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CONTENTS THEHAROLDPRINCEMUSICAL by Marilyn Stasia THE SECRET OF ALVIN AILEY by Greer Johnson THE PROGRAM JUMPERS: AN AMERICAN PREMIERE by Martin Gottfried FOREIGN GIFTS PERFORMANCE SCHEDULE CENTER SERVICES

Cover photograph, Yoichi R. Okamoto; page 8, Friedman-Abies; page 8, bottom, Martha Swope; page 23, Kenn Duncan; pages 24 & 25, Richard Braaten.

David E. Bradshaw, president Joseph P. Barbieri, publisher erry Silverman's William J. Kofi, Jr., general manager sweatered classic

Karl B. Leabo, editor & art director is meant for Judith Ravel Leabo, associate director southern climes. Rima Calderon, program editor Cables white cardigan Jamie McGlone, editorial assistant shelters a Judith M. Fletcher, advertising manager gem of a dress John R. Goodwin, regional representative . . . white V'ed with navy and collared STAGEBILL is published monthly in Washington and with yellow. Chicago. The Kennedy dntei Stagebill is published in

Washington by B&B Enterprises, Inc., Program Office, $170 1 Kennedy Center, Washington, D.C. 20566. Copyright © B&B Enterprises, Incorporated 1974, All rights re- served. Printed in U.S.A.

Advertising Offices- Washington: Program Office, the Kennedy Center for the Performing Arts, Washington D.C. 20566, (202) 833-2897. A'ew York: 275 Madison Avenue, New York. N.Y. 10016, (212) 686-7740. Chi- cago: 200 E. Randolph Drive, Suite 5123, Chicago, Il- linois 60601, (312) 565-0890. ^~W£i£ik what has blue eyes, a million stitches and Sunday

les champs! THIRTY BOUTIQUES AT WATERGATE 600 NEW HAMPSHIRE AVENUE NW WEEKDAYS 11-7 SUNDAYS 12-6 RESTAURANT UNTIL 11:30 PM LOUNGE UNTIL 2:30 AM GARAGE 24 HRS TheHaroldPrinceMusical

Jean Simmons stars in the latest example of TheHaroldPrinceMusical at the Opera House beginning March 19th

Asa generic term,TheHaroldPrince- pany and Follies. Forgetting awards and f^L Musical has entered the lexicon citations for a moment, to measure suc- / —^ of the American musical thea- cess in terms of popular appeal, the gauge .M. -Jkh. tre. It will never be fully de- of Prince's professional acumen is better

fined because it is not a static entity with evaluated by the phenomenal history of fixed constituent parts. As a continuous- Fiddler on the Roof, the longest-running ly evolving phenomenon, the thing has and best-beloved show in the history of more damned moving, changing, disap- the American musical theatre. pearing, materializing, and sometimes al- Using another, and far more important together mystifying parts than a magici- yardstick. Prince productions are also suc- an's trunk. Prince himself would not shrug cesses as theatre art. Not always, and nev- off the magician's cloak as metaphorical er totally. But significantly. And some- description of his styUstic stamp. In dis- times, even when a show makes the most cussing his own shows he often refers to daring assaults on musical-theatre conven- that staple commodity of the prestidigi- tions, it can still fail to win a large audi- tator's art—surprise. "The whole thing is, ence or to achieve the status of a com-

I want to break what is expected," he has mercial hit. The brilliant but acerbic Ca- said. "It becomes that simple— trying to baret offended many people with its un- excite on stage by using different devices, compromising portrait of pre-War BerUn, by taking people by surprise." and its sharp insinuation of a connection

Among other surprises is the scope of between that society and ours. The wry- the producer's financial and artistic suc- ly ironic Company alienated audiences cess. Given the nature of the Broadway who were bred on the traditional musical. beast, even the most seasoned producers Advances made by composer/lyricist Ste- in the business cannot count on success phen Sondheim in Follies and A Little these days. With Harold Prince, success Night Music simply confounded some hasbecomeahabit. Starting with the 1954 theatregoers who weren't wiUing to ex- Pajama Game, his first produced show, pand their definition of what a musical the 46-year-old Prince has won eight An- "should" be. toinette Perry ("Tony") Awards for "Best For all the wild disparity of the shows Musical." Six of his shows won the New he has produced and directed, they are York Drama Critics Award for "Best Mu- united in subject in one significant way: sical," and one, Fiorello!, copped the whatever the theme, it is unconventional;

1960 Pulitzer Prize. In addition. Prince and if at all traditional, it has never been wasawardedthreeTony citations for "Best treated quite this way before. His first Director" for his work on Cabaret, Com- show, Pajama Game, made laughter and

by Marilyn Stasio light of the unHkely situation of a labor strike in a factory. Fiorello! was concoct- ed of the reality of ward-heel politics; Damn Yankees, of the turn-off jock ma- terial of baseball; in West Side Story, teen- age gangs rumbled on rough Manhattan 'IibH streets; in Forum, Roman slaves duped their masters; Tenderloin was set in an 1880's hell-hole of vice and corruption; the focal figure in New Girl in Town was a tubercular prostitute; in Fiddler, it was a Russian Jew living an oppressed ghetto life. Even the unremarkable Superman! mocked a beloved American hero and hooted at us for putting our childish faith in all such cardboard heroes.

-y V. _..

^f i ^^^9^^K;^H

^^ xA Wm^''^^-' ^ei^SnSi»'^-J ^-/M In Prince's most recent shows, the harsh may be, one goes on living, gratefully

realism of both themes and characters is snatching at such fragments of happiness more boldly stated, and with progressive- as life will allow, on the way to the grave.

ly fewer concessions to the sugar-coated In addition to expanding the theatre's romantic formulas of the conventional concepts of "proper" subjects and their musical-comedy genre. treatment for the musical, director Prince

If more realistic subject matter is one has introduced a number of expansive characteristic of Prince's style, a more technical innovations. Visually, he has

realistic treatment of it is another. One freed the musical from the pigeon-hole

dominantcharacter appears cverand again conventions of its past by bringing to the

in a number of guises in Prince-directed stage a stylistic fluidity usually associated shows— the unsentimental, worldly-wise, with film and dance. Beginning with Zor- philosophically cynical Survivor of Life. ba, he opened up his playing area, des-

In Cabaret, it is the Brechtian landlady troying its traditional time-and-space con-

Fraulein Schneider, who hangs on by ac- finements and making it an open space

cepting hfe's blows and capitulating to where all elements can co-exist. In subse-

its indignities. She surveys her world and quent shows he has developed and honed says: "You learn how to settle for what this technique: in Company, the charac- you get. So who cares? So what?" In ters refuse to be restrained, but intrude

Follies, the hang-in-there-baby expert is on each other's playing areas as they in-

Carlotta, the faded movie queen, who trude on each other's lives, a device fur-

says it all in the survivor's manifesto, "I'm ther refined in Night Music. In Follies,

Still Here." The character reappears as time and space disintegrate altogether, as

Zorba, who declares: "I live as if I will characters from past and present move

die the next minute," as the immortal freely in and out of all dimensions, collid-

Tevye in Fiddler; as the pragmatic Joanne ing on the way. In Candide, all boundaries in Company; as the unsentimental Petra disappear and stage characters not only jn Night Music; and as the indomitable leap across countries and generations but

Old Lady in Candide. The survivor is, in even cavort among the audience's own fact, a regular and dependent fixture in once-sacrosanct precinct. These are tech-

all of Prince's latest work. It is tempting niques pioneered not by Prince but in film to see in him the spokesman for a philo- and dance, and by the experimental thea-

sophical attitude that penetrates all these tre. The marvel of the director's achieve-

later works: Regardless of how corrupt ments is that he has translated these in- (Cabaret), painful (Zorba), empty (Com- ventions within the traditional framework pany), cruel (Fiddler), unsatisfying (Fol- of the musical theatre genre, and that he lies), silly (Night Music), or thoroughly has made them work. depraved (Candide) this world of ours An incalculable slice of Prince's success

Far left: poster art for A Little Night Music at the Opera House, March 19th. TheHaroldPrinceMusical, top-to-bottom: Zero Mostel in Fiddler on the Roof; //// Haworth leads the KitKatKlub Girls in Cabaret; Larry Kert and the cast of Company; the gorgeous chorus of Follies. The 1974 gold Continental Mark lY A new standard.

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LINCOLN-MERCURY DIVISION I is shared by such men as Stephen Sond- heim, Bock and Harnick, Kan der and Ebb, the musicmen whose vital talents are so

crucial to his shows. But it is Prince the 1974 director who has shaped their musical in- vention to stretch familiar musical thea- Continental tre forms. Company stunned the pundits by banishing the chorus and leaving all the musical chores to the cast. But direc- Mark IV tor Prince had introduced producer Prince to the technique seven years earlier, in now available at She Loves Me. In A Little Night Music, the traditional chorus is reduced to a quin-

your Washington Metro tet, singing commentators on the action who function rather as a Greek chorus Lincoln-Mercury dealers does in calssical tragedy. But Prince had already tried out the Greekchorus bit five LEE D. BUTLER, INC. 21st Street between L&M N.W. years earlier, with a real chorus of Greeks Washington, D.C. in Zorba. In this show, as in Company, LINCOLN-MERCURY, INC, DAVE PYLES the chorus not only ampHfied the action 6500 Little River Turnpike the characters but Annandale, Virginia and commented on O'BRIEN &ROHALL, INC. were themselves the characters, whose Lee Highway 3910 roles they assumed and dropped when- Arlington, Virginia ever the plot demanded. Candide-']wsX to EAST-WEST LINCOLN-MERCURY. INC. 7591 Annapolis Road round things off neatly—goes all the way Landover Hills, Maryland back to She Loves Me, with a small cast LINCOLN-MERCURY, INC. BILL BOGLEY acting as its own chorus (and tripling and 7809 Wisconsin Avenue quadrupling in all the roles, as well). Bethesda, Maryland TOM CURRO LINCOLN-MERCURY, INC. In all the musical changes Prince has 123-37 Washington Blvd. rung, a common theme of "integration" Laurel, Maryland seems to underlie them all. With each new WILSON POWELL LINCOLN-MERCURY, INC. show the role of its music grows progres- 4700 Branch Avenue Marlow Heights, Maryland sively in function and importance, as if THOMASSEN LINCOLN-MERCURY, INC. the director were striving to incorporate Pike 1125 Rockville all the elements of the musical into a sin- Rockville, Maryland gle, indissoluble whole. Beginningmodest- JIM ECKELS LINCOLN-MERCURY, INC. ly with Loves song func- 8389 Centerville Rd. enough She Me, Manassas, Virginia tioned as soliloquy, as self-portraiture. SAFFORD LINCOLN-MERCURY Greater scope for character development 8507 Colesville Rd. and interior revelation through music was Silver Spring, Maryland permitted in all the later works until, with CHERNER LINCOLN-MERCURY INC. 8550 Leesburg Pike Company, Follies and Night Music, the Tyson's Corner, Virginia book frequently disappears entirely, its

function absorbed by Sondheim's brilli- -PtALEB- ant music. It is as if Prince is approaching, V '^OVERTlS\»»^ through some careful andcircuitous route, the very beginnings of the musical thea-

tre, the opera; but an operatic genre trans-

11 ' "

formed by additional elements from nu- merous other art sources.

