Pluriel Aasen Susan Freedman Peter Naumann Jacques (P.Anilioise Jean-Pierre Frohlich Colleen Neary Karin von Aroldingen Judith Fugate Kyra Nichols Merrill Ashley John Grensback Shaun O'Brien Debra Austin Lauren Hauser Frank Ohman Jo h n Bass Susan Hendl Bruce Padgett Tracy Bennett Lisa Hess Delia Peters Toni Bentley Niehol Hlinka Susan Pillarre Anthony Blum Linda Homek Bryan Pitts Jean-Pierre Bonnefous Richard Hoskinson Terri Lee Port Bonita Borne Dolores Houston Christine Redpath Elyse Borne Kipling Houston Lisa de Rihere Victoria Bromberg Elise Ingalls David Richardson Jilise Bushling Sandra Jennings Francis Sackett Maria Calegari William Johnson Paul Sackett Stephen Caras Jay Jolley Stephanie Saland Victor Castelli Allegra Kent Lilly Samuels Hermes Conde Deborah Koolish Peter Schaufuss B art Cook Deni Lamont Peter Schetter Gail Crisa Sara Leland Marjorie Spohn Carole Dixet Lourdes Lopez Carol-Marie Strizak Richard Dryden Adam Luders Carol Sumner Daniel Duell Robert Maiorano Richard Tanner Joseph Duell Peter Martins Helgi Tomasson Gerard Ebitz Laurence Matthews Nolan T'Sani Renee Estopinal Kay Mazzo Violette Verdy Suzanne Farrell Patricia McBride Edward Villella Nina Fedorova Teena McConnell Sheryl are Elise Flagg Francisco Moncion Heather ^ atts Laura Flagg Catherine Morris Robert eiss Peter Frame Garielle Whittle Wilhelmina Frankfurt Sandra Zigars

ThU wm&on mide po>stbk with support from the New York State Council on the Arti. a Slate agenc> whOMT fund» jfc jppropriJied h> the Governor jnJ the 5ia e Leifj'ilaturc. 197

ADMINISTRATIVE STAFF M W YORK CITY BALLET General Manager ...... Betty Cage If!A i ... Il-tt ______Assistant Manager ...... Edward Bigelow Financial Administrator .. Hope Sydeman

PROOUCTION STAFF Personal Assistant to .Mr. Balanchine ...... Barbara Horgan Company Manager . Patricia Avedon Turk Secretary to Mr. K irstein ...... Mary Porter Press Represeniaiive . . . . Virginia Donaldson Executive Assistant ...... Carole Deschamps

Administrative Assistant .... George Fernandez Press Assistant Leslie Bailey

Pianists . . . Gordon Boelzner, Jerry Zimmerman, NEW YORK CITY BALLET GUILD Heiio DeSoto, Mack Sctileler, Paulina Barkagan P re sid e n t ...... W illiam w. R eese Orchestra M anager ...... George Michelmore Administrator ...... Robert Cornell

Orchestra Librarian Theodore Flowerman Administrative Assistants ...... Michele DeSIIva, Jo Ellen Grzyb Concert M aster ...... Lamar Alsop SUBSCRIPTION DEPARTMENT Production Stage M anager ...... Ronald Bates M anager ...... Rita V. Golden

Stage M anager ...... Kevin Tyler GROUP SERVICES Assistant Stage Manager Roland Vazquez D irector ...... Larry Strichman

Supervisor ol Children ...... David Richardson Mason & Hamlin Piano, is the official piano of C o stu m e r ...... Karinska the New York State Theater

Supervisor of Women’s NEW YORK STATE THEATER STAFF W ardrobe ...... Mme. Sophie Pourmel COWARD J. RYAN, General Manager ”

Supervisor of Men's Wardrobe .. Leslie Copeland THOMAS F. KELLEY, M anager JACQUELINE MOONEY, Asst. Manager Wardrobe Mistress Dorothy Fugate WILLIAM J. MEALEY, Executive Secretary RONALD BATES, Technical Director Wardrobe Master Larry Calvert EDWARD J. GEBEL, Chief Engineer THOMAS W. McKILLOP, Box Office Treasurer Make-up A rtist ...... Michael Arshansky JOSEPH SCANAPlCCO, A ssistant Treasurer JOHN WALTERS, M aster C arpenter Hair and Wig Stylist James Brusock JOSEPH LYNSKEY, M aster Electrician O rth o p ed ic HAROLD BRCINSTEIN, M aster of Properties Consultant William G. Hamilton, M.D. VALERIE HEATH, Chief Usher 19 8

.-'"I"}'''

»

' ’I . V • ^•‘•-ii;^ V . /'-• ■ ' ;. , ’ '.

-;:-,^l;- f A , ;.: J

.V ‘ "p- . y.^,V ' JY-' y M i % H f F

. - f ' v 3 - TL

NEW yORK STATE THEATER, LINCOLN^CENTER 199

CITY CENTER OF Ml'SIC AND DRAMA, INC. PRESENTS b9th NEVE' YORK SEASON NEW YORK CITY BALLET ______lU.'T- Ibh, ______Genernl Director: Lincoln Kirulein Ballet .Masters: George Balanchine Jerome Robbins John Taras Assistant Ballet Masters: Rosemary Dunlea\-y Tom Abbott New York City Ballet Orchestra .Music Director and Principal Conductor: Robert Ir>ing Associate Conductor: Hugo Fiorato THE COMPANY JACQUES d’AMBOISE KARIN von AROLDINGEN MERRILL ASHLEY MIKHAIL BARYSHNIKOV JEAN-PIERRE BONNEFOUS SUZANNE FARRELL ALLEGRA KENT SEAN LAVERY SARA LELAND ADAM LUDERS PETER MARTINS KAY MAZZO PATRICIA McBRlDE FRANCISCO MONCION HELGI TOMASSON EDWARD VILLELLA ROBERT WEISS BART COOK DANIEL DUELL SUSAN HENDL DENI LAMONT ROBERT MAIORANO COLLEEN NEARY KYR.A NICHOLS SHAUN OBRIEN FRANK OHMAN SUSAN PILARRE CHRISTINE REDPATH HEATHER WATTS HELENE ALEXOPOULOS CHRlSTOPHtH d'AMBOISE DEBRA STIN JOHN BASS TRACY BENNETT TONI BENTLEY PAUL BOOS BONIT.'. BC. c ELYSE BORNE VICTORIA BROMBERG MARIA CALEGARI STEVEN CARAS VICTOR CASTELLI HERMES CONDE CAROLE DIVET RICHARD DRYDEN JOSEPH DUELL GERARD EBITZ RENEE ESTOPINAL NINA FEDOROVA CHRISTOPHER FLEMING TIMOTHY FOX PETER FRAME SUSAN FREEDMAN JEAN-PIERRE FROHLICH JUDITH FUGATE SUSAN GLUCK VICTORIA HALL LAUREN HAUSER DOUGLAS HAY LISA HESS PATRICK HINSON NICHOL HLINKA LINDA HOMEK DOLORES HOUSTON KIPLING HOUSTON ELISE INGALLS SANDRA JENNINGS WILLIAM JOHNSON JERRI KUMERY DANA LEWIS LOURDES LOPEZ LAURENCE MATTHEWS C.ATHERINE MORRIS PETER NA U MANN BRUCE PADGETT DELIA »STERS LISA DE RIBERE DAVID RICHARDSON LESLIE ROY LINDY ROY FRANCIS SACKETT PAUL SACKETT STEPHANIE SALAND LILLY SAMUELS PETER SCHETTER NOELLE SHADER ROMA SOSENKO MARJORIE SPOHN CAROL-MARIE STRIZAK RICHARD TANNER BEVERLY TUCKER SHERYL WARE DIANA WHITE GARIELLE WHITTLE SANDRA ZIGARS Children appearing in New York City Ballet productions are students ot The School of American Ballet, rehearsed and supervised by David Richardson. This season is made possible with support from the New York State CouocU on the Arts, a State agency whose funds are appropriated by the Governor and the Sta e Legislature. 200

