THE CHELSEA THEATER CENTER OF BROOKLYN

Artistic Director Executive Director Productions Director Robert Kalfin Michael David Burl Hash

presents

by TANKRED DORST

in cooperation with Ursula Ehler English version by Peter Sander

directed by ARNE ZASLOVE

setting designed by Wolfgang Roth costumes designed by Ruth Morley lighting designed by Daniel Flannery

with

Gary Allen Frances Bay Roberts Blossom Roger DeKoven Robert Einenkel J anice Fuller Eleanor Cody Gould Nicholas Hormann Ruth Hunt Anne lves Renos Mandis Charles Mayer George Morfogen K. Lype O'Dell Frances Pole William Robertson Larry Swansen Curt Williams Jerrold Ziman Sonia Zomina

Production stage manager: Sherman Warner

CAST IN .ORDER OF APPEARANCE

Old Man ...... • ...... • • ...... Roberts Blossom Fragile Lady ...... , .. , . , , . , , ...... Anne lves Cleaning Lady...... •...... Sonia Zomina Gardener . .. .•. .•...... , , , , • , • , ....•...... Curt Williams Spinste~ ...... •...... Eleanor Cody Gould Major's Widow ...... Frances Pole Oswald ...... •.. . •• ••. , .• , , , ...... Nicholas Hormann Prof. Jenssen, A Psychiatrist .... , ...... Jerrold Ziman Male Assistant...... •...... Robert Einenkel Female Assistant ...... • , .. , . , . , , , . , ...... Janice Fuller Paul ...... • .... , . , . , , , ...... George Morfogen Holm ...... •...... Larry Swansen Reich ...... K. Lype O'Dell Bank Director ...... •. . .. , ... , •...... Gary Allen Vera ...... • . . . , ...... Ruth Hunt Woman In Wheelchair...... •.. . , . , ...... 'Frances Bay Old Soldier...... , ...... • .... William Robertson Diva ...... Sonia Zomina Berend ...... •••.•....•...... Charles Mayer Man With Camera ...... • . , . , ...... Curt Williams Fat Man In Mask ...... , ...... K. Lype O'Dell Man In Mask...... , . . , ...... : . . . . Larry Swansen Cook...... •...... Renos Mandis Blind Man .. .• ....•...... , ...... Gary Allen Kristian ...... Roger De Koven

The action of the play takes place at an old people's home and the adjoining park, Norway, 1947-48.

THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION understudies: Frances Bay (Vera, Fragile Lady, Major's Widow, Cleaning Lady); Roger DeKoven (Old Man); ~obert Einenkel (Reich, Paul, Oswald); K. Lype O'Dell (Cook); Curt Williams (Kristian, Psychiatrist, Berend); Jerrold Ziman (Bank Director, Holm); Sonia Zomina (Spinster). assistant stage manager: Bob Jaffe

credits for ICE AGE wigs and beards by Bob Kelly Latvian song from Andrejs Jansons thanks to Mercedes Benz of Manhattan

U.S. production rights to Tankred Dorst's ICE AGE controll ed by Kurt Bern­ heim, 575 Madison Avenue, New York, on behalf of , Frank­ furt, Main. Gary Allen (Bank Director, Blind Man) just completed a leading role in the film COMMUNION. He also has a star­ ring part in the soon to be released film THE NIGHT THEY ROBBED BIG BERTHA'S. A veteran of The Second City, Hull House and Ivanhoe Theatres in Chicago, he attended the Goodman Memorial Theatre and Memphis State University. Some of his favorite roles have been Morris in THE BLOOD KNOT, Editor Webb in OUR TOWN and Eloi in AUTO-DA-FE. Mr. Allen has made severa l hundred television commercials and appeared on numerous network shows. He is the w inner of two Andy Awards and the Chicago Film Critics Award. This is his first appearance at Chelsea.

Frances Bay (Woman In Wheelchair) has appeared with Theatre Company of Boston, Pasadena Playhouse and Old Globe Theatre, as we ll as in numerous dinner theaters, Off Off Broadway, stock, television and radio. She is a charter member of Colonnades Theater Lab, and is a winner of the Best Actress Award at the Canadian Drama Fest­ ival. She has studied with Uta Hagen and at the Maria Ouspenskaya School of Dramatic Art. Some roles have included Berdie in LITTLE FOXES, Linda in DEATH OF A SALESMAN, Kate in PLEASURE OF HIS COMPANY and a cherished memory is narrating PETER AND THE WOLF to 6000 respon­ sive schoolchildren.