He wouldn't deny it. In fact, he has

said that his real goal is integration on just such an ambitious level. "The lines that

separate serious from less serious music,

painting, theatre, dance, and so on will cross more than they ever have before," he wrote several years ago. "We're break-

ing rules. I think that we have been ex- perimenting so much with mixed media, with techniques more related to films and jou are cordially circuses and recital halls, that it's a safe guess in 50 years we'll retain the abstrac- invited to give a tions, the absurdities, the stream of con-

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Director Harold Prince (right} with co-star Jean Simmonsand leading man George Lee Andrews in the hit musical "A Little Night Music. ceivable that when you go to the theatre,

it won't be to see a straight play or a mu-

sical, a comedy or a tragedy, at all." To see what then? Perhaps to see the ul- timate HaroldPrinceMusical, a fabulous

creation compounded of all of these at once, and more.

Live entertainment. Disco dancing Marilyn Stasio is theatre critic for Cue Maga- Wicked cocktails. After theater supper. zine and author oiBroadway 'sBeautiful Losers. Unforgettable dining.

And some very original sins, a" in onedarkisfi devilish NO SMOKING in any of the auditoriums. The taking of photographs and the use of recording mixture of places called equipment in any of the auditoriums during a The Apple of Eve, in "ML performance are strictly forbidden. Loews L'Enfant Plaza Hotel. FIRE NOTICE: The red lighted exit sign near- Reservations: 484-1 OCX). est to your seat is the shortest route to the street. In the event of fire or other emergency please do not run, walk to the nearest exit.

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2136 Pennsylvania Avenue, Northwest in the city of Washington.

The telephone number is 337-7080. The Secret ofAlvin Alley

The explosive Alvin Alley Dance Company returns to the Opera House for six performances from March 12th through March 17th

V H ''hen any curtain any- so to Alley's racially commingled staff and % /% / where on six continents to an overall style blending intimations ^/ %/ falls on Revelations, the ju- of Lester Horton (perhaps Alley's single T bilant signature work by Al- most important mentor); Martha Graham, vin Ailey for his City Center Dance Thea- Hanya Holm, Doris Humphrey, Charles tre, audiences invariably explode with the Weidman (with whom he studied); musi- ecstatic shock of universal recognition. cal comedy (in which he performed); folk

Russians and Parisians, Londoners and and social dancing; grace notes of classi- Mid-Easterners react as do the markedly cal ballet (for which he has choreograph- diverse audiences that pack New York's ed); impeccable remoun tings of historic City Center or Washington's Kennedy works by Ted Shawn, Katharine Dunham,

Center—a seldom-encountered mix of the Jose Limon, and others—but all of this is young, middle-aged, and elderly; of bal- a catalogue of characteristics. There re- letomanes and barefoot-dance purists; of mains an "Unanswered Question" like the trend followers, sociologists, and Broad- one asked by another sui generis original, way Joes. Alley's troupe—although the composer Charles Ives. choreographer and artistic director says In interviews, Ailey seems bemused by he prefers the term "American" to "mo- his secret, to be exploring it himself, as if dern"—is the most highly visible and on- his Muse speaks to him in unknown ly unfailingly "hot ticket" modern dance tongues he then instinctively deciphers aggregation before the public today, yet for others. He told critic Walter Terry Re- its overwhelming effect beggars all efforts velations is a "Texas memory" of one to define its quintessential nature. Even Texas-born, but I've seen a be-minked do- the Show-Me's among the dance-allergic wager whose only likely contact with the succumb to the impact, an impact quite Lone Star State is ordering costly mail- unlike that of every other major compa- order baubles from Neimann-Marcus leap ny. But where on what map is the foun- up and dance in the aisle during its finale. tainhead of this impact to be found, what His Cry is sub- titled. For all black women is the central source of the unique power everywhere- especially our mothers, but Ailey alone has tapped? white women and blase bachelors greet

Certainly the admirable integration of it with unchecked emotion. \i Blues Suite the troupe has much to do with its patent is a genre piece, it is genre raised to geni- universality, and by that I refer to more us, translated out of specifics just as Ailey than the ethnically and artistically suc- translates the hermetic instructions of his cessful integration of dancers black, white Muse into a "letter to the world." His and Oriental. The integration extends al- works are American, modern, and thea- continued on page 23 by Greer Johnson

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WASHINGTON PERFORMING ARTS SOCIETY presents Patrick Hayes, Managing Director Aldus H. Chapin, President Boston Symphony Orchestra

SEIJI OZAWA, Miisic Director

COLIN DAVIS & MICHAEL TILSON THOMAS, Principal Guest Conductors

NINETY-THIRD SEASON 1973-1974

Monday Evening, March 18, 1974, at 8:30

SEIJI OZAWA, Conductor MAURIZIO POLLINI, Pianist

MOZART Piano Concerto in A major, K. 488

Allegro; Adagio; Allegro assai MAURIZIO POLLINI

Intermission

STRAVINSKY The Firebird (Complete Ballet Music)

Introduction

Scene I: Kashchei's Enchanted Garden Appearance of the Firebird Pursued by Ivan Tsarevich Dance of the Firebird Ivan Tsarevich Captures the Firebird Supplication of the Firebird Appearance of Thirteen Enchanted Princesses The Princesses' Game with the Golden Apples (Scherzo) Sudden Appearance of Ivan Tsarevich The Princesses' Khorovod (Round Dance) Daybreak Magic Carillon; Appearance of Kashchei's Guardian Monsters; Capture of Ivan Tsarevich Arrival of Kashchei the Immortal; His Dialogue with Ivan Tsarevich; Intercession of the Princesses Appearance of the Firebird Dance of Kashchei's Retinue under the Firebird's Spell Infernal Dance of all Kashchei's Subjects Lullaby (Firebird) Kashchei's Death

Program continued on page 19.

17 f

Saks at the Watergate opposite Watergate Hotel entrance

Saks West End Wisconsin & Willard Ave., Chevy Chase Scene II: Disappearance of the Palace and Dissolution of Kashchei's Enchantments; Animation of the Petrified Warriors General Thanksgiving

Maurizio PoUini plays the Steinway piano. THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON

BALDWIN PIANO DEUTS'CHE GRAMMOPHON & RCA RECORDS

This concert by the Boston Symphony Orchestra is played in honor of the following Bene- factors, Sponsors and Patrons of the Washington Performing Arts Society whose support makes such events possible: Mr. and Mrs. Frederick J. O. Blachly, Mr. and Mrs. William H. Calfee, Mr. and Mrs. Carter Cafritz, Ms. Fredette S. Eagle, Mrs. John F. MacKenzie, Marriott Foundation — Mr. Richard E. Marriott, Trustee, Mr. William Robinowitz, Mr. and Mrs. Albert Small, Mr. and Mrs. Hobart Taylor, Jr., Dr. and Mrs. Benny Waxman, Mr. and

Mrs. William S. Weeden. >

Notes on the Program

By JOHN N. BURK sic had kept the inexhaustible Mozart from finishing his musical setting of Beaumar- Piano Concerto in A, K. 488 chais. He put his last touches to the WOLFGANG AMADEUS MOZART score of Figaro just before its performance on 11, 1786. 1756-1791 May Still, this profusion of music represents A glance at Mozart's activities in the win- but a part of his activities during the six ter of 1785-86 will show to what efforts he months in question. The scores as such was put to budget his small household and usually brought him no income, which had his pleasures. to be derived from their performance at In the first place, he had just ventured an endless round of concerts. Besides the upon his most cherished project, The Mar- public performances, there was a consid- riage of Figaro. The father wrote to Mari- erable vogue for private concerts in the anne on November 2 that her brother was houses of the Viennese nobility. A wealthy "up to his ears" in Figaro, he had shifted patron of the arts would be proud to en- all of his pupils to afternoon hours in or- tertain his friends with music-making by der to have his mornings free for uninter- the celebrated Mozart, and, let us hope, rupted progress on his opera. Meanwhile, rewarded him well for his services. he had much else to do. There was Der The A-major Concerto was finished on

Schaiispieldirector, the one-act opera-trav- March 2, 1786, and is the second of the esty, which he must compose for a per- three composed for the Lenten concerts of formance at Schonbrunn on February 7. that year. An illuminating study of the

There was a performance of Idomeneo in concerto is to be found in Alfred Einstein's March, which he supervised for Prince Mozart, His Character and His Work, a

Augsperg, writing two new numbers. Then part of which is here quoted: there were innumerable concerts, for some In the A-major Concerto Mozart again of which he had to write new works. succeeded in meeting his public half-way In addition to three the piano concertos, without sacrificing anything of his own in- the composition of other instrumental mu- dividuality. He never wrote another first