M:\V VOIIK MTY HALLET PRODl ADMIMSTR.ATIVE STAFF Ciiinp.itn M.tn.idi-T . P.itriciu AtcJün Turk General .Administrator Betty Cage I'rcss Itcrrocnimixc Vlrgini:i Don:tliJ»on .M an ag er ...... Edward Bigelow I’rcs, A>',i',!.ini, Leslie Bailev. Bill Miller Personal .Assistant to Mr. Baltmchine Pi.inisis . . . . CiorJon Boelzner, ...... Barbara Horgan Jerrs Zimmerman. Helio DeSoto. Secretary to Mr. Kirstein . . . . Mary Porter . . P.iulin.i B.irk.iean. Riehard Moredoek .Administrative .Assistants ., Linda Rodriguez. Orehestr.i Man.ieer . George Miehelmore Deborah Koolish Drehesiru Libr.iriati . Theodore Flowerman Concert M a s t e r Lam ar .Alsop Production Stage .Manager . Ronald Bates FINANCE AND DEVELOPMENT St.iee .M.inager Kevin Tyler Director . Hope Sydeman \sMstant Stage M.inagers . Rol.md \ azquez. Perry Silvey Special Events .. David Ehrlich Costume" ...... karinska Contributions Promotion . . Diane Factor Supert isor of W omen s W ardrobe NYCB G u i l d ...... Neila Fleisher Mme. Sophie Pourmel Finance .... , . ., Stephen Lisner Supervisor of Men's Wardrobe Financial Records Linda Cooper ...... Leslie Copeland .Administration ...... Don Daniels W ardrobe .Mistresses . . Dorothy Fugate. Donor Records . . . . Judy DiVeglio Kristina Kaiser Gift Bar .. Rosalie Lewis Wardrobe Master . . Larry Calvert M.ike-up and Hair Styles . James Brusock Subscription Manager .. Rita V. Golden Orthopedic Consultant Ticket Services . . Linda CiolToletli . . William G. Hamilton. M.D. Ticket Assistant ...... Terry Kaelber

NEW YORK STATE THEATER STAFF EDW ARD J. GEBEL, Chief Engineer EDW.ARD J. RYAN, General Manager WALTER METZ, Treasurer THOMAS F. KELLEY, M anager JOHN WALTERS. Master Carpenter JACQUELINE MOONEY, Asst. Manager JOSEPH LYNSKEY, Master Electrician WILLIAM J. MEALEY, Executive Secretary HAROLD BRONSTEIN, Master of Properties RONALD BATES, Technical Director VALERIE HEATH, Chief Usher NYCB GROUP SERVICES If you are planning a theater party of 20 people or more, you may be eligible for special group services, including priority seating, a phone reservation service, dining discounts, and more. For information, contact Group Services at the New York Stale Theater, or call 877-4700, extension 347. PHOTO CREDITS ON HEAD SHOTS OF PRINCIPAL DANCERS: Merrill Ashley, .Allegra Kent, Sean Lavery, Edward Villella by Martha s w o p e ; Mikhail Baryshnikov, Suzanne Farrell, Sara Leland. Helgi Tomasson, Robert Weiss by kenn duncan ; Jacques d'.Amboise BY C arolyn cEORCE^Karin Von .Aroldingen, Kay Mazzo by steven caras ; Jean-Pierre Bonnefous BY pier r e p e t it je a n ; Adam Luders by raina sacks ; Peter Marlins by tRANCESco SCAVULLO, COPYRIGHT RANDOM HOUSE, scavullo MEN; Patricia McBride by alan BERGMAN; Francisco Moncion by ted ley so n . Cover Photo: HELGI TOMASSON in Stars and Stripes. Photograph by M A R T H A SWOPE, Appendix J

School of American Ballet

REPORT ON THE ACTIVITIES OF SCHOOL OF AI'ÎERICAIJ BALLET FOR THE PE.1I0D OF SEPTEIGER 1. 1977 TO AUGUST 31. 1973

201 202

AHMUAL STATISTICS School of American Ballet's enrollment during the

1977-78 school year fluctuated between 365 and 38 O students of which 68 were boys. It should be noted that the School has an ever increasing number of applications at all levels including a marked increase of applications from boys. The number of applications received from foreign students is also on the increase. In previous years, such foreign students came to the School on their own initiative. In

1978 for the first time, the School agreed to participate in the "Prix de Lausanne" a yearly international competition held in Lausanne. The aim of this competition is to select four young dancers and to allow them to improve their technique by subsidizing a year's study in one of the four participating schools: Centre de Danse International, Cannes, France; Ecole de Danse de I'Opera de Paris; the Royal Ballet School, London and School of American Ballet, New York. A fifth school, American Ballet Theatre School, New York, had participated for several years but was unable to do so for the coming year. "Prix de Lausanne" awards cash prizes to the winners to cover their living expenses while attending 'the school of their choice. The participating schools agree to contribute a tuition scholarship. Two out of 4 prize­ winners have elected to study at SAB for the 1978-79 school year - a French student from Paris and a Japanese student from Tokyo. 203

-2-

Speclal scholarship arrangements have also been made for two boys: Elnar Thordarson from Iceland and Espen Qlljane from Norway.

In addition, a number of foreign paying students have been enrolled for periods of time throughout the year.

Members of the New York City Ballet as well as profes­ sionals from other American and foreign companies took classes at the School.

Throughout the year, a great number of American and foreign teachers and choreographers observed classes. A number of Artistic Directors of foreign companies visited the School in order to find suitable dancers.

On January 13, 1978 a delegation of Soviet Ministers of Culture visited the School.

ADMINISTRATIVE STAFF AND FACULTY

A new receptionist, Mrs. Sinekka Finn replaced Mrs. Mary Healey. A new secretary. Miss Michele DePaolo replaced Mrs. Minnie Brown.

Miss Suzanne Farrell, a graduate of the School and a Principal dancer with the New York City Ballet joined the faculty of the School In the Spring of 1978, teaching an Advanced Girls' Class once a week. 204

-3-

SCHOLARSHIPS

Scholarships for all or part of the 1977-73 school year were awarded to 113 students of whom 44 received, in addition to tuition, financial assistance for living expenses, transportation costs and awards for academic instruction. Thirty-seven of the scholarships were awared to boys and 76 to girls. For the 1978 Summer Course, 67 scholarships were awarded to students from 47 schools representing 20 states. Twenty-nine of these scholarships were awarded to boys and 38 to girls. Thirty-four of these awards were for tuition only and 33 were for tuition and/or travelling expenses. In addition, 34 boys from SAB's Winter Course were allowed to study during the Summer Course free of charge. Faced with the increasing number of Summer Course applicants, (approximately 1,200 students seeking admission to the Summer Course) the School limited the enrollment of Its regular students to 13 girls. As mentioned above, more space was available in the men's classes allowing the School to enroll 34 boys from its regular Winter Course.

Summer Course auditions were held in New York as well as in the following localities. 205

-4-

(1) December 16, 1977 - Suzanne Farrell - Daytona Beach, Florida - students from 15 schools; (2) February 25, 1973 - John Taras - Boston, Massachusetts - students from 24 schools; C3) March 3 & 4, 1973 - Colleen Neary - Washington, D.C. - students from 29 schools; (4) March 5, 1978 - Karen von Aroldingen - North Carolina School of the Arts, Winston-Salem - students from 4 schools ; (5) March 7, 1978 - Colleen Neary - Los Angeles, California - students from 33 schools; (6) March 9, 1978 - Colleen Neary - San Francisco, California - students from 23 schools; (7) March 10, 1973 - Richard Rapp - Clearwater, Florida - students from 1 school; (6) March 11, 1978 - Colleen Neary - Fort Worth, Texas - students from 11 schools; (9) March 13, 1978 - Colleen Neary - Houston, Texas - students from 28 schools; £10) March 19, 1978 - Jean-Pierre Bonnefous - Kansas City, Kansas - students from 9 schools; (11) March 24, 1978 - Colleen Neary - Palm Beach, Florida - students from 16 schools. 206

-5-

A total of 231 students were accepted from 7 states and 193 schools for the Summer Course from the regional auditions. The total Summer Course enrollment was 315.

