BROOKLYN ACADEMY of MUSIC Ivezp.100335

BROOKLYN ACADEMY OF MUSIC IvezP.100335-

BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden. Seth Faison. Paul Lepercq. Honorary Chairmen: Neil D. Chrisman, Chairman: Rita Hillman. I. S(anley Kriegel. Ame Vennema. Franklin R. Weissberg. Vice Chairmen; Harvey Lichtenstein. President and Chief Executive Officer; Harry W Albright. Jr.. Henry Bing. Jr.. Warren B. Coburn. Charles M. Diker. Jeffrey K. Endervelt. Mallory Factor, Harold L. Fisher, Leonard Garment, Elisabeth Gotbaum. Judah Gribetz, Sidney Kantor. Eugene H. Luntey, Hamish Maxwell. Evelyn Ortner, John R. Price. Jr.. Richard M. Rosan. Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti: Hon. Henry Geldzahler, Member ex-officio.

OFFICERS Harvey Lichtenstein President and Chief Executive Officer Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development Micheal House Vice President for Marketing and Promotion J ADMINISTRATIVE OFFICE STAFF Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk FINANCE Perry Singer Accountant Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION BARI Marketing Nancy Rossell Assistant to Vice President Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION fl Jack L. Hickethier Director Lee Chizman Assistant to the Director 1 COMMUNITY DEVELOPMENT Mikki Shepard Director Mahmoudah Ali Assistant to the Director Rudy Stevenson Music Consultant Jennie Gonzalez Secretary PERFORMING ARTS PROGRAM FOR YOUNG PEOPLE Leonard Natman Director Hessie McCollum Program Coordinator Sara Walder Sales Coordinator PRODUCTION Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM Robert L. Foreman Assistant Production Manager Sarah Stuart Production Assistant Martin Green Crew Chief Robert Sniecinski Wardrobe Supervisor Naaman Griffin, Steve Greer, John Fuller, William Horton, James Kehoe, Howard Larson, Patrick McDonald, Bernard Gilmartin, Donald Riordan THEATRE MANAGER John J. Miller Theatre Manager Leonard Natman Associate Theatre Manager Ken Farris, Lauren Scott. Alan Tongret BUILDING MANAGEMENT Stan Mongin Building Manager Norman MacArthur Assistant Building Manager Lazarro Curato Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Jahue'Cooper, Nick Curato, Ray Dorso, Donald Farr, Angel Guadalupe, Steve Lanza, Bernard Lawrence, Michael Marayentano, Sheraf Moustafa, Nunzio Orlando, Joseph Patterson, Frank Percaccia, James Postell, Gloria Simon, Sadie Vinson James Victor, Angelos Voudouris, Robert Wells BROOKLYN BOX OFFICE Saheed Baksh Box Office Treasurer Michael Glassman, Joseph Nekola ACADEMY it DIRECTORY Box Office: Monday through Friday, 10:00am to 6:00pm: Performance days till 9:00pm; OF MUSIC Saturday and Sunday, Performance times only. Lost and Found: Telephone 636-4150 Restroom: Opera House Women and Men: Mezzanine level and 5th floor; Handicapped: Orchestra level. Lepercq Space: Women and Men: Theatre level 5th floor. Public Telephones: Main lobby, Felix Street Entrance. For information about group rates on tickets call 636-4126. The taking of photography or the use of recording devices in this theatre is strictly forbidden. Brooklyn Academy of Music, 30 Lafayette Ave., Brooklyn, NY 11217. (212) 636-4100. The Brooklyn Academy of Music is a Charter Member of The League of Historic American Theatres. BROOKLYN ACADEMY OF MUSIC BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, Producer Judith Daykin, Associate Producer

EXECUTIVE PRODUCERS PATRONS $1,00002,499 Ms. Joan Bieder & 9-14, 1982 1982-83 Mr. William Josephson November Mary Griggs Burke Opera House Mary Livingstone Griggs and The Brooklyn Academy of Music is Mary Griggs Burke Foundation owned by the City of New York and Richard W. Hulbert administered by the Brooklyn Acad- The Irvine Foundation emy of Music, Inc. The Brooklyn I. Stanley Kriegel Academy of Music's operation is Phyllis Holbrook Lichtenstein supported in part with public funds Hamish Maxwell The Netherlands America Community THE CULLBERG provided through the New York Association. Inc. City Department of Cultural