19 movement so simple in its structure, so "normal" in its thematic relations between FOBS'S TSEAniE tutti and solo, or so clear in its thematic invention, even where it makes excursions into the realm of counterpoint, or contains rhythmic peculiarities. The key of A major is for Mozart the key of many colors. It has the transparency of a stained-glass win- dow. There are relations between the first CTTY, movement of this concerto and the Clarinet Quintet. Not without reason are there no CENTER trumpets and timpani. But there are also darker shadings and concealed intensities, ACTING which the listener interested only in pleas- ant entertainment misses altogether. Al- ready in this movement there is a threaten- COMR(\NY ing touch of F-sharp minor, and the whole Andante is in that key, which Mozart other- The most exciting repertory company wise avoided. The latter movement is short, it in the United States brings three but contains the soul of the work. . . . The Presto seems to introduce a breath of plays: Chekhov's "The Three Sisters" fresh air and a ray of sunlight into a dark (yVlorch 79); Moliere's "Scapin" and musty room. The gaiety of this un- (March 23 matinee only); and John interrupted stream of melody and rhythm Gay's "The Beggar's Opera" (March is irresistible. 26). The Firebird (Complete Ballet Music) IGOR STRAVINSKY 1882-1971

Stravinsky tells in his memoirs how he was drawn into the circle of which Diaghilev was the center and dynamo. Diaghilev had sensed at once the promise of the composer of the Scherzo fantastique and the Feu d'- artifice which he had heard at a Siloti concert in the winter of 1909. In the process of forming a ballet compa- ny he ordered from the young man orches- trations of piano music by Chopin and Grieg. Stravinsky duly provided these and This award-winning gospel musical continued to work upon his opera Le Ros- starring the enchanting songstress signol, which he had begun under the eye and lyricist Micki Grant returns by of his master, Rimsky-Korsakov, who had popular to demand Ford's. died in June 1908. It was at this point Opens April 23 that Diaghilev handed to him the commis- sion for L'oiseau de feu. {Previews April 78-2 7) Stravinsky went to Paris for the first per- formance, where, he tells us in his memoirs,

he made his first acquaintance with that city. His ballet which, needless to say, ex- cited Paris as resplendently new music superbly produced, was an ideal introduc- 51 1 Tenth Street, N.W. tion. Washington, D. C. Fokine's scenario may thus be described: Box Office: 347-6260 curtain rises and Groups: 683-1556 After a short prelude, the the grounds of an old castle are seen. Ivan Tsarevich, the hero of many tales, in the course of hunting at night, comes to FQBS'S TBEATRE the enchanted garden and sees a beautiful

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trical—yes; each is stamped with fervor, life. Is it reaching to say Ailey has given uninhibited emotion, intoxicating veloci- the classic Everyman a new dance with ty,and the singular but interna tionalAiley which to express himself? His art springs accent; and each defies the niceties of ra- from mystic dreams, faith, a respect for tional analysis. heritage, a healthily skeptical view of the Perhaps one clue to the Ailey mystique compromisedpresent,a thrust toward the

is the variety of music which inspires his future, and inner feelings he can make his

ideas. His taste is as catholic in scope as "vehicles," his chosen dancers, dance. are the throngs he attracts cathoHc in

type. It ranges from blues and gospel and jazz to Vaughan Williams, Britten and Mary Lou Williams. Perhaps another clue liesinhisattitude toward his dancers, each of whom he sees as a soloist. His demand for individuality has developed and pro- duced individuality, as his sleek and dar- ing dancers—principals all— demonstrate

to kinetic infinitude. Performers first, they

are entities; they self-evidently are citi-

zens of the world with a global art for passports. And their prodigious technique

is used as a springboard to joy and bro- therhood.

Provided we receive his vision, it's like- ly that Ailey doesn't care what we "call" him. I know that Judith Jamison, his su- perstar, takes mere naming lightly. Hav- ing heard admirers say "/amdson" or

"/amison, I asked her at first introduction to settle the matter for me. "Well, my

daddy calls it Jamison," she said, "but you can call me what you want to." I re- phed I would follow her father's example, and have done so, but I have yet to learn what to "call" Ailey and his creations. The apotheosis of modern dance?— too limiting; the enduring pieces are all-em- bracing. Total theatre?-the drama and sly comedy are transmuted into another form. A luckily-struck synthesis?—well, maybe, but tradition and the past are among the The Alvin Ailey dancers: top, Judith Jamison in Cry; below, John Parks in Kinetic pillars of the foundation, and what kind Molpai. of synthesis is it? Prophetic? You can't Somehow the rest of us respond to these paste labels on the phenomenon, only feeUngs, and that is the liberating force sense it as you sense the flowing juices of of the Revelations or related revelations.

We rise, released, and join a celebrative Mr. Johnson, a free-lance music and dance cri- tic, was formerly with Cue Magazine. rite of which we are a part.

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Tom Stoppard's new play starring Brian Bedford and Jill Clayburgh had its American premiere at the Eisenhower Theater, February 18th

~~^ here is nothing worse than a ligious fanatics). By eliminating God,

bad philosophical play and noth- atheism didn't just cut life short at the

ing so rare as a good one. Play- grave. It also implied the absence of ab- ^ Wrights don't have the training solute values. Godless, we are cut loose for philosophy and philosophers don't to individually decide what is or isn't have the talent for play wrighting. What's "good," aren't we? Or is there some ulti- more, we have come to think of philoso- mate truth anyhow? The subject might phy as synonymous with acne. Yet, if God seem less suited to the stage than to the is dead, as even Time Magazine has won- insulated scholar of the beer-soaked soph- dered, why hasn't anyone written a play more but marvelously, Stoppard has writ- about it? ten a unique, funny and theatrical play

Tom Stoppard has. He noticed that about it. God's death raised serious questions that He has, of course, dealt with philoso- should bother even a devout atheists (and phy before ./^ose/zcra^rz a^afGw/We^srem atheists are often the most devoted of re- Are Dead (his last full length play) was

The American premiere of Tom Stoppard's Jumpers at the Eisenhower Theater. by Martin Gottfried

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_ «• mJt 3p »«^ A ! lej i>^ firmly existentialist in an ingenious, if "Are you telling me that the Radical Li- slightly collegiate way. The Real Inspec- beral spokesman for Agriculture has been

tor Hound was more of a lark. With Jump- made Archbishop of Canterbury? . . . He's ers, Stoppard has returned toinsignificant an agnostic!"

humans running foolishly through the void. What takes it one step higher is its addi-

Risking pedanticism by being specific as tion of compassion to humor and intelli-

well as metaphorical, the play deals arti- gence. The symposium that George is fu- culately with the alternatives facing a tilely preparing for throughout the play world bereft of God. Stoppard succeeds finally does take place in a dream sequence by being comic and dehghtful about the mockingly titled, "Man-Good, Bad or

whole thing. There is no question that Indifferent?" (Agreed such satire is tired.)

Jumpers is a major dramatic work. The At first Archie (taking the dead McFee's

nice part is that it is also fun. place) talks philosophical gibberish un-

comfortably similar to Beckett's speech for

Lucky in Waiting for Godot. George, still seeking absolute values, insists that "Hfe

is better than death, love is better than hate." Then, even Archie adds a plea:

"Do not despair . . . more are healthy than

sick, more curable than dying. . . and even those deprived and cruelly treated none- theless grow up ... At the graveside the undertaker doffs his top hat and impreg- nates the prettiest mourner. Wham, bam, thank you Sam." The "Sam" Stoppard

has Archie thank is Beckett, of course, for the paraphrase of the famous born-

ast ride -a- grave speech in Godot and ac- knowledges with respect their different

conclusions, for Stoppard is openly op-

timistic. This speech of Archie's is a love- ly next-to-the-last for the play, perfect-

ly followed by Dotty's bittersweet, soli- tary singing of "Goodbye spoony Juney

Tony Award Winner, Brian Bedford as George moon." in Jumpers co-starring Jill Clay burgh as Dotty. So, Jumpers is a defense of men on tiny

The play has its sources. Stoppard is Earth in the space age, conceding our tri- strongly influenced by Samuel Beckett viality, conceding the foolishness of our and that influence is plain in this play's teachers and their theories; conceding the philosophical vaudeville. He has also been uselessness of looking for ultimate mean- affected by Joe Orton in the combination ings and truths and yet finding a way to of elegance, civility, wit, outrageous farce confront that: through laughter, gaiety, andcomic-strip absurdism.Timeandagain intelligence, decency and unpompous hu- one is reminded of that late, bright, won- mility. Oh yes. It is also a superb piece of derful British playwright by such lines as playwrighting.

Martin Gottfried is the drama critic for Women's Wear Daily and winner of the George Jean Na- than Award for Dramatic Criticism. He is the author of A Theater Divided and Opening Nights.

26 EASTERN IS WORKING HARDER FOR YOUR DOLLAR Introducing a new way to plan your vacation.

Which one would you select to get from A to B?

2.n

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-C e RIM TheWings of Maa at the promenade, the capital area's newest and

most prestigious recreation - livein community.