GUEST TEACHING AT THE SCHOOL OF AMERICAN BALLET

As in preceding years, members of the New York City Ballet were asked to substitute whenever regular staff teachers were unable to give class. Irina Kosmovska, a well-known teacher from Los Angeles, was again invited to teach classes during the five-weeks Summer Course.

MUSIC COURSES

As in previous years, Mrs. Rebecca Schlieben Scott, a member of Juilliard's faculty, taught four separate but related music courses: Voice and Ear-training, Plano, Music Listening and Analysis, Music Fundamentals. Most students took two courses - some three or four and a few who had previous musical training took only one. Each was offered once a week. (See enclosure for the basic content of each course.)

PROFESSIONAL CHILDREN'S SCHOOL

Sixteen students received full or partial acidemia grants to the Professional Children's School amounting to a total of $13,500. 207

-6r

r4rs. Carol Lane, Headmistress of PCS, and her staff continue to work very closely with SAB as regards students' attendance and progress.

For the first time this special relationship was recognized by one of the important contributors to SAB. The Atlantic-Hichfield Foundation established a scholarship to provide financial support for one year for an advanced student attending both schools in 1978-79. A Summer Course student from Los Angeles was selected to be the first recipient, meeting the high entrance standards of both institutions.

WORKSHOP

The thirteenth annual workshop performances were given at 4:00 and 7:00 p.m. on Monday, May 22, The dancers were accompanied by the Juilliard Conductors Orchestra conducted by Stephen Colvin.

The program included Pas de Trois from The Life Guards of Amager. choreography by Auguste Bournonville, staged by Stan­ ley Williamsi Les Scenes Du Ballet choreographed by Alexandra Danilova; Interplay. choreography by Jerome Robbins, staged by Wilma Curley; Quadrille. choreographed by Jean-Pierre

Bonnefous; Divertimento #13. choreography by George Balanchine, staged by Sukl Schorer. 208

_7-

The performances were sold out and enthusiastically received (see enclosed program reviews).

STUDENTS' PERFORMING ACTIVITIES

Younger students had the opportunity to perform in a number of ballets in the Mew York City Ballet repertory, including Nutcracker. Coppelia. Harlequinade. Fire Bird. Don Quixote. Union Jack. Mother Goose and Midsummer Might's Dream. They were also used in-the Berlin Opera Ballet's production of Cinderella.

Advanced students performed as apprentices with the New York City Ballet. A small number had the opportunity to perform as corps de ballet members with the Berlin Opera Ballet during this company's stay in New York.

Advanced students had, as in previous years, the opportunity to perform with regional companies including the Ulster Ballet Company based in New Paltz, N.Y.; the Fedicheva Ballet, based in Flushing, N.Y.; the Berkshire Ballet Co. based in Massachusetts; the Andre Eelevsky Concert Group. Long Island based; the Central Pennsylvania Youth Ballet (Hershey, Pa.); the Amarillo Repertory Dance Company. Amarillo, Texas; the Chicago Ballet Co.. Chicago, 111.; the Ballet Classique of St. Petersburg, Fla. A 209

-8- number of students had the opportunity to perform for periods of time with the Chicago Lyric Ooera.

All through the year, Patricia McBride and Jean-Pierre Bonnefous and Co. used advanced students in a series of concerts. The Dance Space Co.. directed by Hew York City Ballet's Principal Dancer Jacques D'Amboise, offered a series of 10 concerts, using advanced students of SAB.

LECTURE-DEMONSTRATIONS

Under the artistic direction of School of American Ballet's teacher, Suki Schorer, the New York City Ballet Lecture-Demonstratlon Program was very active during the 1977-79 season.

Forty-five performances were given in schools reaching an audience of approximately 32,000 students. An additional

5 performances were given to approximately 7 ,0 0 0 elementary school children under the auspices of the Performing Arts Repertory Theater. Lecture-demonstratlons were also given for adult groups - 2 performances sponsored by Hospital Audiences, Inc. and given in the Isabella .Nursing Home and a performance given for the .Metropolitan Presidents ' Organization. In addition, the group had a two-week touring engagement in upstate Hew York. 210

-9-

An ever Increased enthusiasm has been engendered by these ballet programs.

PROFESSIONAL EMPLOYMENT

The following 30 students from 12 states. Joined 9 American and 5 foreign companies: NEW YORK CITY BALLET - 9 students Christopher D'Amboise New York, New York Christopher Fleming Altamonte Springs, Florida Timothy Fox Tulsa, Oklahoma Victoria Hall Annendale, Virginia Douglas Hay Nashua, New Hampshire Jerri Xumery Tulsa, Oklahoma Dana Lewis Houston, Texas Melinda Roy Lafayette, Louisiana Beverly Tucker ^ Northridge, California A:ŒRICAJJ BALLET THEATRE - 2 students Elizabeth Brown Phoenix, Arizona Robert LaPosse Beaumont, Texas LOS AJJGELES BALLET - 1 student Ian Walton New York, Hew York CHICAGO LYRIC OPERA BALLET - 3 students Marla-Theresa Balough Astoria, New York Joe Clark Amarillo, Texas Sophie Grzibowski Newburgh, New York JOSEPH ALBANO CO. - 1 student Carlyn De Robertis Colonla, New Jersey STARS OF AfC.lICAN BALLET - 2 students Michelle Bailey Alvin, Texas Bernadette Erlon* Suffern, New York

•Also accepted at Pacific Northwest Co. 211

-10-

BERKSHIRS BALLET CO. - 2 students

Jana Fugate Pittsfield, Massachusetts Douglas Garrett Nashville, Tennessee PACIFIC NORTH-WEST CO. - 1 student Lisa Tortlcollo Westfield, New Jersey (Paying Student) LOUISVILLE BALLET CO. - 1 student

Steven Lee New York, Hew York LES GRANDS BALLET CANADIENS - 1 student Pepe Menendes New York, New York DUTCH NATIONAL BALLET - 1 student Barbara Leach* Bronxville, New York (Paying Student) BALLET COMPANY OF THE ZURICH OPERA - 2 students Matt Sharp Amarillo, Texas Stephen Jackson Rome, New York MALMO STADSTEATER (Sweden) - 3 students Alexander Kramarevsky New York, New York Benjie Allen (Paying Student) Doyleton, Pennsylvania David Stein Dallas, Texas

BERLIN OPERA BALLET 1 student Suzanne Wagner Richardson, Texas

•Also accepted at Pacific Northwest Co. 212

-11-

PUBLICITY

The School la receiving an increasing number of requests from television networks, magazines and newspapers for film­ ing, photographing and interviewing students.

School of American Ballet was featured in the following television programs:

- American Broadcasting Company (Channel 7) - Special Report on Talented and Gifted Children;

- German television network. Program on cultural news about the performing arts in New York City;

- American Broadcasting Company (Channel 7) - April 27, 1978 - Evening News Interview with Rudolf Nureyev and filming SAB's Advanced .Men's class taught by Stanley Williams;

- WNET (Channel 13) - A 35 minute film to be part of Channel Tliirteen’s "Skyline" series: "Basic Training: the School of American Ballet";

- CBS (Channel 2) - Morning News - A profile of a scholar­ ship student from Dallas, Texas.