Roberts Blossom (Old Man) starred in Peter Brook's production of THE PHYSICISTS and was also seen on Broadway in STATUS QUO VAD IS, A COOK FOR MR . GENERAL, and others. Among his recent roles have been the Colonel in THE LAST MEETI NG OF THE KN IGHTS OF THE WH ITE MAGNOLIA at Arena Stage, D.W. Griffith in BEACON HI LL, and a Rebel in the upcoming ADAMS CHRON ICLES. He has been seen in films as the star of DERANGED, as Gatsby's father in TH E GREAT GATSBY, as Wild Bob in SLAUGHTER­ HOUSE FIVE, and as Mr. Guernsey in THE HOSP ITAL. Mr. Blossom has twice been awarded Obies for distinguished performances.

Roger De Koven ( Kristian) played The Actor in ARTURO Ul on Broadway and for Chicago's Goodman Theater. He is remembered for his role as Ziegfeld in the original production of FUNNY GIRL and as The Commissar in TOVARICH. His other Broadway credits include THE LARK; JOAN OF LORRAINE; BROOKLYN, U.S.A .; THE ASSASSIN; THE HIDDEN RIVER; COMPULSION and THE FIGHTING COCK. He has played Vershinin in three different productions of THE THR EE SISTERS, and recently received critical acclaim for his work in the film SE IZURE. Leading roles Off Broadway have been in Duerrenmatt's THE DEADLY GAME, THE MAKING OF MOO and STEAL THE OLD MAN'S BUNDLE. Robert Einenkel (Male Assistant) has previously appeared at Chelsea in AC/DC, THE SCREENS, KASPAR and SELF- ACCUSATION. He has worked with the Long Wharf Touring Company, NY Shakespeare Festival's tour of VOLPONE and Buffalo Studio Arena. He most recently did THE DREAM WATCHER with Eva LeGallienne at the White Barn Theater and Chausible in THE IMPORTANCE OF BEING EARNEST at Queens Playhouse. He has studied with Eva LeGallienne, Stella Adler, Elizabeth Smith and at the Yale School of Drama.

Janice Fuller (Female Assistant) played Minnie in the American Shakespeare Festival's 1971 production of MOURNING BECOMES ELECTRA. Other roles around the country include Mistress Quickly in THE MERRY WIVES OF WINDSOR for San Diego Nation· al Shakespeare Festival (where she spent seven seasons) and April in HOT L BALTIMORE for Seattle's A .C.T. In New York she has worked with Lion Theater Co., W.P.A., Manhattan Theatre Club, and Mercer Arts Center. Ms. Fuller studied at the Royal Academy of Dramatic Art.

Eleanor Cody Gould (Spinster) is founder and Executive Director of the American Creative Theatre. She pioneered in presenting original plays by American authors, producing sixty­ seven during the 1960's. She taught acting at the American Academy of Dramatic Arts in the last two decades, and has _been seen in films, commer­ cials and daytime serials. She was Director of the summer program at the Cape Playhouse in Dennis, Mass. and played leading roles at the Cherry County Playhouse, Ephrata Star Playhouse and Ivoryton (Conn.) Playhouse. This summer she acted in the Repertory Company American Stage Festival.

Nicholas Hormann (Oswald) has performed two winter and summer seasons w ith the New Phoenix Reper­ tory Company, playing Dennis McCarthy in END OF SUMMER and touring in MEMBER OF THE WE DDING and THE VISIT. A 1973 graduate of Yale Drama School and winner of the Oliver Thorndike Acting Award, he played Flamineo in THE WHITE DEVIL and created several roles for the Yale Reper­ tory Theatre incl uding Sterling Hayden in ARE YOU NOW OR HAVE YOU EVER BEEN. His stock credits include Oberon, Henry Higgins and Edmund in LONG DAY'S JOURNEY INTO NIGHT. He has appeared in RULES OF THE GAME for NET.