Set atop Bethesda's Pook's Hill, the promenade to relax and enjoy the total environment. offers a way of life for those who desire the finest in For your further convenience, an on-premise gracious living. shopping arcade. Visit the Promenade model apart- Forget the woes of gasless Sunday, crowded ment and display area on Pooks Hill Road at recreational facilities and the constant problem of Wisconsin Avenue and the Beltway. Open daily where to go or what to do. At the Promenade, you 9:30-5, Saturday and Sunday, 10-6. Come and see merely step out of your apartment into a year round why the Promenade is truly Washingtons's most vacation wonderland replete with your own pro luxurious courrtry-club high rise. supervised and staffed indoor and outdoor pools, tennis courts, health club, saunas, exercise, card, billiard, social and meeting rooms plus a host of The Promenade activities to fill each day and night. Bethesda, Md. You're also a chip shot away from some of Executive Bedroom from $245.00 Maryland's finest golf clubs. Every apartment has One Bedroom from $300.00 been planned and designed to please the most Two Bedrooms from $445.00 individual taste.. .spacious rooms, formal dining areas, over-sized balconies, time-work saving kitch- rentals include garage parking ens with built-in appliances to afford you more time 301-530-7200 bird with flaming golden plumage. She pompous procession. Kashchei attempts to attempts to pluck fruit of gold from a work his spell on Ivan, who is protected silver tree. He captures her, but, heeding by the feather. Ivan summons the firebird, her entreaties, frees her. In gratitude, she who causes Kashchei and his retinue to gives him one of her feathers which has dance until they drop exhausted. The se- magic properties. The dawn breaks. Thir- cret of Kashchei's immortality is disclosed teen enchanted princesses appear, coming to Ivan: the sorcerer keeps an egg in a from the castle. Ivan, hidden, watches them casket; if this egg should be broken or even playing with golden apples, and dancing. injured, he would die. Ivan swings the egg Fascinated by them, he finally discloses him- backwards and forwards. Kashchei and his

self. They tell him that the castle belongs crew sAvay with it. At last the egg is dashed to the terrible Kashchei, who turns decoyed to the ground; Kashchei dies; his palace travelers into stone. The princesses warn vanishes; the petrified knights come to life; Ivan of his fate, but he resolves to enter and Ivan receives, amid great rejoicing, the the castle. Opening the gate, he sees Kash- hand of the beautiful princess. with his train of grotesque and de- chei Program notes copyright © 1974 by the formed subjects marching towards him in Boston Symphony Orchestra

Meet the Artists

Seiji Ozawa, Music gel labels include performances by the Bos- Director of the Bos- ton Symphony of works of Stravinsky, Orff ton and San Francis- and Berlioz. co Symphony Or- chestras, was born in Hoten, Manchuria, in Maurizio PoIIini 1935. A graduate of made his Boston the Toho School of Symphony Orchestra Music in Tokyo, he debut in November went to Europe in of 1970. Born in Mi- 1959 and won the lan thirty-one years

first prize at the International Competition ago, he won first of Conductors at Besancon. One of the prize in the Warsaw judges, Charles Munch, invited him to Chopin Competition Tanglewood to be a conducting student, when he was eight- and the following year he received the een. This success led Koussevitzky Memorial Scholarship as the to appearances with outstanding young conductor at the Berk- the leading orchestras of Europe, including shire Music Center. He became one of the the Berlin Philharmonic, the Vienna Sym- New York Philharmonic's assistant conduc- phony, the Orchestre National Francais, the tors in 1961, and since that time he has London Symphony, the Warsaw Philhar- appeared extensively with many of the monic, the Czech Philharmonic, the Ham- world's greatest orchestras. Appointed Mu- burg Philharmonic, the BBC Symphony and sic Director of the Toronto Symphony be- the Bayerischer Rundfunk. He also appeared ginning with the 1965-1966 season, he re- in Israel, where he performed with the signed that post after three seasons to de- Israel Philharmonic under Claudio Ab- vote himself to guest conducting. Mr. Ozawa bado's direction. In the United States, began his inaugural season as Music Direc- Maurizio PoUini has appeared with the tor of the San Francisco Symphony in De- Chicago Symphony, the Detroit Symphony, cember 1970, and this fall he became Mu- the Cincinnati Orchestra, The Cleveland sic Director of the Boston Symphony Or- Orchestra and The Philadelphia Orchestra. chestra as well. His many recordings for He has recorded for the Seraphim label and the Deutsche Grammophon, RCA and An- for Deutsche Grammophon.

29 A spectacular flower arrangement by Gene Berk for Paganne . . . Shasta

daisies bloom on black-ground cotton knit. 125.00. Misses' Better Dresses. —

Washington Performing Arts We wish to express onr appreciation to the fol- lowing: Society Patrick Hayes, Managing Director Benefactors Capt. & Mrs. Peter Belin Officers Mr. & Mrs. Norman Bernstein Mr. Mrs. William Mr. Aldus H. Chapin, President & N. Cafritz Mr. & Mrs. Kenneth M. Crosby Vice Presidents Hon. True Davis Mrs. John F. J. Clark Mr. & Mrs. John Dimick Mrs. Peter Flanigan Mrs. George A. Garrett Mr. Kenneth M. Crosby Mr. & Mrs. Peter Ladd Gilsey Mr. Frederick L. Holborn, Secretary Mr. & Mrs. Charles C. Glover, III Mr. Maury Young, Treasurer Mr. & Mrs. E. F. Hamm, Jr. Mr. James McC. Harkless, Chairman, Mrs. Rex D. Hopper, Sr. Executive Committee Mrs. Halleck Lefferts Mr. John E. Powell, Counsel Mrs. Demarest Lloyd Mrs. Walter C. Louchheim, Jr. Board of Directors Mr. & Mrs. Richard E. Marriott Mr. Gerson Nordlinger, Jr. Mrs. Roy Ash Mrs. C. David Hinton Olin Corporation Charitable Trust Mr. Frederick L. Holborn Mrs. Peter Belin Ourisman Foundation, Inc. Mr. William N. Cafritz Mr. George P. Kelly Mr. & Mrs. Mandell J. Ourisman Edward M. Kennedy Mr. Howard L. Carter Mrs. Mr. & Mrs. John Eris Powell Mr. Aldus H. Chapin Mr. John P. Kinard Mr. & Mrs. Albert M. Prosterman Lane Kirkland Mrs. John F. J. Clark Mrs. The Riggs National Bank of Washington D.C. Mr. Clay Coss Mr. Belford V. Lawson, Jr. Dr. & Mrs. Stanley J. Sarnoflf Delano Lewis Mr. Kenneth M. Crosby Mr. Sears, Roebuck & Co. Mr. Joseph B. Danzansky Mrs. James Lynn Mr. Dennis Sherwin Hon. True Davis Mr. Richard E. Marriott Dr. & Mrs. Arthur W. Sloan Mr. John Dimick Mr. Bruce J. Martin Hon. & Mrs. Robert H. Thayer Dr. Robert L. Dupont Mr. Gerson Nordlinger, Jr. The Washington Post and WTOP II Mrs. George E. Perez Mrs. D. David Eisenhower, WGMS AM/FM Div. of RKO Radio Mr. Stuart Elsberg Mr. John E. Powell Mr. & Mrs. J. Burke Wilkinson Dr. Rosalyn Mrs. Albert M. Prostcrman Epps The Abe Wouk Foundation, Inc. Mrs. Petter Flanigan Mrs. Malcolm Rudolph Mr. & Mrs. Herman Wouk Mr. Eric R. Fox Mrs. Sidney K. Shear Mr. & Mrs. Maury Young Mr. Peter Ladd Gilsey Mr. Dennis Sherwin Mr. R. Maxmilian Goepp, III Mr. Albert H, SmaU Sponsors Hon. Arthur J. Goldberg Mrs. Lewis H. Strauss Mrs. Mackenzie Gordon Mrs. Hortense Taylor Mrs. Ruben E. Aronheim Mr. James McC. Harkless Mr. Edward N. Waters Dr. & Mrs. Joseph Berkenbilt

Hon. John S. Hayes Mrs. J. Burke Wilkinson Mr. & Mrs. Carter Cafritz Mr. Patrick Hayes Mr. Maury Young Mr. & Mrs. William H. Calfee Mrs. Arthur P. Hendrick Mr. & Mrs. Wallace M. Cohen Communication Satellite Corporation Honorary Directors Mr. & Mrs. Joseph E. Flanagan, Jr. Mr. Leo M. Bernstein Mr. David Lloyd Kreeger Mr. & Mrs. Peter M. Flanigan Mrs. Todd Duncan Hon. Robert H. Thayer Mr. Eric R. Fox Miss Kay Halle Mrs. John A. Logan Mr. & Mrs. Alfred Friendly Justice & Mrs. Arthur J. Goldberg Staff Mr. & Mrs. Aaron Goldman Managing Director Patrick Hayes Mrs. Christopher Granger Manager Douglas H. Wheeler The Sidney L. Hechinger Foundation Director of Publicity and Promotion Mr. & Mrs. Richard England & Jan Kendall Hon. & Mrs. John W. Hechinger Publicity Assistant Nancy Wellman Mr. & Mrs. Belford V. Lawson, Jr. Development Officer Pamela Ramsey Mars Foundation Membership Secretary Bess Brickman Mr. & Mrs. Forrest E. Mars Co-ordinator of Concerts in Schools. .Linda Horn Mr. & Mrs. Stephen V. C. Morris Secretary Katie Hanley Mr. & Mrs. Leroy Nesbitt Accountant Harry Hyman Mrs. Tompkins Parker There are two new convenient places to pur- Mr. & Mrs. Howard Polinger chase tickets for events: Mr. & Mrs. Malcolm R. Rudolph Record and Tape, Ltd., 1900 L Street, N.W. Mr. Lucien J. Sichel Southern California Gas Company Les Champs at tlve Watergate Dr. Louis Wener Box Office Staff Western Electric Company of Washington Verna Marshall Frances Miller Service Center Julia Questal Mr. & Mrs. Stanley I. Westreich 1300 G St., N.W. 20005 Box Office 393-4433 Mrs. Rose Saul Zalles