Affairs Frederick W. Richmond Foundation and with grants from the National Richard & Dorothy Rodgers BALLET COMPANY Endowment for the Arts and the Foundation. Inc. New York State Council on the Arts. The Starr Foundation The Swedish National Theatre Centre In addition. the Board of Trustees William Tobey wishes to thank the following foun- Michael Tuch Foundation dations, corporations, and individ- John T Underwood Foundation uals who, through their leadership The Vinmont Foundation Harold Weitz and support make these programs The Robert and Mari I lyn Wilson possible. Foundation Birgit Cullberg, Mats Ek INDIVIDUALS AND PRODUCERS Artistic Directors FOUNDATIONS $500-$999 Robert H. Arnow Neil D. Chrisman LEADERSHIP $25,000 and above Robert Davenport Ms. Virginia Dwan Louis Calder Foundation Mr. Jeffrey K. Endervelt Edna McConnell Clark Foundation The Henry Goldberg Foundation Jeremy Leslie-Spinks Alexander Bastos Doll Lepercq International Dance Fund Mr. & Mrs. Philip S. Jessup Simarka Run Foundation Ballet Master Producer and Mr. Jack Lawrence J.M. Kaplan Fund. Inc. Mr. & Mrs. Richard Menschel lburing Manager Andrew W Mellon Foundation Mr. & Mrs. Martin Segal for National Endowment the Arts Mr. & Mrs. Norman Segal New York Youth Board City Mrs. Dan Seymour The New York Community Trust The Zeitz Foundation New York State Council for the Arts Mr. Sanford J. Zimmerman Edward John Noble Foundation Olga Eriksson Bengt Hager Rockefeller Brothers Fund Secretary International Planning Mr. & Mrs. Ame Vennema ASSOCIATE PRODUCERS Ballet $250-$499 PACESETTERS Mr. & Mrs. M.R. Berman $10,000-$24,999 Brooklyn College Institute for _Retired Professionals & Executives Charles Bay Ulrick & Josephine Mr. Steven H. Case Foundation Mr. & Mrs. Donald H. Elliott Siv Ander, Yvan Auzely, Jarck Benschop, Henri & Eugenia Doll Foundation Mr. & Mrs. Paul Esserman Alex Hillman Family Foundation Maria Blanco, Luc Bouy, Izak Coetzee, Anna Diehl, Mr. & Mrs. Al Kronick Henry & Lucy Moses Fund Christopher LiGreci & Mats Ek, Niklas Ek, Carlos Iturrioz, Stefan Karlsson, Norwegian Information Service Robert Ohlerking Shubert Foundation Ana Laguna, Daniela Malusardi, Monica Mengarelli, Dr. & Mrs. James McGroarty Bernard M. Manuel Sighilt Pahl, Pompea Santoro, Jacek Solecki, Rev. Francis J. Mugavero BENEFACTORS Allyson Way, Lena Wennergren Mr. & Mrs. Arthur J. Radin $2,500 -$9,999 Mr. & Mrs. Rubin Raskin Philippe Braunschweig Stephen H. Scheuer Max and Victoria Dreyfus Foundation Mr. & Mrs. Irwin Schneiderman Mallory Factor Joanna & Norman Sher The Hochschild Fund. Inc. Mr. & Mrs. Harry Silverstein The Heckscher Foundation for Children Mr. & Mrs. Robert K. Smith Valerie Manuel The National Opera Institute Mr. & Mrs. Everett Ortner SPONSORS Alice Holbrook Platt $100-$249 Prospect Hill Foundation Dr. Edward W Altman Martha Baird Rockefeller Fund for Music R. Steven & Jan C.K. Anderson The Helena Rubinstein Foundation Mrs. Anne Barsky The Scherman Foundation Mr. & Mrs. Werner Barusek Seth Sprague Educational and Charitable William & Julia Beadenkopf Foundation John Beaton Swedish Council of America Mr. Walter E. Beer Uris Brothers Foundation Mr. & Mrs. H. Gerald Bissinger, II Dr. Robert D. Blank Jean Marie & Neita Blondeau Dr. & Mrs. Martin Bodian William B. Bolton Mr. & Mrs. John Castaldi Mrs. John Chancellor Ballet International is presented by the Brooklyn Academy of Music with the Arthur W. Cohen Doll-Lepercq International Dance Fund and the governments of Norway, Sweden, Mr. & Mrs. Ira Cohen the Netherlands, Switzerland, the German Federal Republic and the United Dr. & Mrs. A. Norman Cranin Kingdom in association with the New York State Council on the Arts, Morgan Judith Daykin Guaranty Trust Company and the international business community. Thomas A. Donnelly Mr. & Mrs. Issac E. Druker The Cullberg Ballet Company's engagement at BAM is an official program of Mr. & Mrs. Jerome Dubroff Scandinavia Today, and has been sponsored in part by the Swedish Council Lorin Duckman of America and the Swedish Institute.