Larry Swansen (Holm, Man In Mask) after a career as a high school magician, an MFA degree from Oklahoma University, and several years of nudging the Gods and Goddesses of the Great White Way, finally made his way to Broadway in THE GREAT WHITE HOPE, THE UNKNOWN SOLDIER AND HIS WIFE and THOSE THAT PLAY THE CLOWNS. He did the national tour of THE SOUND OF MUSIC and appeared with Helen Hayes on tour in Maugham's THE CIRCLE. Various regional theaters have see n his work as Biff in DEATH OF A SALESMAN, John Shand in WHAT EVERY WOMAN KNOWS, Aimwell in THE BEAUX STRATAGEM and Sir Andrew in TWELFTH NIGHT. I Curt Williams (Gardener, Man With Camera) returns to Off Broadway after several seasons in regional theaters, where he played such diverse roles as Estragon in WAITING FOR GODOT, Edward in THE DRUNKARD, Tesman in HEDDA GABLER and Victor in PRIVATE LIVES. Prior Off Broadway credits include THE FANTASTICKS (three different roles), and starring roles at E.L.T. such as Danny in NIGHT MUST FALL and Leslie in THE HOSTAGE. On Broadway he was a standby in PUR LIE, playing the Old Captain and Charlie many times during its two year run and taking over Charlie on the national tour. A former student of Sanford Meisner, Mr. Williams now studies with Warren Robertson.

Jerrold Ziman (Psychiatrist) was seen most recently in GOLDEN BOY at the Manhattan Theatre Club where he also appeared in EAST LYNNE and in the Shirtsleeve Theater's production of Saroyan's REBIRTH CELEBRATION... Previously, he portrayed Goddard Guagmeyer, etc., in THE BEAUTY PART at the American Place, appeared in the title role of THE MARRIAGE OF MR. MISSISSIPPI at the Shade Co., was seen in LOTTA at the Public, and in the New Repertory Co. production of LADY FROM THE SEA directed by Robert Kalfin. ICE AGE marks his seventh show with Che lsea. He is featured in Jules Dassi n's latest film THE REHEARSAL and appears in various disguises on T.V. touting everything from fertilizer to fuel. A new version of THE TRIAL co-authored by Mr. Ziman will be presented in a staged reading at the Manhattan Theatre Club in December. Mr. Ziman holds a degree in philosophy from the 1 University of Chicago. J Sonia Zomina (Cleaning Lady, Diva) played the mother in Chelsea's production of SUNSET. Her long and varied career has included productions of TH E DYBBUK; GOD, MAN AND THE DEVIL, THE SHEPHERD KING and YOSHE KALB for the Yiddish Art Theatre; GREEN FIELDS; BRONX EXPRESS and DEATH OF A SALES­ MAN. She has had roles in the films CAMINO REAL, AFTER THE APP­ LAUSE, GOODBYE COLUMBUS, BYE BYE BRAVERMAN, LILLITH and the forthcoming THE FRONT, among others. She will be seen in Chan­ nel 13's SPACE AGE in December, and will be remembered from numerous T.V. commercials, where she has played everyone from Queen Isabe lla to a chicken plucker.

Wolfgang Roth (set designer) began his career in , where he designed for Erwin Piscator's theater, worked with Brecht, and designed, performed and wrote political cabarets and films. He then worked in Vienna and as a designer and arch­ itect. During this time he also performed as a vaudeville clown. Mr. Roth came to the U.S. in 1938 via London, where he designed Piscator's WAR AND PEACE, and has designed here and in Canada for theater and opera, including the Metropolitan and NY City Center Opera. He created, designed and prod­ uced THE LITTLEST CIRCUS, Broadway's first children's show. His many designs include the internationally acclaimed production of PORGY AND BESS, TWENTIETH CENTURY, NOW I LAY ME DOWN TO SLEEP, TOWER BEYOND TRAGEDY, MEDEA, ANDROCLES AND THE LION, SCHOOL FOR SCANDAL, BRECHT ON BRECHT, THE CANNIBALS and PINK­ VILLE at the American Place, and THE TRIAL at Hartford Stage Company. His first show for Chelsea was KASPAR . His work is currently on display at the Lincoln Center Museum of Performing Arts, and he is writing a book on his 45 years in show business.