31 Patrons Mrs. Marion L. Shine Mr. & Mrs. Irving Adler Mr. & Mrs. Charles D. Stewart Mr. & Mrs. Philip Werner Amram Mr. & Mrs. Henry Strong Judge Thomas M. Anderson Mrs. John Sylvester Mrs. Robert Low Bacon Mr. & Mrs. Hobart Taylor, Jr. Dr. Theodore R. Bledsoe Mr. & Mrs. George M. Terry Dr. & Mrs. V. Blinoflf Mr. Martin S. Thaler Maj. Gen. & Mrs. Joe M. Blumberg Dr. & Mrs. Basil P. Toutorsky Mr. & Mrs. Philip W. Bonsai The Truland Foundation Mr. & Mrs. George Bronz Mr. & Mrs. Robert B. Van Arsdale Miss Jeannette T. Brophy Mr. & Mrs. William S. Weedon Mr. Charles T. Carey Dr. & Mrs. Alan W. Winshel Mr. & Mrs. Blake Clark Women's Committee Dr. & Mrs. John F. J. Clark Mrs. Malcolm Rudolph, President Mr. John H. Clark Mrs. Robert Siegel, First Vice President Mr. & Mrs. Emanuel Cohen Mrs. Francis Hewitt, Second Vice President Mr. & Mrs. Francis J. Colligan Mrs. John F. J. Clark, Treasurer Mr. Dallas M. Coors Mrs. Benjamin Jacobs, Assistant Treasurer Dr. Angelo D'Agostino, S.J. Mrs. James McC. Harkless, Recording Secretary Dr. & Mrs. Lewis Hilliard Dennis Mrs. George C. Klein, Corresponding Secretary Dr. & Mrs. Allen T. Dittmann Mrs. George E. Morgan, Jr., Asst. Recording Sec. Mr. George L. Erion Mr. & Mrs. William H. G. FitzGerald Mrs. Tyler Abell Mrs. David Lloyd Kreeger Mr. & Mrs. Lee M. Folger Mrs. Charles F. Adams Mrs. John Krooth Mr. & Mrs. Charles D. Ford Mrs. Arthur Alexander Honorable Marjorie Lawson Mrs. George Barnes Galloway Mrs. Carolyti Aiper Mrs. Jerome B. Libin Dr. & Mrs. Alexander B. Gardner Mrs. Bette Aschkenasy Mrs. Clyde Litton Rev. & Mrs. C. Leslie Glenn Mrs. George T. Bell Mrs. John A. Logan Mr. & Mrs. Mackenzie Gordon Mrs. Halph Berlow Mrs. James F. Lovett Mrs. Philip L. Graham Mrs. Leo Bernstein Miss Charlotte Lyeth Dr. & Mrs. Milton Gusack Mrs. Richard Blechman Mrs. Leonard Marks Mr. & Mrs. James McC. Harkless Mrs. Samuel Bogley Mrs. Richard W Marriott Miss Ann H. Hyde Mrs. Samuel Bullock Mrs. Otis R. McCollura International Business Machines Corporation Mrs. Robert C. Bumbary Mrs. Robert G. McGuire, Jr. Mr. Frank Jones Mrs. Russell Brown Mrs. John Michael Mr. & Mrs. Henry Kaiser Mrs. William N. Cafritz Mrs Charles Moss S. Kann Sons Co. Foundation Inc. Mrs. Alexander Chase Mrs. Pat Munroe Mr. Henry L. Kimelman Mrs. James Cheek Mrs. John Nef Mr. & Mrs. Gilbert H. Kinney Mrs. William Clark Mr.s. Anne Orleans Mrs. Thomson T. Kluge Mrs. Theodore Connor Mrs. Florenz Oeurisman Dr. & Mrs. Marvin C. Korengold Mrs. Carol Cramer Mrs. Mandell Ourisman

Mr. & Mrs. Ferdinand Kuhn Mrs. Stephen H. Davis Mrs. Jason Paige, Jr. Mr. & Mrs. Morton Liftin Mrs. Stephen Davis Mrs. Augustus Palmer Mr. & Mrs. Sol M. Linowitz Mrs. Elliott Degraff Mrs. Richard Pelzman Hon. & Mrs. George C. McGhee Mrs. George C. Denby Mrs. John A Pope Mrs. Susan R. Mackler Mrs. Ralph B. Dewey Mrs. John E. Powell Mr. Israel Cooper Mahaffie Mrs. Todd Duncan Mrs. Richard M. Powell Mr. & Mrs. Leonard H. Marks Mrs. Ernest Eiland Mrs. Arthur Lee Quinn Mr. & Mrs. Gerald Miller Mrs. Jonathan England Mrs. Alan Randall

Dr. Peter M. Mitsopoulos Mrs. Arthur J. Fawcett, Jr. Mrs. Stanley J Sarnoft Mr. & Mrs. Robert Sheriffs Moss Mrs. William Funderburk Mrs. Hubert Pchloshery National Savings and Trust Company Mrs. John P. Furman Mrs. David W. Scott

Dr. & Mrs. Dwight Newman Mrs. Bernard S. Gewirz Mrs. Sidney K. Shear Mr. Philip F. O'Connor Mrs. Pat Good Mrs. Paul Shifman Dr. & Mrs. Carlos E. Odiaga Mrs. Mackenzie Gordon Mrs. Donna Shor MS Helen Ger Olson Mrs. Ira Green Mrs. Albert H. Small Mr. & Mrs. J. Spencer Overholser Mrs. Consuelo Hanabergh Mrs. Andrew J. Somerville Page Communications Engineers, Inc. Mrs John Hiirris Mrs. Michael Steinberg Mr. Stephen J. Gardiner, Manager Mrs. E. David Harrison Mrs. Lewis H. Strauss Mrs. Charles Emory Phillips Mrs. John S. Hayes Mrs. Leonard Sullivan Irene and Abe Pollin Mrs. Joseph L. Henry Mrs. James W. Symington Mr. & Mrs. John A. Pope Mrs. C. David Hinton Mrs. Henry Taliaferro Dr. R. Stewart Randall Mrs. Albert R. Hughes Mrs. James D. Theberge Dr. & Mi-s. Hugo V. Rizzoli Mrs. Michael Ivy Mrs. Alfred Thomas Dr. & Mrs. Henry Roth Mrs. Barbara Jacobs Mrs. Betty Van Huycke Mrs. Cromer Rosenbaum Mrs. Harold Johnson Mrs. Lawrence Vineburgh Mr. Allan A. Rubin Mrs. Edward Kait? Mrs. Stanley Westreich Mr. & Mrs. Kurt Salmon Mrs. Kempton d'Ossche Mrs. William Whailon Mrs. Damaris A. Schmitt Mrs. Ramsay R. Kendall Mrs. J. Burke Wilkinson Dr. Hans Schneider Mrs. Lee Kimche Mrs. Winston Willoughby Mr. & Mrs. Sidney K. Shear Mrs. Peter A. Knowles Mrs. Maury Young

32 .

Vista|ord^Saga|ord Cruises. Most people take two.

More than 50% of the passengers who cruise on our two beautiful ships have sailed with us before. And they just couldn't wait to get back to the welcome that's unique to Norway's nnost experienced world cruise line.

You find it in the service, the cuisine, and in the ships them- selves, from your gracious cabin to our dramatic picture-window

lounges. You find it in the ports of call, carefully chosen to bring out the best in cruising. And in the warm welcome-back you get when you return from a day ashore. Where will you cruise with us this year, again or for the first

time? It could be the Caribbean or the Mediterranean in spring. Or the glittering North Cape. Eastern Europe, or the South Pacific. Or,

in early '75, the Orient or Africa . . So ask your travel agent soon where the Vistafjord and Sagafjord are going. Or call us for brochures. We'd like to welcome you aboard on one of our cruises or two.

CRUISE HIGHLIdHTS 1974-75 From New York (Port Everglades*) SPRING MEDITERRANEAN, GREEK ISLANDS, April 6'/10. 40 days. 20 ports. Vistafjord. EASTER WEST INDIES, April 12. 14 days. 7 ports. Sagafjord. SPRING CRUISE TO EUROPE & BRITISH ISLES, April 26 35 days Vistafjord & Sagafjord, 19 ports. Sagafjord. tlie weicome-bacl< sliips. NORTH CAPE & FJORDLANDS, June 1. 32 days. 12 ports. Sagafjord. ^ TWO CARIBBEAN CRUISES, from Port Everglades only, June 3, June 13, 10 days. 4 ports. Vistafjord. NORTH CAPE & NORTHERN EUROPE, June 25. 42 days. 19 ports. The Vistafjord Vistafjord. .n.«..»«.r4^»,w. OrVVei^ian and sagafjord SCANDINAVIA AND EASTERN EUROPE, Aug. 7. 30 days 8 ports. ^-^ are registered Vistafjord. in Norway FALL MEDITERRANEAN, Sept. 7/9*. 39 days. 15 ports. Vistafjord. lerica SIX CARIBBEAN CRUISES, from Port Everglades, Oct. 19-Dec. 18. 10-17 days. 5-10 ports. Vistafjord. SOUTH SEAS-EAST INDIES-ORIENT, Jan. 7/10*. 90 days. 23 ports. me Vistafjord. 29 BROADWAY, YORK, N. Y. 10006 FOUR CONTINENTS, Jan. 21/23*. 79 days. 29 ports. Sagafjord. NEW Tel. (212) 944-6900. The view Uom the sixth floor

You Wont Find A Luxurj/ Condonmnium With A View Like This Anywhere E se,

AcprcrentOtive is being built to the tiigh- exercise gymnasiums, and sauna offer est luxury standards atop Arlington s Pros- recreational opportunities to fit a lifeslyle. pect Hill —one of ttie tnigtiest elevations in Northern Virginia LuxLiry begins with an elegant lobby of Italian marble, sculptures, terazzo, and rich woods. The panorannic view from your new residence A 2-bedroom customized condominium cannot be shown in its entirety in the above apartment averages a spacious 1660 square photograph The view from your terrace will feet encompass both Georgetown and the Capitol We invite you to discover the advantages of Convenience at the Representative takes on luxury living at the Representative. A number new meaning We re less than a five minute of the more than 200 condominiums are avail- jog from the Pentagon 20 minutes from able at sixty to one hundred and fifty thousand. Congress, The heated free-form pool two

Virginia 22202 Owner Arlinglon Ridge Road Associates 1101 S Arlington Ridge Road Arlington (703) 591-7500 Sales Ross Keilln Realty (703) 533-9600 Built by DeLuca Construction Corp JOHN F KENNEDY CENTER