Articles on SAB have appeared in Parents' Magazine. Dance Magazine, and Modern Bride which used SAB students instead of professional models. 213

MUSIC CURRICULUM

Voice and Ear-tralnlng: students worked primarily with aural material - producing a good singing tone, memorizing and identifying sounds, expressing a well balanced musical phrase. Some written musical material was used, but the same 'emphasis on identifying, repeating and expressing the musical line was used.

Piano; students learned the keyboard and three basic "touches" in order to create a satisfying musical sound from the instrument. They learned to associate the sounds they created with written musical notation and thus to analyze a basic musical phrase - raelodically, harmonically and rhymthraically both visually and manually. They used the Instrument primarily for musical analytical purposes, learn­ ing how to distinguish between basic March, Waltz and Polka meters and rhythm patterns. Major and Minor keys, scale and chord figurations and I IV V harmonic patterns in C, P and G and related minors. Students practiced pieces of this variety, harmonized melodies and improvised melodies on harmonic patterns. This course gradually melded with the Music Fundamentals Course.

Music Listening and Analysis: the text used was "Selective Music: A Design for Listening" by Homer Ulrich (Harcourt Brace and Janovich). Each student had their own 214

—2—

textbook which they read on their own and practiced exan^les. Class was used for discussion, lectures, musical examples and recordings which illustrated the material. Part One covered: Elements and Forms, 1-Selectlve Listing and the Musical Experience, 2-Materials of Music, 3-Tonal Arrangements, 4-Musical Instruments, 5-The Structure of Music, 6-Interpretation, 7-Husical Performance and History (Survey); Part Two: 8-The Classical Period, 9-3eethoven, 13-The Late Romantic Period, 15-The Renaissance Period, 12-Opera, 14-At the Turn of the Century.

Musical Fundamentals : the text used was the "Music Kit" by Tom Manoff. This kit is divided systematically into 4 books: Workbook covering the elements. Rhythm Reader, Scorebook containing 53 pieces, 4 records with exercises and 14 pieces written as examples. Books were used as home­ work and exercises; records primarily for private study; and the scorebook for class sightreading examples. Recitations and dictations were used In every class with students performing on piano and voice the asslmulated material. Approximately two-thirds of each book were covered. 215

SCHOOL OP AMERICAN BALLET

Lincoln Klrsteln - President George Balanchine - Chairman of the Faculty STAFF AND FACULTY Administrative Staff Natalie Molostwoff Executive Director Nathalie Gleboff Associate Director Mary Porter Director for Development Susan Ralston Director - School of American Ballet Association Mari Cornell Secretary Michele DePaolo Secretary Sinekka Finn Receptionist Faculty Alexandra Danilova Fella Doubrovska Helene Dudin Suzanne Farrell Andrei Kramarevsky Richard Rapp Elise Reiman Suki Schorer Muriel Stuart Antonina Tumkovsky Stanley Williams Guest Teacher and Members of the New York City Ballet Irina Kosmovska Jean-Pierre Bonnefous, Peter Martins, Colleen Neary and John Taras Staff Pianists Elfrida Afonlna Gertrude Carroll Irene Goncharov Tatiana Ouroumoff Lynn Stanford 216

SCHOOL OF AMERICAN BALLET NATIONAL ADVISORY COUNCIL

Mrs. Norman Lassalla Co-ordlnator New York, New York Mrs. Sid R. Bass Port Worth, Texas Mrs. Thornton P. Bradshaw Los Angeles, California Mrs. George H. Bunting Kansas City, Missouri Mrs. Guilford Dudley Nashville, Tennessee Mrs. George P. Gardner, Jr. Boston, Massachusetts Mrs. Polk Quest Washington, D.C. Mr. Leon A. Harris, Jr. Dallas, Texas Mrs. J. Byron Hilliard Louisville, Kentucky Mrs. Bradley Jones Pasadena, California Mrs. Charles E. Mather II Miami, Florida Mrs. Henry Paschen Chicago, Illinois Hr. & Mrs. A. Dean Perry Cleveland, Ohio Mrs. George E. Powell III Kansas City, Missouri Dr. & Mrs. James Semans Winston-Salem, North Carolina Mrs. Harold Stream New Orleans, Louisiana Mrs. John Warneoke San Francisco, California Mrs. Richard M. Wolfe Columbus, Ohio

Mr. Charles H. Woodward Philadelphia, Pennsylvania 217

SCHOOL OP AMERICAN BALLET CORPORATE ADVISORY PANEL

American Airlines Sandra Sanderson American Express Joyce B. Coleman Atlantic Richfield Company William G. Shain The Chase Manhattan Bank, N.A. John R. Meekin Exxon Corporation • Robert E, Kingsley McGraw-Hill, Inc. Jean Stefanik Metropolitan Life Arthur I. Stemhell Mobil Foundation Earl B. Whitcraft Morgan Guaranty Trust Company Jeanne Erwin Parks RCA Mervin J. Shuman Sperry Rand Corporation Katherine Harrington Time, Inc. Jeanne Kerr 218

SCHOOL OF AMERICAN BALLET BOARD OP DIRECTORS

R S'ott As«n Secretary McConnell Securities, Inc. George Balanchine Artistic Director New York City Ballet Albert Bellas Executive Vice President Loeb, Rhoades & Hornblower Charles H. Fish Partner Arthur Andersen & Co. Daniel Qersen Partner Blum, Halmoff, Gersen, Llpson & Szabad Nathalie Gleboff Associate Director School of American Ballet Lincoln Klrsteln General Director New York City Ballet Lester Kissel Partner Seward & Kissel Edward M. Kresky Partner Wertheim & Company Mrs. Norman Lassalle Member Lincoln Center Council on Educational Programs Peter Martins Principal Dancer New York City Ballet Natalie Molostwoff Executive Director School of American Ballet Mrs. Herbert Patterson Roswell B. Perkins Partner Debevoise, Plimpton, Lyons & Gates 219

— 2—

SCHOOL OF AMERICAN BALLET BOARD OF DIRECTORS

Sir John Pope-Hennessy Consultative Chairman Metropolitan Museum of Art Mrs. John S. Samuels, 3d Mrs. W. James Tozer, Jr. Edward Vlllella Chairman of the Commission for Cultural Affairs of the City of New York Philip S. Winterer' Partner Debevoise, Plimpton, Lyons & dates 220

SCHOOL OF AMERICAN BALLET 1978 Summer Course Scholarship Students

STUDENT HOME TOWN & STATE TEACHER LENERT, Tracy Anaheim, California Tatiana Aklnfieva-Smith, (moved from Ohio) Columbus, Ohio GORDON, Susan Coral Springs, Florida Thomas Armour, Miami Conservatory, South Miami, Florida NORONA, Rita Miami, Florida GRAHAM, Randy Mount Pleasant, Texas Mr. & Mrs. Bill Atkinson, Dallas Metropolitan Ballet, Dallas, Texas SCHICHILI, Jane Dallas, Texas WAGNER, Suzanne Richardson, Texas WOOD, Bruce Smlthfleld, Texas CRAMER, Peter St. Croix, Virgin Karoly Barta, Dance Islands for Washington, Inc., Washington, D.C. FERACHI, Michelle Baton Rouge, Louisiana Phoebe Brantley, Baton Rouge, Louisiana MILLER, Armon Toledo, Ohio Marie Bollinger-Vogt, Toledo Ballet School, Toledo, Ohio DAWSON. Donald New York, New York Alfonso Cata, Harkness Ballet School, New York, New York PARIS, Jeffrey Silver Springs, Diana Cook, Thelma Maryland Tierney, Julian Green, Montgomery School of Ballet, Silver Springs, Maryland

KEARY, David Jackson, Mississippi Albia Kavan Cooper, Jackson, Mississippi FRANCESCHI, Antonia New York, New York Margaret Craske, New York, New York 221