Ruth Morley (costume designer) designed costumes for the original productions of A THOUSAND CLOWNS and THE MIRACLE WORKER, as well as the film versions of those plays, winning an Academy Award nomination for the latter. Among the films she has designed costumes for recently are MAN ON A SWING, CHILD'S PLAY, THE HOT ROCK, DIARY OF A MAD HOUSEWIFE, and the soon to be released TAXI DRIVER and THE FRONT. Her additional Broadway credits include DYLAN, TOYS IN THE ATTIC and WAIT UNTIL DARK. Miss Morley's designs for new operas at City Center Opera Company have included CARMINA BURANA and THE CRUCIBLE. Among her recent theater designs have been ARTURO Ul for Long Wharf Theatre, THREE­ PENNY OPERA for State Theatre, four productions for the American Place Theatre, and HUGHIE/DUET on Broadway.

Daniel Flannery (lighting designer) designed lights for Chelsea's production of THE FAMILY. He is currently Director of Photography for a WNET-13 pilot series on children around the world, a capacity he has filled on many documentaries. Mr. Flannery has been Lighting Director for a number of te levision shows and commercials including the most talked about "White Rock" ads. His theater credits as Lighting Designer include AUGUSTA and IDIOT'S DELIGHT Off Broadway. He has also designed lighting for The Dove Company, The Cubiculo and Theatre for the New City. He has taught advanced lighting design at State University of N.Y. at Albany. Mr. Flannery studied theater design at Lester Polakov's Studio and Forum of Stage Design and filmmaking at Columbia University. He spends his spare time playing the violin and skydiving.

Robert Kalfin (artistic director) founded the Chelsea Theater Center in 1965, and has been Chelsea's Artistic Director ever since. A graduate of the Yale School of Drama (M.F.A. Direct­ ing). he has directed in universities and summer theaters and several of the major Canadian and American regional theaters, where he received national attention for his innovative productions of THE GLASS MENAGERIE and PUNTILLA AND HIS HIRED MAN. Mr. Kalfin directed the Scandinavian touring production of THE SKIN OF OUR TEETH (with E.G . Marshall and Sada Thompson) and Off Broadway he co-produced and directed THE GOLEM, AN EVENING OF EUROPEAN THEATER, and directed and adapted THE GOOD SOLDIER SCHWEIK. Later Off Broadway productions of TAROT and KADDISH originated at the Chelsea Theater Center. Mr. Ka lfin staged THE LADY FROM THE SEA for the New Repertory Company and for the Chelsea T heater Center he has directed FIVE DAYS, ONE OF US HAS BEEN IGNITED, THE FURTHERMOST FINGER OF F ILLMOR E, MY FRIEND WEISSMAN IS BACK, JUNEBUG GRADUATES TON IGHT, CHRISTOPHE, THE JUDAS APPLAUSE, AN EVENING WITH HUCKLE­ BERRY FINN, THE UNIVERSAL NIGGER, TAROT, KADDISH, SUNSET, TOTAL ECLIPSE, YENTL THE YESHIVA BOY and POLLY. His production of YENTL is currently playing on Broadway.

Michael David (executive director) has been Executive Director of the Chelsea Theater Center for the past seven years; he has also produced concerts (from THE BAND to SUN RA); poetry readings (from Allen Ginsberg to Le Roi Jones); and films, as well as plays; he has conceived and managed Arts Projects in the East and Midwest; as a scene designer, he was the resident designer of the American Drama Festival for two years; as a teacher, he represented Yale/Harvard Southern Teaching Program in North Carolina, and is presently a member of the faculties of Pratt Institute and Yale University, where he received his M.F.A. in Production,. Design and Administration.