(continued on inside back cover) THE CULLBERG BALLET COMPANY ADAM AND EVE

Program B 1961 Wednesday, November 10 at 7:00 pm Thursday, November 11 at 8:00 pm Adam and Eve is one of the classics in the Cullberg Ballet's Friday, November 12 at 8:00 pm repertory. Created in 1961 to Hilding Rosenberg's Concerto per Orchestra d'Archi, it has been danced by every succeeding generation of Cullberg dancers and has also been incorporated MISS JULIE ADAM AND EVE in the repertories of several companies outside Sweden. In 1981 it was televised with Rudolf Nureyev and Daniela Malusardi SOWETO-SOUTH AFRICA in the title roles. The work is so closely associated with the Cullberg Ballet that a picture from the performance is to be found everywhere-on posters, in programs and in all public- MISS JULIE ity material about the Ballet. Adam and Eve is a pas de deux about creation, love and the 1950 expulsion from paradise. It begins at the moment when the first human beings are squinting their eyes at the sudden A ballet in one act and four scenes inspired by the drama of light. Adam finds that he is no longer alone. After his first August Strindberg. delight, he notes that males and females are different and that The action takes place on a Swedish estate in the eighteen- this is not always to the good. Thunder in a sudden storm is eighties. Miss Julie, the Count's daughter, has been educated interpreted by Eve as the voice of God, condemning them for by her mother to hate and fear men. She rejects the man her having made love. Frightened, they leave the Garden of Eden. father wants her to marry, but at the Midsummer's Festival In an earlier version, this ballet was known as Eden. when the sun never sets and the peasants dance all through Choreography Birgit Cullberg the night, she succumbs to the erotic spell and falls in love Music Hilding Rosenberg: with Jean, the butler. In seducing her, he is stimulated as Concerto per much by the urge to avenge himself for the injustices he has Orchestra d'Archi suffered from her aristocratic class as from physical desire. Decor Jan Brazda Half in a dream, she is driven by a vision of her ancestors to Costumes Per Falk kill herself. Adam Niklas Ek Choreography Birgit Cullberg Eve Daniela Malusardi Staged by Anne-Marie Lagerborg and Jeremy Leslie-Spinks (5 minute pause) Music Tare Rangstrom Recorded by Stockholm Philharmonic Orchestra Conductor Carl Rune Larsson SOWETO-SOUTH AFRICA Set and Costumes From original sketches by Sven Erixson 1977 Miss Julie Ana Laguna "It is not the poverty and misery among the black Jean, the butler Niklas Ek people in South Africa that matters just now. The most important thing is Kristin, the cook Monica Mengarelli that the struggle for liberation has started and that it cannot be Julie's fiancée Jacek Solecki stopped any longer." The Count, Jeremy Leslie-Spinks Julie's father (South African student leader in Soweto). Klara, peasant girl Pompea Santoro Soweto is the name of a suburb of Johannesburg in South Anders, farm worker Yvan Auzely Africa where millions of Africans live. Soweto is the huge A drunkard Stefan Karlsson ghetto in which the whites of Johannesburg store their worst Peasant girls Siv Ander, Maria Blanco, Anna paid workers, whose poverty is the condition for their own Diehl, Daniela Malusardi, wellbeing. Allyson Way In the spring of 1976 African school children started to Peasant boys Jarck Benschop, Carlos Iturrioz, demonstrate against the policy of segregation. The police re- Jacek Solecki taliated with violence and hundreds of Africans were killed. Gossips Izak Coetzee, Jeremy The revolt of Soweto was the beginning of a series of increas- Leslie-Spinks, Lena Wennergren ingly violent rebellions all over South Africa. Desperate mis- Miss Julie's Ancestors Siv Ander, Maria Blanco, Pompea directed conflicts even occurred between rival groups of Afri- Santoro, Allyson Way cans. However, the uprising of Soweto was the start of a long- Yvan Auzely, Jarck Benschop, awaited liberation. This ballet explores the situation of the Izak Coetzee, Carlos Iturrioz black people in Soweto. Choreography, (Intermission) Lighting, Costumes Mats Ek Music Collage of modern music Dancers Birgit Cullberg/Siv Ander/ Daniela Malusardi / Monica Mengarelli Pompea Santoro(11/10)/Sighilt Pahl (11/11, 11/12)/Allyson Way Luc Bouy, Carlos Iturrioz/ Stefan Karlsson