- 2-

3TUDENT HOME TOWN & STATE TEACHER

ADOLFSON, Gary Wichita, Kansas Patrick & Jennifer Crommet, Wichita, Kansas CACCAMO, Dawn Lee, Massachusetts Madeline Cantarella Culpa, Boston, Massachusetts CONDON, Kenneth Pittsfield, Mass. DUFFIN, Delrdre Lenox, Massachusetts HAYES, Diana Los Gatos, California Paul Curtis, Los Gatos Academy of Dance, Los Gatos, California OTLOSKI, Mark Philadelphia, Penn. Margarita DeSaa, John White, Pennsylvania Academy of Ballet, Philadelphia, Penn. STANNARD, William St. Joseph, Missouri Miss Tatiana Dokudovska & Miss Shirley Weaver, St. Joseph, Missouri SALCEDO, Katalina West Palm Beach, Marie Hale & Linda Swiadon, Florida Ballet Arts, West Palm Beach, Florida BARRISKILL, Michael Virginia Be! ’ Gene Hammett, Academy of Virginia Norfolk Civic Ballet, Norfolk, Virginia CADDELL, Stacy Norfolk, Virginia DODD, Loretta Portsmouth, Virginia THOMPSON, Lee Savannah, Georgia (moved from Virginia) HAHANO, Beth Manhattan, Kansas Frau Heidi Heidt, Germany (2 years) and Roni Mahler (2 years) Manhattan, Kansas

ESLICK, Cindy Amarillo, Texas Nell & Camille Hess, Amarillo, Texas RUSSELL, Patrick Seattle, Washington Karen Irvin, Cornish School of Allied Arts, Seattle, Washington 222

-3-

STUDENT HOME TOWN & STATE TEACHER

SMILEY, Kimberly Tulsa, Oklahoma Roman Jasinskl, Tulsa School of Ballet, Tulsa, Oklahoma HUBER, Jayne West Milford, Nancy King, School for New Jersey Performing Arts, Milford, New Jersey OLESIJUK, Roxana Los Angeles, California Irina Kosmovska, Los Angeles School of Ballet, Los Angeles, California GREGORY, Kim North Miami, Florida Michele Leo, Ballet Arts, Miami, Florida CALLOWAY, Douglas Ecoles, West Virginia Robert Llndgren, North Carolina School of the Arts, Winston- Salem, North Carolina CERVERIS, Marisa Huntington, West Virginia COLEMAN, Jennifer New York, New York GRANT, Malcolm Lawton, Oklahoma WALTERS, Tyler Hillsborough, N.C.

WALSH, Kendra Miami Lakes, Florida Martha Mahr, School of Ballet, Miami, Florida WILSON, Kathy Miami, Florida HINSON, Patrick Cincinnati, Ohio David McLain, Cincinnati Ballet Company, Cincinnati, Ohio LEGO, Cathy Longview, Texas Pat & George Mitchell, Longview, Texas

HUDSON, Michael Laguna H.^lls, California Fredrlcka Mohr, Laguna Hills, California aUENAVISTA, Isom Oakland, California Deborah Palesh & Alexandra Sawicka, American Dance Center, Oakland, Calif. 223

-4-

STÜDENT HOME TOWN & STATE TEACHER

NIEVES, Dagoberto Chicago, Illinois Edward Parish, Chicago, Illinois ROSARIO, Dlno Chicago, Illinois TAYLOR, Susan Modesto, California Beverly Payne, Modesto, California EDWARDS, Antony Lothain, Maryland Diane Petty, Richard Brown, and Charles Angina

SULLIVAN, Gall Pittsburgh, Penn- Nicholas Petrov, Pittsburgh Park College, Pittsburgh, Pennsylvania HUTTON, Lee Houston, Texas Polajenko's Houston Dance Center, Houston, Texas SCHLEIN, Richard Reseda, California Tatiana Riabouchinska- Lichine & Harold Lang, Lichlne Ballet School, Beverly Hills, Calif, GORDON, Lori Corpus Christi, Texas Larry & Betty Roquemore, Corpus Christi Ballet Theatre, Corpus Christi, Texas DUSHECK, Diane Chatsworth, California Sheila Rozann, Rozann- Zimmerman Ballet Center, Chatsworth, California McCalip, Melanie Port Worth, Texas Fernando Schaffenburg, Schaffenburg Ballet Academy, Port Worth, Texas CALBO, Michael. Huntington Beach, Antony Sellars, California Huntington Beach, Calif. PARNELL, Cathleen Westminster, California JACKSON, Lisa Huntington Beach, Calif. 224

-5-

STUDENT HOME TOWN & STATE TEACHER

SCOTT, Shelley Dallas, Texas George Skibine, Dallas Civic Ballet Academy, Dallas, Texas OLIVER, Laura Dallas, Texas Marjorie Tallchief, Nikita Talin, George Skibine, Dallas Civic Ballet Academy, Dallas, Texas QUIGLEY, Monica Annandale, Virginia Oleg Tupine & Tania Rousseau, Virginia Ballet School, Annandale, Virginiga QINTER, Suzanne Riverside, California Mary Lynn's (Waterman) Ballet Arts, Riverside, California KISTLER, Darcl Riverside, California GOODMAN, Adam Boston, Massachusetts E. Virginia Williams Boston Ballet School Boston, Massachusetts POSTER, Eric S.W. Olympia, Virginia Woods Dance Washington Studios, Olympia, Wash. AMMENHEUSER, Kenneth Beaumont, Texas Marsha Woody Zummo, Civic Ballet, Beaumont, Texas SCOTT, Kevin Beaumont, Texas TOLPO, Christina Beaumont, Texas 225

1979 WINTER STUDENTS Immediate s Advanced Classes * Denotes scholarship Geographic Breakdown student

FOREIGN COUNTRIES CANADA Weselow, Michael Montreal, Canada DENMARK Jacobsen, Sanne Copenhagen, Denmark •FRANCE Camboulas, Isabelle - Paris, Prance Maheu, Pascale Paris, France •HAITI Maximilien, Regine - Port-au-Prince, Haiti •ICELAND Thordarson, Einar Reykjavik, Iceland IRAN Mofid, Afshin Tehran, Iran JAPAN Yoshida, Naomi Sapporo Hokkaido, Japan NORWAY Giljane, Espen Oslo, Norway PUERTO RICO Guadaluppe, Gladisa - Rio Piedras, Puerto Rico SPAIN Rodriguez-Jiminez, Madrid, Spain Paloma SWEDEN Matell, Anna Uppsala, Sweden ALABAMA •Adelfang, Petra Huntsville, Alabama Cook, David Montgomery, Alabama Tully, Shir-lee Birmingham, Alabama •Wood, Darci Birmingham, Alabama ARIZONA Cook, Cynthia Tucson, Arizona CALIFORNIA Christensen, Heather Cypress, California Crockett, Kelly La Habra, California •D'Amelio, Toni Escondido, California •Dawson, Donald San Francisco, California •Jenkins, Reed Los Angeles, California •Kistler, Darci Riverside, California •Lenert, Tracy Anaheim, California Levin, Joyce Sherman Oaks, California Lucas, Douglas Glendale, California •Miller, Nicholas San Francisco, California Peterson, Lauren Hollywood, California •Reyes, Teresa Diamond Bar, California •Tassopulos, Andrea Woodland Hills, California Taylor, Susanne Modesto, California Waisman, Nina Pacific Palisades, California 226

winter Students 1979 - Geographic Breakdown (cont'd) — 2 —

CONNECTICUT Barton, Jennifer New Canaan, Connecticut •Johnson, Julie West Norwalk, Connecticut Xarpiej, Anita East Hartford, Connecticut Langem, Katie Greenwich, Connecticut Lee, Suzanne Westport, Connecticut •Martin, Scott Westport, Connecticut Patton, Jillana New Haven, Connecticut Plotnick, Ruth Hamden, Connecticut Wolfe, Elizabeth New Canaan, Connecticut DISTRICT OF COLUMBIA - WASHINGTON, D.C. Blumfield, Allegra Washington, D.C. Walker, Lulen Washington, D.C. FLORIDA Carberry, Deirdre Singer Island, Florida •Fitzgerald, Florence Sarasota, Florida Gregory, Kim N. Miami, Florida •Kay, Minta Plantation, Florida •Husselman, Sean St. Petersburg, Florida •Norona, Rita Miami, Florida Pruitt, Michelle Ft. Lauderdale, Florida •Smith, Karen Miami, Florida Thumbtzen, Stephanie Clearwater, Florida Van Ro d , Karin Ft. Lauderdale, Florida GEORGIA •Bates, Stanley Atlanta, Georgia •McCarthy, Beth Clarksville, Georgia ILLINOIS •Alexopoulos, Helene Oak Park, Illinois •Callaghan, Darleen Hoffman Estates, Illinois Carton, Evelyn Lake Forest, Illinois Homans, Jennifer Chicago, Illinois •White, Diana Park Ridge, Illinois KANSAS Adolfson, Gary Wichita, Kansas LOUISIANA Newburger, Gretchen New Orleans, Louisiana •Schramel, Greg New Orleans, Louisiana MAINE Seibert, Barbara York, Maine 227