Burl Hash (productions director) has been Productions Director for all Chelsea productions for the past six seasons. He is a graduate of the University of Texas and received an M.F.A. from the Yale School of Drama. He is currently a faculty member of Pratt Institute's new Performing Arts Program. CHELSEA THEATER CENTER STAFF

Artistic Director Robert Kalfin Executive Director Michael Dav id Productions Director Burl Hash

General Manager William Craver

Community Services Office P.romotion & Development Director Penny Peters Press Representative Joel Wald Subscription Manager John Carlton House Manager Lester Gruner Administrative Assistant Clarence Cheatham Creative Direction Doug Johnson Staff Photographer Laura W. Pettibone

Administrative Office Theater Administrator, Pratt Training Coordinator Dick Green Business Manager Sandy Carlson Westside Theater Manager Tim Wernet Administrative Associate Barbrah Messing Receptionist Julia Erv in Assistant to Business Manager Carla Bruno Bookkeeper Pat Kell y

Production Office Production Coordinator Ginny Freedman Technical Director James Burke Costumer Carol Spier Costume Assistant Gertrude Sloan Propert y Master Jeff Kint Property Assistant Louise Klein Electrician Lenny Simoncek

GLCA-Student Interns Eric Bogosian, Natali e Brundred, Bill Chetel, Elizabeth Chlystek, Cindee Mayfield CETA Interns Terry Malone, Louise Martinez, Oscar Ruiz, Shelley Valfer College Work/Study Program Mark Stewart

Advertising Mike De Louise, Blaine Thompson Co. Performing Dogs

Counsel Harvey Horowitz Squadron, Gartenberg, Elenoff & Pl esent

Accountants Lutz & Carr program design by Performing Dogs illustrations by Doug Johnson WHAT'S HAPPENING AT CHELSEA

At The Westside: BY BERNSTEIN, a musical cabaret celebrating the unknown theater music of Leonard Bernstein. Written by noted lyricists Betty Camden and Adolph Green, directed by Michael Bawtree. Currently playing upstairs.

THE FAMILY, the European sensation by Dutch playwright Lodewijk de Boer. A bizarre soap opera in four episodes you'll never see on prime time television. Directed by Barry Davis, who staged our award-winning prod­ uction of THE CONTRACTOR. Parts I and II are now in repertory down­ stairs.

In Brooklyn: THE BOSS, Chelsea's Bicentennial effort. Edward Brewster Sheldon's melo­ drama is fine old "bravura" theater. Directed by Eddie Gilbert. February 17 - March 14.

THE PRINCE OF HOMBURG, Heinrich Von Kleist's famous pray, follows Chelsea's tradition of offering major theatrical works (like Genet's THE SCREENS) never before produced in America. Production conceived and directed by Chelsea's Artistic Director, Robert Kalfin. March 30 - April 25.

On Broadway: YENTL, at the O'Neill Theater, 49th St. west of Broadway. Chelsea's ac­ claimed production of Isaac Bashevis Singer's unusual tale has moved to Broadway, again staged by Robert Kalfin. If you missed it during its sold out Brooklyn run, here's your chance!

CANDIDE, at the Broadway Theater, 53rd St. and Broadway. What more can we say? Chelsea's production of the Bernstein, Wilbur, Wheeler "classic" has been running on Broadway for almost t wo years. CAN Dl DE speaks for itself!