FOR THE PERFORMING ARTS HONORARY CHAIRMEN Mrs. Richard M. Nixon Mrs. Lyndon B. Johnson Mrs. Aristotle Onassis Mrs. Dwight D.Eisenhower OFFICERS Roger L. Stevens, Chairman

Harry C. McPherson, Jr., Vice Chairman Charlotte Woolaid, Assistant Secretary Senator Charles H. Percy, Vice Chairman W. Jarvis Moody, Treasurer Henry Strong, Vice Chairman Rita M. DriscoU, L. Parker Harrell, Jr., Ralph E. Becker, General Counsel James F. Rogers, Henry Strong, Peter M.Van Dine, Frank N. Ikard, Secretary John R.Whitmore, Assistant Treasurers

BOARD OF TRUSTEES Appointed by the President of the United States

Richard Adler Mrs. Rebekah Harkness Robert I. Millonzi Ralph E.Becker Mrs. Paul H. Hatch Arthur M. Schlesinger, Jr. Mrs. Donna S. Bradshaw Frank N. Ikard Mrs. Jouett Shouse Mrs. Edward Finch Cox Senator Edward M. Kennedy Mrs. Stephen E. Smith Ralph W.ElUson Thomas H.Kuchel Roger L. Stevens Mrs.J.aiffordFolger Gustave L. Levy Henry Strong

Abe Fortas Mrs. Michael J. Mansfield Benjamin A.Trustman

Mrs. George A. Garrett Mrs. J. Willard Marriott Jack J.Valenti Leonard H. Goldenson Harry C. McPherson, Jr. Lew R.Wasserman H. R. Haldeman George Meany Mrs. Jack Wrather

Members Ex Officio Designated by Act ofCongress

Caspar W. Weinberger, Secretary ofHealth, Sidney P. Marland, h.,Asst. Sec. of Education Education and Welfare Walter E.Washington, Commissionerof the Senator J.William Fulbright District of Columbia Senator Charles H. Percy J. Carter Brown, Chairman of the Commission Senator John V. Tunney ofFine Arts Representative Peter H.B. Frelinghuysen L. Quincy Mumford, Librarianof Congress Representative Frank Thompson, Jr. S.Dillon Ripley II, Sec, Smithsonian Institution Representative Teno Roncalio Ronald H. Walker, Dir., National Park Service

John Richardson, Jr. , ^ xx/sfa«f 5ecrefarj)^ o/ WilUam H.Thomas, Chairmanof the District State for Educational and Cultural Affairs of Columbia Recreation Advisory Board

EXECUTIVE DIRECTOR MUSIC DIRECTOR OF PERFORMING ARTS JuUus Rudel Martin Feinstein

PERFORMING ARTS STAFF ADMINISTRATIVE STAFF Alexander Morr, General Manager of Theaters Aaron Spaulding, Comptroller Bany Hoffman, Manager of the Concert Hall Verda V. Welch, Budget Officer Richard W. Kidwell, Manager of the Opera House F. W. Rogers, Director ofEducation Richard E. Schneider, App. Manager of the Richard H. Owens, Assistant to the Chairman Eisenhower Theater Richmond CnnkX^y, Assistant to the Chairman Edward G. Schessler, Dir., Bldg. Management DEPARTMENT OF PUBLICITY AMERICAN COLLEGE THEATRE FESTIVAL Wayne Shilkret, Director Frank Cassidy, Producer Leo Sullivan, Associate Director

KENNEDY CENTER PRODUCTIONS, INC. Roger L. Stevens, President Abe Fortas, Chairman Henry Strong, Treasurer Roger L. Stevens, Richmond Crinkley, Producers Mrs. Richard A. Poole, Director of Development

The Kennedy Center is maintained as a national memorial by the National Park Service

Rogers C.B. Morton, Sec, Dept. of Interior Ronald H. Walker, Dir., Nat. Park Service

Manus J. Fish, D/r, Nat. Capital Parks W. Douglas Lindsay, Jr., Site Manager

35 Henry Fonda

For the young woman on the threshold of maturity, no time in history has offered so many options, so many opportunities. But how to begin? Where to bridge from promise to fulfillment? Pine Manor, a two-year liberal arts women's college, offers her a unique, opportunity to explore. Expand. Discover the world. And herself. On seventy-nine acres of country campus, it is minutes from all the special cultural advantages Boston has to offer. Small enough, with only 500 students, to foster warm, personal relation- ships with fellow students and faculty, it is still part of the dynamic student atrnosphere that dominates Boston. Traditional in approach, it deals flexibly with contemporary themes and concerns. It can be a stepping stone to the finest universities — 95% of its graduates go on to further study — or an end in itself. Fine faculty, excellent facilities, enviable reputa- tion. These are assets in which Pine Manor takes pride. Second only to its pride in the quality and achievements of its graduates.

manDirector of- Admissions For catalog and details, phone or write Timothy J. Robinson, Pine Manor Junior CoUege, Box 20, Chestnut Hill, Massachusetts 02167 Tel. 617-731-7104

36 JOHN F KENNEDY CENTER

FOR THE PERFORMING ARTS ^7V[arylaiid State GIFTS FROM OGTHER COUNTRIES ^^^Savings aridLoaTiA§§ociatioii

ARGENTINA-a brass sculpture by Libero Ba- dii and two oil paintings by Raquel Forner for convenient offices the box tier of the Opera House. EIGHT

AUSTRALIA- a set of seven tapestries for the serving Downtov^'n Washington South Gallery representing The Creation which and the iVIaryland suburbs were designed by John Coburn and woven at the French factory, Aubosson. AUSTRIA— a crystal chandelier in the Opera MAIN OFFICE House and additional light fixtures. 3505 Hamilton Street BELGIUM-mirrors for the Grand Foyer, and Hyattsville, Maryland for the Opera House. CANADA— the stage curtain for the Eisenhower Theater. Savings plans earning DENMARK— furnishings for a Center lounge. FINLAND— chinaware for the Gallery and the from lYiVo to 5!4% per annum Promenade restaurants.

FRANCE— two tapestries by Henri Matisse and two sculptures by Henri Laurens for the box Telephone 779-1200 tier lobby of the Opera House.

GERMANY—bronze panels sculptured by Jur- gen Weber placed along the Entrance Plaza. GREAT BRITAIN-a sculpture by Dame Bar- bara Hepworth for Concert Hall box tier.

INDIA— twenty specially designed planters for the Grand Foyer, Hall of Nations and Hall of State. Assets over $215,000,000

IRAN— two identical silk and wood rugs espe- cially designed and made in Nain for the South Lounge of the Opera House.

IRELAND-Waterford crystal chandelier with four matching sconces for the South Lounge of the Opera House. Would you believe ISRAEL— artworks and complete furnishings for the Concert Hall lounge. Pk'imeRibor

ITALY— all the marble for the exterior and in- terior of the building, about 3,700 tons, cut to Maine iioi;^ specification. JAPAN-the Opera House stage curtain. for$5.9S? LESOTHO-a mohair tapestry. NORWAY— eleven crystal chandeliers for the Concert Hall. Believe it. PAKISTAN- two rugs designated for use in the Absolutely delicious prime rib. Or lounges of the Eisenhower Theater. Maine lobster, flown in fresh daily PORTUGAL- ceramic tiles created by Mario by Delta Airlines. Either for Silva for planters in the South Gallery of the only $5.95. With Roof Terrace. as much crisp salad and bread SPAIN— two tapestries reproduced from origi- ' as you can carry nal paintings by Goya for exhibition in the from our salad South Lounge of the Opera House. boat. And lively entertain- SWEDEN-eighteen crystal chandeUers for the ment in the lounge every Grand Foyer. night but Sunday. Stop by SWITZERLAND-a sculpture by Willy Weber any time after 5 and become for the Concert HaU lobby. a believer. .^T^*^ THAILAND— Thai silk for furnishings. TUNISIA-reproduction of a third century i^x mosaic. TURKEY— four porcelain vases designed by Port 0' Georgetown Professor Muhsin Demironat. 31st St. just below M in Georgetown YUGOSLAVIA— tapestries by Jagoda Buic and 338-6600 Matefa Rocici. Two hours free valet parking JOHN F KENNEDY CENTER

^&uu^ QOeuc^e/^ FOR THE PERFORMING ARTS FRIENDS OF THE KENNEDY CENTER

Located in Open Mrs. Polk Guest, Cnairman 7:00-10:30 A.M. Ik NATIONAL CX)UNCIL 11:00-3:00 P.M. Three THistees elected by the TYustees: Wellinton 6:00-12:00 Midnight APARTMENTiPADTUCWT '-'hotel*-' unTn Mrs. George A Garrett Abe Fortas 2505 Wisconsin Ave, N.W. Reservations 337-7412 Henry Strong Six non-Vrustee members elected by the national membership of the Friends: Mrs. Eugene C. Carusi Gracious Dining Mrs. Emanuel Cohen Mrs. Polk Guest on-the- Waterfront Mrs. William R. Hyde Mrs. Jed Pearson Stanley Woodward HONORARY CHAIRMEN