Also participating "Little Blanche" Birgit Cullberg- Artistic Director for an even greater international career, and offers began coming in. Birgit Cullberg, Swedish dancer, choreographer and Artistic Direc- By 1972, he felt the need for some kind of artistic renewal and there- tor, studied at Stockholm University and attended the Jooss-Leeder fore moved to Belgium to join Maurice Mart's Ballet du XXeme School at Dartington Hall, England. She returned to Sweden in 1939 Siècle. He intended to stay only one year but he stayed there three and soon formed her own group which appeared in literary revues and years, working his way up to the position of "star dancer" in such gave its own performances. Her first ballets were often humourous, works as The Rite of Spring, Romeo and Juliet, The Firebird, Stimmung psychological studies, animal characterizations, and, in Propaganda and I Trionfi. and Offensive, satirical. She was resident choreographer of the Royal Swedish Ballet (1952-57 and 1963-66) and is now director and choreog- Ana Laguna came to Sweden and The Cullberg Ballet Company rapher of her own ballet company, The Cullberg Ballet Company at in 1974 at the age of 19, after having studied classical ballet with the Swedish National Theatre Centre. Since her breakthrough in the Spain's foremost classical teacher, Maria de Avila, in her home town, fifties Cullberg has been working with large companies such as the Zaragoza. When the Cullberg Ballet appeared in Madrid, Ana met Royal Danish Ballet in Copenhagen and American Ballet Theatre. Birgit Cullberg, and this led to her joining the company, practically She has set her ballets with many companies both in Europe and the directly from school. Her breakthrough came in 1976 when she danced United States, e.g., Oslo, Helsinki, Dusseldorf, Munich, Cologne, the Princess in Mats Ek's St. George and the Dragon and since then one success has followed another. With her warm sensualism and Dortmund, Bayreuth, New York, and Tokyo. It She was awarded the Swedish King's fellowship (1958) and the dramatic temperament she has given memorable performances in Order of Vasa (1961). Her outstanding choreographic works are Miss Mart's Sonata for Three, in Soweto-South Africa and as the Maid Julie (1950), Medea (1951), The Moon Reindeer (1957), Adam And Eve in The House of Bernarda Alba. With Rudolf Nureyev in 1981 in (1961), Eurydice is Dead (1968), Romeo and Juliet (1969), Report (1976) Stockholm she danced an unforgettable Miss Julie, proud and fiery, far and Dreams of Love and Death (1980). The television ballet The Evil from the usual cool mistress-of-the-manor interpretation. Ana does Queen (1961) was awarded the Prix d'Italia of that year and was later not long for the purely classical repertory. She finds it too artificial, shown in the U.S. on educational television. In 1971 Birgit Cullberg judging by what is being done in the classical ensembles. In her received the Prix d'Italia for the pas de deux Red Wine in Glasses opinion, the dance must reflect people in the present. Green. The works Miss Julie, Adam and Eve, and The Lady from the Sea have been on television all over the world. The Evil Queen, The Luc Buoy was born in Belgium and raised in Africa, where, at an Tower of Babel (1967) and Peer Gynt (1976) were made for television. early age, he came into contact with dances and rhythms. Upon his Cullberg's ballets are danced by all Scandinavian companies and by return to Europe at the age of eight, he tried for years to persuade his American Ballet Theatre (Miss Julie, Moon Reindeer, Adam and Eve, parents to let him study dance, but he was in his mid-teens when he The Lady from the Sea), the New York City Ballet (Medea), the Chilean began to study with Raymond Heuse. After ten years of training, he National Ballet, and others. She is the author of the book The Ballet became a member of Maurice Mart's Ballet of the Twentieth Centu- and We which has been translated separately by Dance Perspectives, ry, where he danced for six years before joining The Cullberg Ballet and was a co-writer of the book The Ballet School. Company, where he could choreograph as well. Luc Bouy has created 6 x 1, ...Your Eyes, In Embrace ofMemory, Through Black and White, Mats Ek- Artistic Director Seven Dancers, and The Thirteenth ofNovember,1901 for The Cullberg Mats Ek made his debut at the age of eight with his twin sister Ballet Company. Malin as the children in Medea, a ballet by their mother, Birgit Cullberg, but did not start his formal dance training until he was Monica Mengarelli comes from an old Swedish theater family in seventeen. which almost all members have been artists. She studied first with Three years later he left his ballet training for the theater and Lilian Carina in Stockholm and then was accepted in the Opera school, entered the Marieborg School in Norrkoping and produced the Noh- where she stayed for six years, taking part in many of the productions play Kagakiyo. The next year he produced the same play for the of the Royal Swedish Ballet, including tours both in Sweden and abroad. Marionette Theatre in Stockholm where he also directed George She has been in the Cullberg troupe since 1979. Buchner's Woyzeck, with his brother Niklas in the title role. The success of this play offered Mats Ek the opportunity to assist the Daniela Malusardi was born in Rome, where she began classical famous Swedish director Alf Sjoberg at the Royal Dramatic Theatre ballet studies and