The Chelsea Theater Center of Brooklyn in residence at the Brooklyn Academy of Music, is a non-profit, professional producing organization. It is supported solely by contributions from private individuals, foundations, corporations and government agencies as well as from our audiences. Since 1973 Chelsea has been associated with Pratt Institute in its new theater training program. Chelsea's eleventh season is being brought to you partially with the help of our friends, the National Endowment for the Arts, the New York State Council on the Arts, the New York City Office of Cultural Affairs, the Nobel Found­ ation, the Ford Foundation, the Rockefeller Foundation, the Shubert Found­ ation, the Mellon Foundation, Goethe House, and of course the Brooklyn Academy of Music. BOARD OF DIRECTORS: Oliver Rea, Chairman; George A.·Bari, Susan Bloch, Charles Brown, Ben Edwards, Don Elliott, Seth Faison, Bruce Graham, Robert Kalfin, Helen Merrill, Evelyn Ortner, Anthony Perkins, Julien J. Studley, Jay R. Wolf. HONORARY ADVISORY COMMITTEE: Harold Clurman, Barbaralee D. Diamonstein, Sally Genn, Kenneth Greenstein, John Houseman, Jules Irv ing, Richard Kirschner, Sidney Lanier, Lawrence Shubert Lawrence, Jr., Lucille Lortel, Milton Lyon, Harold Prince, C. Duryea Smith, Robert Whitehead. CHELSEA (1~ 1975) 1st SEASON - 1965-66: Five Days by Henry Zeiger, Directed by Robert Kalfin I Triptych by Ken McGuire, Directed by Barry Plaxen I John Wilkes Booth by Ronald Colby, Directed by Don Phelps I The Communist by Archie Shepp, Directed by Ed Cambridge I The Eve Of The Green Grass by Cole­ man Dowell, Directed by Sherwood Arthur I Rebels and Bugs by Wynn App­ ling, Directed by Charles Gordone I The Final Solution Of The Negro Problem by Tom Mechling, Directed by Robert Bielicki I Nero And Fool by Robert Reinhold, Directed by Joe Kaplan I The Admiration Of Life by Patricia Broderick, Directed by Patricia Broderick I A Different World by Rachel Erlanger, Directed by Barry Plaxen I Birth Of A Rebel by Richard Dav idson, Directed by Mark Zalk I Kid by Edward Pomerantz, Directed by George Gu idall I Billy by Russ Vliet, Directed by Edwin Wi lson I Three Days Before Yesterday by Kevin O'Morrison, Directed by Thomas Bissinge r I Las Ven tanas by Roberto Rodriquez (In Spanish). Directed by Roberto Rodriquez I One Of Us Has Been Ignited, and The Furthermost Finger Of Fillmore by Jerome Max, Directed by Robert Ka lfin I Johannes by Bill Gunn, Directed by Roscoe Lee Brown I My Friend Weissman Is Back by Robert Bonnard, Directed by Allan Marshall I Psalms Are Psung On Psundays by Jean Maljean, Directed by Michael Schultz I The Fighter by Mark Eisenstein, Directed by Robert Bielicki I The Island Of Symmetrical People by Dennis Selby, Directed by Cynthia Belgrave I Simon by Fred Feirstein, Directed by Mort Siegel I The Captain's Marbles by James Spencer, Directed by Byrne Piven I The Wide Open Field (A Screenplay) by Patricia Broderick, Directed by Patricia Brod­ erick I A Dream Deferred by Harold Scott, Directed by Harold Scott I The Bird, The Bear, And The Actress (A Television Play) by John Glennon, Dir­ ected by John Glennon. 2nd SEASON - 1966-67: Junebug Graduates Tonight by Archie Shepp, Direct­ ed by Robert Kalfin I II Combattimento Di Tancredi E Clorinda (Bal let­ Opera) by Claudi Monteverdi, Joint production with Dance Theater Work­ shop, Choreography by Jeff Duncan. 3rd SEASON - 1967-68: (Joint project w ith Hunter College) This Bird Of Dawning Singeth All Night Long by Phillip Dean, Directed by Osceola Archer I Dewar's White Label, It Is by H.N. Levitt, Directed by Robert Kidd I Hymn To The Flea by Ben Wi lensky, Directed by Neil McKenzie I Cry My Lord For The Chickens Have Met Their End by Ronald Mele, Directed by"T om Millot I Another Conception by Sidney Davis, Directed by John Capel letti I The Buriel Committee by Ottway Crockett, Directed by Robert Haddad I My Friend Weissman Is Back by Robert Bonnard, Directed by Robert Kalfin I Edith Stein by Arthur Giron, Directed by John Sillings I Shield Of Achilles by Aaron Weingarten, Directed by Lester Robbins. 