Winter Students 1979 - Geographic Breakdown (cont'd) -3-

HARYLAND Hilleary, Julie Hilkrest Heights, Maryland ‘McDonnell, Katherine Indian Head, Maryland Molyneaux, Renee Timonium, Maryland ‘Stack, Lisa Linthicum, Maryland ‘Strain, Suzy Silver Spring, Maryland MASSACHUSETTS Achilles, Susan Marlboro, Massachusetts Balzotti, Joan Hanson, Massachusetts ‘Dempster, Rebecca Lexington, Massachusetts Heijn, Lisa Lincoln, Massachusetts ‘Howe, Katherine Amherst, Massachusetts MICHIGAN Clark, Harriet Grosse Point Shores, Michigan Spencer, Katherine Kalamazoo, Michigan MISSOURI ‘DeMent, John St. Louis, Missouri NEW JERSEY Altounian, Linda Richfield Park, New Jersey Barnet, Anna Leonia, New Jersey ‘Beilis, Carol West Trenton, New Jersey Camerena, Lisa Elizabeth, New Jersey Cokman, Ellen Cape May, New Jersey Fulcher, Dale Rivervale, New Jersey Gudzowsky, Nicole Fairlawn. New Jersey Gusoff, Deborah Verona, New Jersey Hauser, Susan Teaneck, New Jersey ‘Johnston, Denis Bergenfield, New Jersey ‘Lanzet, Michele Livingston, New Jersey Lawson, Eve Fair Haven, New Jersey Heshel, Serene Tenafly, New Jersey ‘Muniz, Oswaldo Union City, New Jersey Opperman, Julie Princeton, New Jersey •Savoye, Sean Hackensack, New Jersey ‘Siska, Peter Wayne, New Jersey Strizak, Barbara Franklin Lakes, New Jersey Torcicollo, Lisa Westfield, New Jersey Turnbull, Jil. Fort Lee, New Jersey Walsh, Sean Hetuchan, New Jersey NEW MEXICO ‘Jenkins, Rodney Hagerman, New Mexico 228

Winter Students 1979 - Geographic Breakdown (cont'd) -4-

NEW YORK ‘Ayres, Denise Rexford, New York •Bager, Johan New York, New York Behling, Heather Ossining, New York ‘Bekkernian, Edward Forest Hills, New York ‘Boal, Peter Bedford, New York ‘Brown, Ethan New York, New York Brown, Gabrielle New York, New York ‘Byars, Michael New York, New York ‘Caceres, Richard New York, New York Calio, Kathy Ardsley. New York Camacho, Diana Syosset, New York Clifford, Lesley Utica, New York ‘Coleman, Jennifer New York, New York ‘Conboy, Patrick Massapegua Park, New York Cooper, Elizabeth Coldspring Harbor, New York ‘Cousins, Scott New York, New York ‘Damestoy, Irene New York, New York Danias, Lisa Hclliswood, New York Dodelron, Maeve New York, New York Dosne, Lisa New York, New York Dreyfuss, Madeleine New York, New York ‘Drummer, Cindy Eastchester, New York Eisner, Susie New York, New York ‘Erlon, Bernadette Suffern, New York Freuik, Genevieve New York, New York Goldman, Nina New York, New York Greenbaum, Denise New Rochelle, New York Greenbaum, Leslie New Rochelle, New York Gluck Susan New Rochelle, New York Giardino, Pamela Bronx, New York •Grellar, Roman New York, New York ‘Haubrich, Michael Bronx, New York •Heiber, Nora Rego Park, New York ‘Henry, Karen Bronx, New York Hemsworth, Patrice Staten Island, New York Hopkins, Julie New York, New York ‘House, Carl New York, New York Jensen, Laura New York, New York ‘Kehr, Donald New York, New York Kinkela, Diane Astoria, New York ‘Kokich, Jerry New York, New York ‘Lewton-Brain, Peter New Paltz, New York ‘Lochard, Cynthia Long Island City, New York Margulies, Michal New York, New York ‘Marshall, Valerie Glens Falls ‘Mazzola, Amy New York, New York Mi Ilian, Elizabeth New York, New York Muller, Lynn Schnectady, New York Noriega, Christine Flushing, New York Penn, Jane New York, New York Pintavalle, Anastasia Elmhurst, New York Potter, Allison Roc)cville Center, New York 229

winter Students 1979 - Geographic Breakdown (cont'd) -5-

Rosenbluth, Julie New Rochelle, New York ‘Roth, Veronica Bronx, New York Rothenberger, Stephanie Brooklyn, New York Salazar, Sindy Queens, New York Schwartz, Kay1a New York, New York Saltzberg, Debra New York, New York Shampaine, Leslie New York, New York ‘Shipp, William Far Rockaway, New York ‘Simpson, Rudolph Staten Island, New York Smith, Stacey Old Bethpage, New York Snyder, Michelle New York, New York Sofronski, Monique Riverdale^ New York ‘Sosenko, Roma Yonkers, New York ‘Stell, Jason New York, New York Stetter, Eileen Hamburg, New York Swersky, Treva Middletown, New York Tracy, Robert New York, New York Tobias, Anne New York, New York Tomlinson, Patricia Schnectady, New York Walsh, Tara New York, New York WeiId, Kim Pelham Manor Wigotsky, Natalie New York, New York Wilson, Kate New York, New York Puleo, Michael Brooklyn, New York Mahdaviani, Miriam Forest Hills, New York Woodard, Alison New York, New York Oppenheimer, Catherine New York, New York Lyon, Stephanie New York, New York NORTH CAROLINA ‘Gardner, Robert Winston-Salem, North Carolina ‘Lemglois, Michael Haw River, North Carolina NORTH DAKOTA ‘Reed, Michael Walcott, North Dakota OHIO ‘Bard, Sarah Findlay, Ohio ‘Frame, Paul Akton, Ohio ‘Franceschi, Antonia Columbus, Ohio ‘Hays, Julie Cincinnati, Ohio ‘Hinson, Patrick Cincinnati, Ohio Krody, Margo Cincinnati, Ohio Nelson, Jeff Fairborn, Ohio PENNSYLVANIA •Baynham, Karen Harrisburg, Pennsylvania Dadey, Donald Bethel Park, Pennsylvania Daly, Maureen Hatboro, Pennsylvania ‘Giddings, Corinne Harrisburg 230

winter Students 1979 - Geographic Breakdown (cont'd) -6"