danced with the Elsa Piperno Ensemble. She went in Stockholm, where Ek remained until 1973. to London to study mime and continue her ballet training, and later In 1973, Mats Ek returned definitively to dance, and joined his moved to New York to study Graham and Horton techniques in addi- mother's company, The Cullberg Ballet Company, as a dancer. He tion to classical ballet. She was a member of the Alvin Ailey American quickly gained popularity with audiences in such roles as Arnolphe in Dance Theater for two years, and joined The Cullberg Ballet Company A School for Wives and Orpheus in Eurydice is Dead. In 1976, three in 1977. She dances the leading parts in such works as Adam and Eve, years after his return to ballet, he choreographed The Batman and St. Romeo and Juliet, Dreams ofLove and Death, and St. George And The George and the Dragon. In 1977 he created Soweto-South Africa and Dragon. In 1981 she was partnered by Rudolf Nureyev in Adam and in 1978 The House ofBernarda Alba and The Four Seasons. In 1982 he Eve, which was filmed by Swedish television. choreographed Cain and Abel for the Royal Swedish Ballet, and in 1980/81 served as dancer and choreographer for the Netherlands Dance Theatre. Since 1980, Mats Ek has served as Co-Artistic Director of The Cullberg Ballet Company with Birgit Cullberg. THE CULLBERG BALLET COMPANY Niklas Ek wasn't sure he wanted to become a dancer at all. As Tr he Swedish Cullberg Ballet and the Belgian Ballet of the Twen- Birgit Cullberg's older son he knew all the problems the profession '. tieth Century are among the few famous and much travelled involves. He was almost twenty before he began his training, but his European ballet groups which have been formed exclusively as instru- rise was rapid. The very next year, he made his debut in his mother's ments for a single choreographer- Birgit Cullberg and Maurice The Seven Deadly Sins and danced in the Stockholm Park Theatre. Bejart. If we look at other famous companies here in Europe, we find Meanwhile, he was studying American modern dance techniques with I that most of them are either of the opera ballet type or that they Donya Feuer and Juliet Fisher, who were in Stockholm, and in 1965 he existed for a shorter or longer time before a choreographer,put his went to America on a scholarship to study with Martha Graham, hallmark on them. These categories include such companies as The Merce Cunningham and Antony 'Mon That visit led to engagements Hamburg Ballet under John Neumeier and the Netherlands Dance with the Cunningham and Glen Tetley companies in 1966, and when Theater under Jiri Kylian. After two tremendous successes, first with the Cullberg Ballet was organized in 1967 he was ready to join it. Then Miss Julie in 1950 (on tour for the National Theatre Centre and later followed leading roles in works by his mother-Jean in Miss Julie, the same year at the Royal Opera in Stockholm) and later with The Orpheus in Eurydice is Dead, Romeo, Jason in MedeaKurt Jooss Moon Reindeer at the Royal Theater in Copenhagen in 1957, Birgit (Death in The Green Table) and Flemming Flindt (the dance teacher in Cullberg was for many years, beginning at the end of the 1950's, an The Lesson). The Cullberg Ballet tours abroad about half of every year, internationally touring choreographer. The success of Miss Julie at and Niklas Ek quickly made a name for himself internationally. the American Ballet Theater in New York in 1958, with Violette Verily When the company made its first visit to Paris in 1969, Ek created a and Erik Bruhn, added to the attention Cullberg had been getting, sensation. "The Nureyev of modern dance:' one critic called him, and and she seemed to be lost to her home country. She returned only for another wrote, "He can be compared with the very greatest dancers of temporary guest appearances. Instead, she staged her ballets all over our time. Niklas Ek richly deserves the title of the foremost dancer of the world -in the United States, Denmark, Germany, Chile, etc. modern dance in Europe: That year he was given a medal as the best It was to "save" Cullberg for Sweden that the Swedish authorities dancer Paris had seen during the season. That medal opened the way decided in 1967 to found the Cullberg Ballet. The choreographer was to be given peace and quiet to create new works and a homogeneous aspect of which, naturally, goes back to Cullberg's mentor, Kurt Jooss, instrument to work with. After her meeting with Martha Graham in who was the first to depict political and social problems in dance). In New York at the beginning of the 1960a, the choreographer was, in almost all of his ballets there is a dream about freedom, freedom from addition, in the midst of a new period of creativity in which she was chains, from oppression, from all kinds of imperialism, from that working with a form new to her, abstract, but continuing the synthesis which the prototype western