Mrs. Norris A. Dodson, Jr. Mrs. Frank Wisner REGIONAL CHAIRMEN Miss Marya Allen, New England Mrs. John de Braganza, South Atlantic Mrs. Charles Engelhard, Afid-^f/aMrtc Mrs. Donald Lewis, West Coast Mrs. David Roberts, III, Gulf States Mrs. Sarkes Tarzian, Central Aged Prime Steaks—Lobsters STATE CHAIRMEN Bouillabaisse a La Marseilles Mrs. C. TVacy Barnes, Rhode Island Mrs. Robert Beck, New Mexico Fresh Seafood Daily Mrs. Edvsrin Blum, Louisiana Continental and After-Theatre Dr. Dorothy D. Bullock, Pennsylvania Mrs. Louis Cassels, South Carolina Specialties Mrs. Pierre Clemenceau, Louisiana Mrs. John T. Conner, JVew Jersey Mrs. John Gamble, California -ENGINE LOUNGE ROOM- Mrs. Thayer Gilpatric, iVew York LIVE ENTERTAINMENT Mrs. Jim Goldate, Tennessee and DANCING to the Mrs. Ervwn Goldflne, Minnesota Mrs. Gilbert Hall, Arizona FRANK HINTON TRIO Mrs. Gustav Heningburg, New Jersey Mrs. Ross Hughes, Oregon till 2 a.m. Mrs. George A. Hurd, Pennsylvania Mrs. George C. Kaiser, Jr., Wisconsin Maine Ave. at 7lh S.W. Miss Marian J. Kerr, Hawaii Mrs. Florence K. Keppel in the Channel Ian Motel Mrs. Pierre Kolish, Oregon Res. & Info. 554.2500 Mrs. Jo D. Kowalchuk, Florida Mrs. FVed Lazarus, III, Ohio Ms. Ruth Lieder, Idaho Mrs. J. Turner Lloyd, Arkansas Mrs. Walker Long, West Virginia Mrs. John W. Lundeen, Georgia Mrs. Jane Murchison, Texas Mrs. Ralph Reeves, Jr., North Carolina Mrs. David Roberts, III, y4/a27am

When people in the Wash- There's so much to choose ington area think fashion, they from at Garfinckel's. And so many think "Garfinckel's." And now all nice people to help. Personal at- seven Garfinckel's stores welcome tention and customer service are the American Express"Card. Take still Garfinckel's hallmark. the Card on a Garfinckel's shop- The seven Washington area ping spree and discover a world Garfinckel's are: "F" Street, of excitement. Spring Valley in the District of First stop, Designer Fashions, Columbia, 7 Comers,Tysons for the finest in chic international Corner, Springfield Mall in Vir- designs. Like Givenchy, Missoni, ginia, Montgomery Mall and Halston.Then head to the Young Landover Mall in Maryland. Designers for the brightest, new Why not take your American talents... Diane Von Furstenberg, Express Card on a Garfinckel's Stephen Burrows, Scott Barrie. shopping spree today? Use the Card for Cardin. You'll find his perfectly tailored blazer in Men's Clothing. Check Men's Furnishings for special ties by Yves St. Laurent and Ungaro. Or take home Equipage cologne, from Washington's exclusive Hermes Boutique.

©American Express Company, 1974. SUNDAY MONDAY TUESDAY WEDNESDAY March Performance Schedule

OH-2:00& 8:00 ET-7:30 ET-7:30 ET-7:30 NEW YORK CITY BALLET Brian Bedford in Brian Bedford in Brian Bedford in CH-8:30 JUMPERS JUMPERS JUMPERS ROYAL TAHITIAN by Tom Stoppard by Tom Stoppard by Tom Stoppard DANCE COMPANY OH-8:00 CH-8:30 CH-8:30 D.C. YOUTH ORCHESTRA NATIONAL SYMPHONY NATIONAL SYMPHONY CH-8:30 ORCHESTRA ORCHESTRA CATHOLIC UNIVERSITY Moshe Atzmon, conductor Repeat of March 5 SCHOOL OF MUSIC (Mozart, Honegger, CHORUS & ORCHESTRA Mussorgsky-Ravel) (Berlioz, Beethoven, Byrd, Britten, Walton)

OH-2:00& 8:00 ET-7:30 ET-7:30 CH-11:00A.M. THE NATIONAL BALLET Brian Bedford in Brian Bedford in NATONIAL SYMPHONY Courante, Esmeralda (new), JUMPERS JUMPERS ORCHESTRA SYMPOSIUM Jeu de Cartes (new) by Tom Stoppard by Tom Stoppard admission free CH-3:00 OH-8:00 ET-7:30 RENATA TEBALDI ALVIN AILEY Brian Bedford in soprano DANCE THEATRE JUMPERS CH-8:30 CH-8:30 by Tom Stoppard CLANCY BROTHERS NATIONAL SYMPHONY OH-8:00 ORCHESTRA ALVIN AILEY Rafael Fruhbeck de Burgos, DANCE THEATRE conductor CH-8:30 Horacio Gutierrez, pianist NATIONAL SYMPHONY ORCHESTRA Repeat of March 12

M- M.

OH-2:00& 8:00 ET-7:30- ET-7:30 OH-2:00& 8:00 ALVIN AILEY Brian Bedford in Brian Bedford in Jean Simmons in DANCE THEATRE JUMPERS JUMPERS A LITTLE NIGHT MUSIC CH-3:00 by Tom Stoppard by Tom Stoppard by Stephen Sondheim DETROIT SYMPHONY CH-8:30 OH-8:00 ET-7:30 ORCHESTRA BOSTON SYMPHONY Jean Simmons in Brian Bedford in Andre Previn, conductor ORCHESTRA A LITTLE NIGHT MUSIC JUMPERS (Ravel, Copland, Williams) Seija Ozawa, conductor by Stephen Sondheim by Tom Stoppard Maurizio Pollini, piano CH-8:30 CH-8:30 (Mozart, Stravinsky) NATIONAL SYMPHONY NATIONAL SYMPHONY ORCHESTRA ORCHESTRA Antal Dorati, conductor Repeat of March 12 Bruno Leonardo Gelber, piano (All Brahms program) n

Mm •

ET-7:30 ET-7:30 OH-2:00& 8:00 Brian Bedford in Brian Bedford in Jean Simmons in JUMPERS JUMPERS A LITTLE NIGHT MUSIC by Tom Stoppard by Tom Stoppard by Stephen Sondheim OH-2:00 OH-8;00 OH-8:00 ET-7:30 Jean Simmons in Jean Simmons in Jean Simmons in Brian Bedford in A LITTLE JUMPERS NIGHT MUSIC A LITTLE NIGHT MUSIC A LITTLE NIGHT MUSIC by Stephen Sondheim by Stephen Sondheim by Tom Stoppard CH-3:00 CH-8:30 CH-8:30 CH-8:30 ALFRED THE PHILADELPHIA NATIONAL SYMPHONY NATIONAL SYMPHONY BRENDEL/ CH-3:00 ORCHESTRA ORCHESTRA ORCHESTRA pianist JESS THOMAS Eugene Ormandy, conductor Antal Dorati, conductor Repeat of March 26 tenor Eugene Istomin, piano Carole Farley, soprano Guillermo Sarabia, bass (Poulenc, Dallapiccola) 27, ET-EISENHOWER THEATER OH-OPERA HOUSE CH-CONCERT HALL THURSDAY FRIDAY SATURDAY MAT SATURDAY EVE

ET-7:30 ET-2:00 ET-7:30 Brian Bedford in Brian Beford in Brian Bedford in JUMPERS JUMPERS JUMPERS by Tom Stoppard by Tom Stoppard by Tom Stoppard OH-8:00 OH-2:00 OH-8:00 NEW YORK CITY BALLET NEW YORK CITY BALLET NEW YORK CITY BALLET CH-8:30 CH-3:00 CH-8:30 ANDRE WATTS MURRAY PERAHIA CINCINNATI ORCHESTRA pianist pianist Thomas Schippers, conductor 1* Shirley Verrett, mezzo-soprano (Wagner, Brahms)

Program subject to change 1 1

CH-1:00 ET-7:30 ET-2:00 ET-7:30 GREAT FILENE MEMORIAL Brian Bedford in Brian Bedford in Brian Bedford in ORGAN DEMONSTRATION JUMPERS JUMPERS JUMPERS by Irving Lawless by Tom Stoppard by Tom Stoppard by Tom Stoppard admission free OH-8:00 OH-2:00 OH-8:00 ET-2;00&7:30 THE NATIONAL BALLET THE NATIONAL BALLET THE NATIONAL BALLET Brian Bedford in Sleeping Beauty Sleeping Beauty Sleeping Beauty JUMPERS CH-8:30 CH-8:30 by Tom Stoppard DENVER SYMPHONY NETHERLANDS WIND CH-8:30 Brian Priestman, conductor ENSEMBLE NATIONAL SYMPHONY (Cherubini, Bennett, (All Mozart program) ORCHESTRA Shostakovich) Repeat of March 5 /^; 7 9 9

CH-1:00 ET-7:30 ET-2:00 ET-7:30 ORGAN DEMONSTRATION Brian Bedford in Brian Bedford in Brian Bedford in admission free JUMPERS JUMPERS JUMPERS ET-2:00& 7:30 by Tom Stoppard by Tom Stoppard by Tom Stoppard Brian Bedford in OH-8:00 CH-3:00 OH-8:00 JUMPERS ALVIN AILEY GUARNERI STRING ALVIN AILEY by Tom Stoppard DANCE THEATRE QUARTET DANCE THEATRE OH-8:00 CH-8:30 William Masselos, piano CH-8:30 ALVIN AILEY PETER NERO (Schumann, Brahms, CARLOS MONTOYA Shostokovitch) DANCE THEATRE pianist with combo flamenco guitarist CH-8:30 NATIONAL SYMPHONY ORCHESTRA Repeat of March 12 MM ^ li ^ * y 14 15 16 16 ET-2:00&7:30 ET-7:30 ET-2:00 ET-7:30 Brian Bedford in Brian Bedford in Brian Bedford in Brian Bedford in JUMPERS JUMPERS JUMPERS JUMPERS by Tom Stoppard by Tom Stoppard by Tom Stoppard by Tom Stoppard OH-8:00 OH-8:00 OH-2:00 OH-8:00 Jean Simmons in Jean Simmons in Jean Simmons in Jean Simmons in A LITTLE NIGHT MUSIC A LITTLE NIGHT MUSIC A LITTLE NIGHT MUSIC A LITTLE NIGHT MUSIC by Stephen Sondheim by Stephen Sondheim by Stephen Sondheim by Stephen Sondheim CH-8:30 CH-8:30 NATIONAL SYMPHONY ORATORIO SOCIETY ORCHESTRA OF WASHINGTON Repeat of March 19 Robert Shafer, conductor (Handel) /*%^ ^/% &md i 7/ 23 2^

CH-1:00 ET-7:30 ET-2:00 ET-7:30 ORGAN DEMONSTRATION Brian Bedford in Brian Bedford in Brian Bedford in admission free JUMPERS JUMPERS JUMPERS ET-2;00& 7:30 by Tom Stoppard by Tom Stoppard by Tom Stoppard Brian Bedford in OH-8:00 OH-2:00 OH-8:00 JUMPERS Jean Simmons in Jean Simmons in Jean Simmons in by Tom Stoppard A LITTLE NIGHT MUSIC A LITTLE NIGHT MUSIC A LITTLE NIGHT MUSIC OH-8:00 by Stephen Sondheim by Stephen Sondheim by Stephen Sondheim Jean Simmons in CH-8:30 CH-8:30 A LITTLE NIGHT MUSIC CLEO LAINE AND FESTA BRAZIL by Stephen Sondheim JOHN DANKWORTH folk dance company CH-8:30 NATIONAL SYMPHONY ORCHESTRA /%/*% /^d\ /<% r\ Repeat of March 26 7m 30 30 Ten times a foster father! Chauncey Reid, U.S. Steel, Washington, D.C.