4th SEASON- 1968-69: Christophe by John Gay, Directed by Robert Kalfin I The Blood Of The Pig And The Bite Of The Dog by Elizabeth Lev in, Dir­ ected by John Capalletti I Thunder In The Index by Phillip Dean, Directed by Gladys Vaughn I Big City Breakdown by Henri Zeiger, Directed by Isaiah Sheffer I The Watchpit by Kit Jones, Directed by Robert Bonnard I Chronicle by Florence Stevenson, Directed by John Sillings I The Innocent Party and The Wax Museum by John Hawkes, Directed by Larry Loonin I A Black Quartet: Prayer Meeting, Or The First Militant Minister "by Ben Caldwell, Directed by Irving Vincent I The Warning, (A Theme For Linda) by Ron Milner, Directed by Woodie King I The Gentleman Caller by Ed Bu llins, Directed by Allie Woods I Great Goodness Of Life (A Coon Show) by Le Roi Jones, Directed by Irving Vincent I The Judas Applause by Gary Munn, Directed by Robert Ka lfin. 5th SEASON · 1969-70: Slave Ship by LeRoi Jones, Directed by Gilbert Moses I Goodbye, Dan Bailey by Ken Bernard, Directed by George Guidall I Things To Hear, Things To See (An Evening with Huckleberry Finn), A Musi· cal with Music by Clay Boland; Book and Lyrics by Steve Brown, Directed by Robert Kalfin I The Brass Butterfly by William Golding, Directed by Allan Leight I Candaules, Commissioner by Daniel C. Gerould, Directed by Robert Bannard I The Unicorn From The Stars by William Butler Yeats, Directed by Josephine Nichols I The Universal Nigger by Gordon Porterfield, Directed by Robert Kalfin. 6th SEASON - 1970-71: Saved by Edward Bond, Directed by Alan Schneider I Tarot by Joe McCord, Directed by Robert Kalfin I ACIDC by Heathcote Williams, Directed by John Hirsch I My Foot My Tutor, and Self-Accusation by , Directed by Weiland Schulz-Ke il. 7th SEASON - 1971 -72: Four Americans: Now There's Just The Three Of Us by Michael Weller, Tall and Rex by David Wiltse, Directed by Roger Simon I The Reliquary Of Mr. & Mrs. Porterfield by Stephen H. Forman I Things by David Kranes, Directed by Dennis Rose I The Screens by Jean Genet, Directed by Minos Volanakis I The Interrogation Of Havana by Hans Magnus Enzens­ berger, Directed by Louis Criss I Kaddish by Allen Ginsberg, Directed by Robert Kalfin I The Beggar's Opera by John Gay, Directed by Gene Lesser I Eros & Psyche by John Argue, Directed by John Argue I The Water Hen by Stanislaw lgnacy Witkiewicz, Directed by Carl Weber. 8th SEASON - 1972-73: Lady Day: A Musical Tragedy by A ishah Rahman, Directed by Paul Carter Harrison I Sunset by Isaac Babel, Directed by Rob­ ert Kalfin I Kaspar by Peter Handke, Directed by Carl Weber I The New Theater Paul E. Richards and Gerald Hi ken / Iowa Theatre Lab: The Naming I El Teatro Campesino: La Carpa De Los Rasquachis, Directed by Luis Valdez I Video Free America: The Continuing Story of Carel and Ferd Created by Arthur Ginsberg. 9th SEASON · 1973-74: The Contractor by David Storey, Directed by Barry Davis I Candide adapted from Voltaire by Hugh Wheeler, Score by Leonard Bernstein, Directed by Harold Prince I Total Eclipse bY. Christopher Hampton, Directed by Robert Kalfin I The Madhouse Company: 'The Wild Stunt Show." 10th ANNIVERSARY SEASON· 1974-75: Hothouse by Megan Terry, Direct· ed by Rae Allen I Yentl The Yeshiva Boy by Isaac Bashevis Singer, Adapted for the stage by Leah Napolin and Isaac Bashevis Singer, Directed by Robert Kalfin I Westside World Series: El Teatro Campesi no: La Corpa De Los Ras­ quachis; The San Francisco Mime Troupe: The Mother and The Great Air Robbery I Diamond Studs by Jim Wann, Music and Lyrics by Jim Wann and Bland Simpson, Directed by John Haber, Musical Staging by Patricia Birch/ Santa Anita '42 by Allan Knee, Directed by Steven Robman I Polly by John Gay, Adapted & Directed by Robert Kalfin. 11th SEASON - 1975-76: By Bernstein , Music by Leonard Bernste-in, Lyrics by Comden & Green, Directed by Michael Bawtree I The Family by Lode­ wijk de Boer, Directed by Barry Davis.

Special thanks to the Brooklyn Academy of Music, the Booth Farris Found­ ation and the City of New York for giving Chelsea's Theater a much needed face lift.