hero, St. George, in St. George and the she started as early as the 1950s of classic and modern dancing. Dragon, practices on the third world to the private imperialism which Therefore, a platform worthy of Sweden's all-time most successful Bernarda Alba practices on her five daughters in the ballet which choreographer was necessary. Mats Ek created in 1978, based on Garcia Lorca's drama, The House of The Cullberg Ballet, which belongs to the National Theatre Cen- Bernarda Alba. At the end the four surviving daughters leave, united tre (which has been called the world's largest theater since it tours all in the community of revolt. It might be added that a number of other over Sweden with about 4000 performances of drama, musical theater works the ensemble has included in its repertory also reflect this and ballet every year), will soon be celebrating its fifteenth anniversa- international theme, among them Kurt Jooss' sermon on peace, The ry. In its very first ensemble were such internationally famous balle- Green Table, and Mart's revolutionary Firebird. rinas as Melissa Hayden and Veronika Mlakar. Today many national- Mats Ek's dance theater mixes comedy and serious themes, con- ities are represented, Italy, Spain, Belgium, Hungary, Finland, etc., fronts the grotesque with the poetic, often to the accompaniment of and that the Swedish dancers are in a minority is because, outside of pop music or music of a folklore character, and this has obviously the Royal Ballet in Stockholm, there are so few dancers in Sweden who appealed to a younger audience. Mats Ek made his debut at the same maintain the high professional standard that Birgit Cullberg demands. time as the Cullberg Ballet got a new ballet master, the Italian The director herself and her artistic co-leader, her son Mats Ek, Giuseppe Carbone, now head of the ballet at La Scala, Milan. The appear as dancers. Because of her age -she was 74 in August-Birgit presence of both of these gentlemen gave impetus for improvement Cullberg doesn't dance very often. She made a successful "comeback" and renewal which led to great new successes for the Cullberg Ballet, four years ago when she appeared in Mats Ek's Soweto as a kind both within Scandinavia and abroad. Mother Africa, a firebrand who in the finale leads the entire ghetto in -Erik Naslund a revolutionary shake. The audience at the premiere performance was ecstatic because of this wild literal letting down of hair on the part of the famous lady, and the reaction has been the same wherever she has The Swedish National Theatre Centre is a nation-wide organi- danced the part since then, both in Sweden and abroad. zation whose aim is to increase interest in the theatre and know- But the Cullberg Ballet is highly international from other points ledge about it by means of a wide and varied range of productions. The of view, too. In the first place, in addition to its tours in Sweden for the Theatre Centre (Riksteatern) gives over 4,000 performances annually National Theatre Centre, the Cullberg Ballet makes extensive visits throughout Sweden. This means 20-25 performances every day of the abroad. About half of the total number of performances every year are season, in as many different places. This makes Riksteatern or The done on foreign soil. The ensemble has visited no fewer than fifteen Theatre Centre Sweden's largest theatre. But it is much more than a European countries since its start in 1967, in addition to the Nordic theatre in the normal sense of the word: numerous activities other countries, which are taken for granted-both West and East Germany, than theatre or ballet productions take place within its walls. Czechoslovakia, Rumania, Spain, among others, and even as far away The Theatre Centre is also a publisher, issues its own theatrical as Hong Kong. It is characteristic of the company's scope that one day magazines, acts as consultant for other Swedish theatres in children's it danced in a small Swedish provincial town and a few days later for a theatre, amateur theatre and technical matters concerning the theatre. gala international audience in the Hong Kong City Hall. Italy is the All this forms part of The Centre's theatre promotion activities. country the Cullberg Ballet has visited most often, ten times or so, and The theatre production activities of The Centre cover the entire there the group is considered a sort of permanent guest. It visited process of creating a theatre production (scenery, costumes, rehears- France for the first time for the big Festival d'Automne in Paris in als etc.) and arrangements for it to reach its public throughout the 1969, at the Theatre de Champs-Elysees, and both the ensemble and country. its great male star at that time, Niklas Ek, were given gold medals. The Theatre Centre covers all fields of productions for the stage: (Niklas Ek, Birgit Cullberg's older son, is now at the Royal Opera in