PENNSYLVANIA (cont'd) ‘Hoepfl, Glenn Warrington, Pennsylvania ‘Hoover, Darla Carlyle, Pennsylvania ‘Killian, Katrina Annville, Pennsylvania Miller, Clay Newville, Pennsylvania *Nugara, Mario Monroeville, Pennsylvania •Otloski, Mark Philadelphia, Pennsylvania Reimel, Jennifer Doylestown, Pennsylvania Stahl, Amy Morrisville, Pennsylvania Sullivan, Gail Pittsburgh, Pennsylvania SOOTH CAROLINA Hutchison, Fiona Columbia,South Carolina Saunders, Leslie Columbia, South Carolina TEXAS ‘Bailey, Michelle Alvin, Texas ‘Crabtree, Cornel San frtpnio, Texas ‘Hess, Alexia Amari^ . Texas ‘Jones, Steve Amarillo, Texas ‘Pillars, Sabrina Bedford, Texas Rohde, Michelle Dallas, Texas Steck, Kelly El Paso, Texas ‘Weigel, Robert Dallas, Texas VIRGINIA ‘Caddell, Stacy Norfolk,Virginia ‘Smartz, Leigh Norfolk, Virginia WASHINGTON ‘Russell, Patrick Seattle, Washington WISCONSIN ‘Quinn, Daniel Milwaukee, Wisconsin Rosal, Maia Madison, Wisconsin 231

SUMMER COURSE 1978 ‘scholarship students Qeographlc Breakdown

FOREIGN COUNTRIES ITALY Danes1, Loretta - Rome VIRGIN ISLANDS •Cramer, Peter - St. Croix PUERTO RICO Guadalupe, Oladlsa - Rio Pledras Rodriguez, Roberto - Rio Pledras Del Real, Marla - Rio Pledras Raquel, Amezaga - Hato Rey

U.S. ALABAMA Ritchie, Paula Tuscaloosa ARIZONA Cook, Cynthia Tucson ARKANSAS Hartsteln, Susan Little Rock CALIFORNIA Alan, Michelle Glendale Anderson, Carol Los Altos Berberlan, Anl Pasadena Bowen, Catherine Westminster •Buenavlsta, Isom Oakland •Calbo, Michael Huntington Beach •Duscheck, Diane Chatsworth •Parnell, Cathleen Westminster •Olnter, Suzanne Riverside Goldin, Lisa Beverly Hills Guy, Kae Watsonville •Hayes, Diana Rene Los Gatos Herman, Corey Anne La Canada Hood, Laura San Diego •Hudson, Michael Laguna Hills Hughes, Heather San Francisco •Jackson, Lisa Huntington Beach Kent, Julie Glendale Kinsey, Elizabeth Van Nuys 232

-2-

CALIPORHIA (cent.) •Klstler, Darcl Riverside Kurth, Julie Palo Alto Laakso, Lynne San Lorenzo Lapa, Nicola Canoga Park •Lenert, Tracy Anaheim McClory, Courtney La Canada MoHehee, Margo Pasadena Mello, John San Francisco Miller, Nicolas San Francisco •Olesljuk, Roxanna Los Angeles Rlccl, Angelica Sherman Oaks Root, Helene La Canada •Schleln, Richard Reseda Soto, Jock N. Hollywood Tassopuloa, Andrea Woodland Hills ■Taylor, Susan Modesto Vlezle, Leslie Palo Alto Valsman, Nina Pacific Palisades COLORADO Silva, David Denver Thompson, Lauri Boulder Young, Nancy Denver CONNECTICUT Blackson, Rita - Greenwich Graham, Elizabeth - Coscob Jeans, Lisa - Rowlngton Lee, Suzanne - Westport Lewis, Amy - Weston Nerz, Jennifer - Norwalk DISTRICT OP COLUMBIA - WASHINGTON. D.C. Scala, Ann Washington, D.C. Walker, Lulen Washington, D.C. FLORIDA Chamby, Charlotte West Palm Beach Cinotti, Lisa Marie St. Petersburg David, Rosemarie Jacksonville Dismuke, Diana Miami Gonzales, Diana Temple Terrace •Gordon, Susan Lynn Coral Springs •Gregory, Kim Miami 233

-3-

PLORIDA (cont.) Hill, Suzanne Clearwater Mudrick, Laura Lynn West Palm Beach •Norona, Rita Miami •Salcedo, Katallna West Palm Beach Schill, Sheleva Miami Sheridan, Michael St. Petersburg Splegelman, Ronnl Lynn Miami Tunnel, Sophie Port Lauderdale Vaillant, Liai Largo Van Roc, Karin Fort Lauderdale •Walah, Kendra Miami Lakes •Wilson, Kathy Miami GEORGIA Grissette, Jennifer Savannah •Thompson, Lee Virginia Beach ILLINOIS Haynes, Barbara Northbrook Marks, Nancy Highland Park •Nieves, Dagoberto Chicago •Rosario, Dlno Chicago Rosenheim, Gall Highland Park KANSAS •Adolfson, Gary C. Wichita Pelock, Jennifer Prairie Village •Harano, Beth Manhattan Hercher, Leigh Wichita LOUISIANA Compton, Melissa Bossier City Cox, Alice Dus on Cox, Katherine Duson •Perachi, Michelle Ann Baton Rouge Ingram, Suzanna Baton Rouge MAINE Woodbrey, Kim Orono MARYLAND Belt, Carol Ann Bethesda Byrd, Deborah Laurel "Edwards, Antony Lothain 234

-4-

HARYLAND (cont.) •Paris, Jeffrey Silver Springs Frock, Laura Olney Green, Sarah Bethesda Larson, Maya Silver Springs Morrison, Alleen Frederick O'Neal, Monica Potomac Palmer, Nancy Westminster Sessions, Carol Bethesda Sprague, Beth Potomac MASSACHUSETTS Bartlett, Kathaleen Bradford Burnham, Elizabeth Newton Center •Caccamo, Dawn Lee •Condon, Kenneth Pettsfleld •Duffin, Deirdre Lenox •Goodman, Adam Boston Hartley, Ann-Marie Framing Heijn, Lisa Lincoln Kavalovski, Christlanna Dover Kurtak, Leslie Carlisle Manley, Michelle Newbury Port Maynard, Annette . ' Wayland Nichols, Tania Brookline Papageorge, Lisa Malden Welch, Julie Newbury Port MISSISSIPPI

Bumey, Cassandra Jackson Enochs, Marian Jackson •Keary, David Jackson MISSOURI Duckworth, Dina Crevecoeur Mavis, Ernest Kansas City •Stannard, William St. Joseph NEW HAMPSHIRE Beauregard, Karen Ann Hudson 235

-5-

WEW JERSEY Baxendale, Robin Princeton Del Corso, Qeralyn Bergenfield Evans, Kathy Glen Ridge Goldstein, Emily Marlboro Guerin, Elizabeth Princeton Hart, Christine Pennington •Huber, Jayne West Milford Kendall, Denise Princeton Lewandowakl, Julie Toms River Otis, Wendy Teaneck Ramisch, Pat Westwood Toblason, Julie Lindhurst Walsh, Sean Metuchen NEW YORK Carlucci, Bethany Portchester Chen, Benette StonybrooK •Coleman, Jennifer New York City •Conboy, Patrick Massapequa Corley, Vicki Syosset •Dawson, Donald New York City Peder, Nadia New York City •Franceschi, Antonia New York City Goebel, Linda Clifton Park Oretz, Herbert III Schenectady Hall, Cindy Wapplngers Falls Henry, Karen Bronx Jackson, Linda Rome Juan, Patricia Bronxville Kelly, Ellen New York City HcCutcheon, Kim Hamaroneck Macera, Lisa New Rochelle Mat erazo, Mart ha East-Bedford Nelson, Diane New York City Nevlns, Marc New York City O'Neill, Jean Rye Salmon, Jamie Vatatie Salo, Anna Mount Vernon Schick, Dorina New York City Solomon, Roxanne Ronkonkana abetter, Eileen Hamburg Vitolins, Daphne Troy 236