musicals, opera, ballet, drama, comedy and pantomime. The activity Stockholm.) In 1972 the Cullberg Ballet had a three-week season at comprises adult productions as well as theatre for children and young the Theatre de la Ville, the longest Swedish guest appearance in Paris people and various forms of creative theatre. since the days of Les Ballet Suedois in the 1920s. Two permanent ballet companies are connected with The Theatre In the second place, the repertory is not based on Birgit Cullberg's Centre, The Cullberg Ballet Company and The Cramer Dance Com- ballets alone or on her works and those of other Swedish choreogra- pany. The Cullberg Ballet Company is a contemporary dance company phers. The idea of the Cullberg Ballet was that it should reflect which has gained wide international fame through an impressive international dance art, both of yesteryear and of today. One of the number of performances abroad. The repertory of The Cramer Dance first works in that category included in the repertory was The Green Company is based on Nordic folklore or themes with a folklore influence. Table by Kurt Jooss, Birgit Cullberg's teacher. Americans Merce The dance company mainly gives performances in the Scandinavian Cunningham, Alvin Ailey and Lar Lubovitch, Dane Flemming Flindt countries and occasionally goes abroad. and Czech Jiri Kylian are among the international choreographic Two special theatre companies are working within the realms of stars that the Cullberg Ballet invited to supply works. Maurice Mart The Theatre Centre: The Pioneer Theatre and The Silent Theatre. must be specially mentioned. He was a dancer in one of Birgit Cullberg's The Pioneer Theatre gives performances exclusively in prisons with a previous groups in Sweden at the beginning of the 1950s, and since repertory specially designed for this audience. It is probably the only then there has always existed a special relationship between the two professional theatre group in Europe working with this purpose only. choreographers, a mutual give and take in which they have taken The Silent Theatre is playing to deaf audiences using sign lan- impressions from one another. In 1974 the Cullberg Ballet put Mart's guage and also gives special children's performances. The actors are Firebird in its repertory, and, with Niklas Ek in the title role, it deaf or with reduced hearing capacity but their performances are very became one of the ensembles all-time greatest successes. This was popular and often watched also by a regular hearing audience due to followed a few years later by another Mart ballet, Sonate a Trois. the fascination and great explicity of the sign language. Plays like for In the third place, the repertory is not based on purely national instance Beckett's Waiting for Godot and Miss Julie by Strindberg have subjects, but instead is global in the sphere of its subjects, reflecting met with an enormous success by both deaf and hearing audiences. themes which are purely international, world-wide, which are deeply The Swedish National Theatre Centre has its central administra- human, involving all of us, wherever we live and whoever we are. In tion located at the Old Film City in Solna outside Stockholm, where also many of her ballets, Birgit Cullberg has depicted man and his rela- a large part of the productions are prepared in the studios on the plant. tionship to society. We can almost see her entire repertory as social But the Centre also has two regional ensembles in the provinces commentary, which is actually unique among western choreographers. apart from administrating tours throughout Sweden with productions She has revolted against everything that oppresses people and shuts by the Royal Dramatic Theatre and The Royal Opera in Stockholm as them in, whether it be prejudices or something as concrete as a prison, well as foreign guest performances. The performing companies from and she has been carried along by passion for freedom and equality. abroad range widely, from the Royal Shakespeare Theatre Company Birgit Cullberg has always gotten inspiration from purely private of Great Britian and Laterna Magica of Czechoslovakia to the Royal experiences, but it is a sign of her great, genuine artistry that she has Thai Ballet and the Theatre Centre are also responsible for giving always been able to expand her own private experiences into generally performances to migrant groups, particularly Finnish-speaking. applicable ones. The Swedish National Theatre Centre is largely supported by Birgit Cullberg's second son, Mats Ek, who made his debut as a government grants. With an audience of around 1 million people and choreographer in 1976 with a ballet based on George Buchner's Woyzeck, an annual production of almost 130 theatre programs it is evident that has continued the universal themes of the Cullberg Ballet (the social The Theatre Centre forms an important part of Swedish cultural life. THE CULLBERG BALLET COMPANY BROOKLYN ACADEMY OF MUSIC