“6—

NORTH CAROLINA Gardner, Robert Winston-Salem Mahannah, Michelle Winston-Salem May, Ruthanne Charlotte •Walters, Tyler Hillsborough OHIO DeCalre, Candace Dayton Perrlck, Jennifer Arkon •Hinson, Patrick Cincinnati •Hunter, Peter Cincinnati Krody, Margo Cincinnati Magllocco, Lavlnia Cincinnati •Miller, Armon Toledo Nelson, Jeff Fairborn Nelson, Stephanie Gronsburg Perry, Laura Arkon OKLAHOMA Congler, Diane Tulsa •Grant, Male oIm Lawton Halbrook, Carla Tulsa Kumery, Jo Tulsa Lockwood, Tracy Tulsa Petry, Robin Norman •Smiley, Kimberly Tulsa Watters, Wendy Oklahoma City Wean, Annette Tulsa PENNSYLVANIA Feinstein, Josh Allentown Fritz, Joseph Bethlehem Garrett, Margaret Carlisle Orube, Susan Whitehall Harrison, Rebecca Williamsport Killian, Katrina Annville McAllcher, LaVonne Carlisle Miller, Clay Newville •Otloski, Mark Philadelphia Schiff, Lynn Allentown •Sullivan, Gall Pittsburgh Wilson, Susan Newportville Wingert, Deborah Medianicsburg Yoder, Susan Westchester RHODE ISLAND

Gnys, Mary Ann Lincoln 237

-7-

TENHESSEE Boyd, Michele Nashville TEXAS •Ammenheuaer, Kenneth Beaumont Barfield, Qede Dallas Barta, Sharon Dallas Barton, Laura Richardson Bodlne, Lori Corpus Chrlstl Brooks, Gloria Forth Worth Brown, Perry Amarillo Campbell, Sabrina Mesquite Courvllle, Caran Beaumont Dougherty, Sarah Beaumont Duval, Dana Dallas •Eslick, Cindy Amarillo Geddle, Angela Port Worth •Gordon, Lori Elaine Corpus Chrlstl Goza, Traci Orange •Graham, Randy Mt. Pleasant •Hutton, Lee Houston Johnston, Laura Longview Kutzler, Becky Port Worth Lawrence, Joanne Port Worth •Legg, Cathy Longview •McCallp, Melanie Port Worth Mauldin, John Paul Amarillo Odom, Allison Beaumont •Oliver, Laura Dallas Rogers, Christina Austin Rohde, Lauri Dallas •Scichill, Janie Dallas •Scott, Kevin Beaumont •Scott, Shelley Dallas Strassburger, Stephanie Port Worth •Tolpo, Christina Beaumont •Wagner, Suzanne Richardson White, Matt Amarillo •Wood, Bruce Smithfield Zummo, Monique Beaumont UTAH Beutler, Bonnie Roy Borski, John Kaysvllle 238

- 8 -

VERHOHT Cowey, Liz Charlotte Hurley, Melissa South Burlington Ferel, Lisa Burlington Rousse, Sally Barre West, Yvonne Barre VIRGINIA •Barrlsklll, Michael Virginia Beach Barton, Mary Arlington •Caddell, Stacy Norfolk Cerva, Marla Annandale Clark, Christina Annandale Crowell, Venetla Palls Church •Dodd, Loretta Portsmouth Dodson, Dawn Virginia Beach Hamel, Ken Alexandria Hernandez, Denise Chesapeake Hurd, Elizabeth Virginia Beach Martinez, Anna Maria Virginia Beach •Quigley, Monica Annandale Smith, Suzette Blueroont Tenbraak, Marla Portsmouth Teneyck, Julie McLean Tsao, Joan Norfolk WASHINGTON •Poster, Eric Charles Olympia •Russell, Patrick Seattle WEST VIRGINIA •Calloway, Douglas Eccles •Cerveris, Marisa Huntington Bibliography

Books

Balanchine, George and Mason, Francis. Balanchine * s Complete Stories of the Great Ballets. New York; Doubleday and C o . , 197 7.

Chujoy, Anatole. The New York City Ballet. New York: Alfred A. Knopf, Inc., 1953.

Dalrymple, Jean. From the Last Row. Clifton, New Jersey: White and Co., 1975.

Ford Foundation. Finances of the Performing Arts. 2 vols. New York, 1974.

Gruen, John. The Private World of Ballet. New York; Viking Press, 1975.

Goldner, Nancy. The Stravinsky Festival of the New York City Ballet. New York; Eakin Press, 1973.

Huckenpahler, Victoria. Ballerina; A Biography of Violette Verdy. New York; Marcel Dekker, Inc., 1978.

Kirstein, Lincoln. "The New York City Ballet," Ballet and Modern Dance. London: Octopus Books Ltd., 1974.

Thirty Years; The New York City Ballet. New York; Alfred A. Knopf, Inc., 1978.

Lowry, W. McNeil, ed. The Performing Arts and American Society. Englewood Cliffs, New Jersey; Prentice Hall, Inc. 1979.

Lyle, Cynthia. Dancers on Dancing. New York; Drake Pub­ lishers, Inc., 1977.

Martin, Ralph G. Lincoln Center For the Performing Arts. New York; Prentice Hall, Inc., 1971.

Moskow, Michael H. Labor Relations in the Performing Arts. New York: Associated Councils on the Arts, 1969.

262 263

Mazo, Joseph. Dance Is a Contact Sport. New York: Saturday Review Press, 1974.

Reynolds, Nancy. Repertory in Review. New York: Dial Press, 1977.

Taper, Bernard. Balanchine ; A Biography. New York: Collier Books, 19 74.

Articles in Magazines, Journals and Newspapers

Croce, Arlene. "Repertory Dead or Alive." The New Yorker, 18 February 1979, p. 67.

"Footnotes," Ballet News, March 1980, p. 7.

Hersh, Burton. "The Secret Life of Lincoln Center." Town and Country, January 1980, p. 110.

Jowitt, Deborah. "Back, Again, To Ballet." New York Times Magazine, 8 December 1974, p. 32.

Terry, Walter. "Formidable Balanchine: The Long Reign of America's Ballet Master." Saturday Review, 29 September 1979, p. 32.

Welsh, Anne Marie. "George Balanchine." Washington Star, 14 October 1979.

Winer, Linda. "Lincoln Kirstein Builds." Chicago Tribune, 8 April, 1979.

Documents

American Guild of Musical Artists. Basic Agreement; Major Dance Companies. New York; 1976.

Association of American Dance Companies. The AADC Reports on American Dance Companies. New York: May 1977,

Basic Agreement between American Guild of Musical Artists and The City Center of Music and Drama, Inc. BalTet Division. New York; 1949-1980.

News from the Ford Foundation. New York; December 16, 1963. 264

Pilk, Roberta and Vignola, Leonard. Challenge Grant Recipient Study: The New York City Ballet Interim Challenge Grant Evaluation Package. New York: 3 January 1979.

School of American Ballet. New York: School of American Ballet, Inc., 1979.

School of American Ballet Annual Report for Period of September 1, 1964 to August 31, 196 5. New York; 1965, p. 2.

Interviews

Balanchine, George. Interview. New York; 30 November 1979.

Bigelow, Edward. Interview. New York; 9 February 1979.

Cage, Betty. Interview. New York: 26 January, 3 December, 1979.

Gleboff, Nathalie. Interview. New York: 20 November 1978, 3 December 1979.

Golden, Rita. Interview. New York; November 30, 1979.

Horgan, Barbara, Interview. New York; 26 January 1979.

Lowry, W. McNeil. Interview. New York; 8 May 1979.

Molostwoff, Natalie. Interview. New York; 20 November 1978.

Olson, Alan. Interview. New York: 4 August 197 8, 9 May 19 79.

Reynolds, Nancy. Interview. New York; 9 February 1979.

Shouse, Catherine Filene. Interview. Washington, D.C.: 9 April 1980.

Sydeman, Hope. Interview. New York; 26 January, 7 May, 1979.