Staff SPONSORS $100-$249, con't. CORPORATE Publicity: Marian Laurell THE Mr. & Mrs. Albert H. Eaton FUND FOR BAM Technicians: Jan Hultgren, stage The Valhal Pub Birgitta Johansson, wardrobe Dr. Eugene Edelman Mr. Stephen D. Edelman LEADERSHIP $25,000 and above Kerstin Kozlowski, wardrobe Mr. & Mrs. Robert Ehrenbard and Telegraph Krystof Kozlowski, lights Richard Engquist American Telephone Trust Company Gail Erickson Bankers Mats Liljergen, sound Edison Company Sergio Escuadra Consolidated York Pedagogue: Bjorn Holmgren Arthur T Farhood of New Morgan Guaranty Trust Company Pianist: Leszek Jarmula Mr. & Mrs. Frank Finnel Warner Communications. Inc. Costumes made by: The Swedish National Theatre's Studios at Solna Richard B. Fisher Dr. & Mrs. Leonard I. Flug PACESETTERS $10,000-$24,999 ARTISTDRESSING Mr. & Mrs. Darko V Frank ATELJE BIZZI AB Derene Frazier Abraham & Straus Dr. & Mrs. Herbert Freedner Brooklyn Union Gas Company Mr. & Mrs. John T Gallagher Chase Manhattan Bank Mr. & Mrs. Daniel Geller Pfizer Foundation The Gilmour Foundation Philip Morris Incorporated Mr. Lawrence Goodstein Schlumberger-Horizons Mr. & Mrs. Sheldon S. Gordon Swiss Bank Corporation Mr. Ronald Greene Music Advisor for Ballet International: Michael Feldman Mr. Herman Greitzer $5,000-$9,999 Kenneth Griffin American Express Foundation Estate Wines of Italy are the house wines of the Brooklyn Academy of Rev. & Mrs. Howard G. Hageman CBS Inc. Music. Scott M. Hand Chemical Bank Ms. Elizabeth Hanson Citibank. N.A. Mr. & Mrs. Richard C. Hayes Ciba-Geigy Mr. & Mrs. J.K. Hendricks Freeport McMoRan, Inc. John P Hodgkin Hoffmann-La Roche Marvin Hoffman IBM Mr. & Mrs. Alfred H. Horowitz International Paper Company Calvin House Foundation John W James, III Manufacturers Hanover Trust Mr. William F Jankun Company Mr. Alex Jay Marsh & McLennan Companies Inc. Charles N. Johnson Mobil Foundation, Inc. Mary E. Jollon New York Times Company Foundation Frank Kazeroid New York Telephone Mr. John Kindred, III Newsweek Inc. 0 Mr. & Mrs. Samuel Klein Sandoz, Inc. Mr. & Mrs. James Konkel Time Inc. Mr. & Mrs. Roland A. Labine Vereins-Und Westbank A.G. Bruce Lacher New York Office Mr. & Mrs. Irwin Lainoff Mr. & Mrs. Seymour Lampert $2,500-$4,999 ste Dr. Robert L. Leslie Exxon Corporation Steven H. Lipsitz CAFE GFILLER311 Grace Foundation Dr. Edmund Lipton Metropolitan Life Foundation Dr. Esther Lopato 0 RErSTR11RRRT -BRR RCA Norman MacArthur & John Wiley & Sons, Inc. DELI -PRTMERIE Bill Novak Mr. & Mrs. Anthony Manheim $1,000-$2,499 02/11"-Nr." Tom Massotti Edward F McDougal Avon Products Foundation Barbara Metzger Bank of New York 1 Mr. & Mrs. John Mullins, III Cities Service Foundation Dr. Tatsuji Namba Columbia Pictures Industries The only café in New York where Dick Netzer Conoco. Inc. Mr. Marvin Numeroff Dime Savings Bank of New York you can enjoy a Donald Owings International Telephone & Telegraph Samuel J. Paul. III Corporation deliciously different dessert Arthur Pinchuck Irving One Wall St. Foundation each day of the year. Ms. Gertrude Reich Johnson & Higgins Edward Reid Macy's New York Stephen M. Reid McGraw-Hill Foundation Corp. Our pastries & cakes James Q. Riordan Nordic American Banking Penn Central Corporation are the winners of the Dr. Robert & Margaret Wenig Ruberstein Rabobank Nederland Digest "Grand Prix" award Mr. & Mrs. William Ruder Readers Foundation Salomon Brothers Inc. at New York's International Culinary Reade H. Ryan Henry Sabatell Western Electric Fund Exposition. We also feature Dr. & Mrs. Hershel Samuels $100-$999 exotic coffees Mr. Paul F Sanders Mr. & Mrs. Henry A. Schaeffer Amax Foundation from around the world. Mr. & Mrs. Jerome Schlapik Amstar Corporation Mr. & Mrs. Irwin Schniederman Anchor Savings Bank CAFE Mr. & Mrs. Sol Schreiber Barclays Bank International Ltd. GALLERIA Mr. William F Seegraber Bowery Savings Bank a great place anytime- May Shandalow Capezio Foundation Mr. & Mrs. John Sharnik Constitution Reinsurance Corporation before, during or after Mr. & Mrs. Theodore Shen Cullen & Dykman the performance. Ms. Barbara Simmons East New York Savings Bank Marion Smith Eugene Doll & Novelty Company Roland Stebbins. Jr. LAT.S.E. Mr. & Mrs. Herb Steiner Independence Savings Bank Open seven days Ms. Mary H. Swift Kings Highway Hospital Center Mon-Thurs 8.11, Fri 8.12, Sat 8.1, Sun 9.10 Utopia Lodge-400 New Brooklyn Magazine 174 Montague St., Bklyn Heights Knight of Pythias J. Henry Schroder Bank and Trust Co. Mr. & Mrs. John S. Wadsworth. Jr. Seaman's Bank for Savings Reservations (212) 625-7883 Drs. Stanley & Eleanor Wallace J.B. Slattery and Brothers, Inc. ALL MAJOR CREDIT CARDS Dr. Andrew B. Weinberg Stash Records. Inc. Mr. & Mrs. Earl D. Weiner Stern Bros. Fuel Oil Co. Mr. & Mrs. Erwin Weisberg William Morris Agency The Esther & Morton Wohlgemuth Williamsburgh Savings Bank Foundation, Inc. Peter J. Yanello