Chauncey Reid is a clerk in our offices here. He joined U.S. Steel 25 years ago. For almost all of that time, he and his wife. Flora Ree, have been foster parents to a succession often lucky kids. Three are now with the Reids and their daughter. A lot of other U.S. Steel people are doing good things in the Washington area, too. You might say they're involved. We're involved.

*

Hear the Cleveland Orchestra on WGMS, Wednesday evenings at 9 p.m., brought to you by United States Steel. I .

^ our generations

THE ADVISORY COMMITTEE of discerning ON THE ARTS grooms Appointed by President Richard M. Nixon brides and

iiave preferred . . EXECUTIVE COMMITTEE Mrs. J.Willard Marriott, Chairman Robert S. Carter, Secretary Vernon B. Stouffer, Chairman, Finance Mrs. Donna S. Bradshaw, Vice-Chrm., Finance inthrop jewelers Mrs. Jack Wrather, Chrm., Public Relations Harry L.Jackson, Vice-Chrm., Public Relations seven corners mrtieaton plaza landmark I'enfant plaza lanaover mall Mrs. Paul A. Clayton, Chrm., Ed. & Program Mrs. Benjamin C. Evans Jr., Vice-Chrm., Ed. & Program Mrs. Arnold Schwartz, Director ofPublicity Mrs. D. Eldredge Jackson Jr., N.E. Regional Chrm. Harvey B. Cohen, 5oMf/i Regional Chrm. Meet Mrs.W. A. McKenzie, West Regional Chrm. John H. Myers, Midwest Regional Chrm. interesting people MEMBERS Mrs. Evangeline Atwood, Anchorage, Alaska every Sunday. Mrs. Robert Loeb, Birmingham, Alabama G. Robert Herberger, Scorfida/e, Arizona Peter R. Marroney, Tucson, Arizona Jimmie Driftwood, Timbo, Arkansas The Samuel Schulman, Beverly Hills, California Fferenc Daday, Burbank, California Mark I. Goode, Hidden Hills, California Deena Clark Mrs. Jack Wrather, id >ln^e/ei, California

Mrs. John Way ne , Newport Beach, California Mrs. George F. Barrett, Palm Springs, California Mrs. Evan V. Jones, San Diego, California Show. Davis W. Moore, Denver, Colorado Allan R. Phipps. Denver, Colorado Join Washington s Larned S. Whitney Jr., New Britain, Connecticut Myron R. Bernstein, Moodus, Connecticut famous interviewer Mrs. John W. Rollins, Greenville, Delaware as she has her //ockeMin, Delaware Mrs. John R. Cooper, With" Charles C. Parks Sr., Hockessin, Delaware "Moment Mrs. Thomas B.Evans Jr., Wilmington, Delaware fascinating Robert Hook, Jacksonville, F'lorida Mrs. personalities Mrs. Edwin Reeves, Miami, Florida Rabbi Joseph ¥Teeimat\, Albany, Georgia from every walk Mrs.Dillard Munford,ylf/anra, Georgia of life. Mrs. Robert W.Wynne it., Atlanta, Georgia Senator Eureka B. Forbes, Honolulu, Hawaii Mrs. R. V. Hansberger, Boise, Idaho WRC(NBC)1V4 Mrs. Donna S. Bradshaw, Evanston, Illinois Check your newspaper for exact time. Charles W. Bolen, Normal, Illinois Brought to you by Mrs. John Burkhart, Indianapolis, Indiana Mrs. Sarkes Tarzian, Indianapolis, Indiana James S. Schramm, Burlington, Iowa Mrs. Gordon E. Stone, Hutchinson, Kansas

Stanley O. Beren , Wi'cfti" ra, Kansas Bernard H. Barnett, Louisville, Kentucky Mrs. Harold K.Marshall, New Orleans, Louisiana Williard W. Cummings, Skowhegan, Maine Mrs. William H.Muir, Stoningion, Maine Mrs.Willard G. Rouse, Sa/fimore, Maryland Mrs. Frank E. Fitzsimmons, Chevy Chase, Maryland 1 r / V Mrs. Gilbert, W. Keech, Chevy Chase, Maryland Mrs. James M. Beggs, Potomac, Maryland Mrs. Richard M.Allen, Salisbury, Maryland f)68 Mrs. Charles C.Hartman, Severna Park, Maryland Camman Newberry, Beverly Farms, Massachusetts IN THE HEART Thomas A. Pappas, Boifon, Massachusetts crapes OF GEORGETOWN Mrs. James Lawrence, Brookline, Massachusetts Miss Robin M.Hendrich, Monterey, Massachusetts to Brvtogn* in Wathington Aprat !• Tftcofr* William M.Hunt, Milton, Massachusetts until 2 A.M. W.Hal Youngblood, Detroit, Michigan • ii^ COCKTAILS * * Mrs. John Stiles, Grand Rapids, Michigan SO Dimrant CnpM frem UtotM' au Cognac to Mrs.W. Ballenger III, Lansing, Michigan HoMy and GIngar YOUR HOSTS Jacques Vivien and Hugo Fregnan Mrs. Russell 1.l,\ij\ii, Minneapolis, Minnesota 1305 WISCONSIN AVE. N.W. FE 7-1723 John H.Myers, St. Paul, Minnesota 11:30 A.M. to 1:30 A.M. 7756 WISCONSIN AVE. continued on next page 657-3456 11:30 A.M. to 11 P.M. Ill King Street, Alexandria, Va. 43 THE ADVISORY COMMITTEE ON THE ARTS continued from page 43

Burrell O.McGee, Greenville, Mississippi Mrs. R.Crosby Kemper Jr., Blue Springs, Missouri George S.Rosborough it., Webster Groves, Missouri Bruce C.Jacobsen, Bozeman, Montana James N.Ackerman, Lincoln, Nebraska Mrs. William P.Lear, Verdi, Nevada Mrs. Robert English, Hancock, New Hampshire French Cuisine Served After Theatre Senator Robert English, Hancock, New Hampshire Edmund B.Sullivan, Rumson, New Jersey in historic Georgetown setting Walter W.Weller Jr., West Orange, New Jersey Mrs. Rufus G.Poole, Albuquerque, New Mexico William S.Lasdon, Katonah, New York Valet Parking Mrs. Elmer H. Bobst, New York, New York Richard J. Buck, New York, New York St. N.W. • 965-1789 1226 36th Miss Bernice Miller, New York, New York Richard C.Pistell, New York, New York Mrs. Arnold Schwartz, New York, New York Mrs. John M.Shaheen, New York, New York Arthur M. Richardson, Pittsford, New York Mrs. Irene Barbara Walczak, Williamsville, New York Henry H.Shavitz, High Point, North Carolina Charles R.Jonas Jr., Lincolnton, North Carolina Bryan E.Gackle, Dickinson, North Dakota :^ie^ Harry L.Jackson, Cleveland, Ohio Carl H.Lindner, Cincinnati, Ohio Vernon B.Stouffer, Cleveland, Ohio William D.Taylor, //a«v(7/e, Ohio C.Oscar Stover, Alva, Oklahoma 1509-11 CONNECTICUT AVL N.W. Mrs. Frank J. Hightower, Oklahoma City, Oklahoma Mrs. Julian N.Cheatham, Pocr/and, Oregon 265-6255 Ronald G.Schmidt, Sa/em, Oregon FINEST Collection of famous American Mrs.D.EIdredge Jackson Jr., Providence, Rhode Island Mark W. Buyck Jr., Florence, South Carolina Paintings by artists listed in Who's Who Mrs. Holmes Frederick, Greenville, South Carolina Art. of kmwKon Mrs. Frank L. Farrar, Britton, South Dakota FINEST Etchings, Lithographs and En- Mrs. Robert h. A&h.e, Knoxville, Tennessee i gravings by such famous names as: Mrs.E.Bronson In^tam, Nashville, Tennessee I Cezanne, Mire, Calder, Reuaull, Mrs. William A. McKenzie, Z)a//as, Texas Rembrandt, Durer, Picasso, Chagall, Mrs.H. Ross I'erot, Dallas, Texas Mrs. Charles J.Wyly, Dallas, Texas Renoir, Goya, Bonnard, Dali, and Mrs. Sam Wyly, Dallas, Texas hundreds of others. Also Famous Sculp- Ted Weiner, Fort Worth, Texas tures. Meredith J. Long, Houston, Texas FINEST Collection of Old Estate Paint- Mrs. James H.Clement, Kingsville, Texas ings and Hogarth and Bunberry Charles H. Henson, Pfovo, Utah Mrs. Paul A.Clayton, Salt Lake City, Utah etchings. Mrs. Byron O. McCoy, Rutland, Vermont antiques, FINEST Collection of Chinese Harvey B.Cohen, Alexandria, Virginia artifacts, furniture, jade and jewelry in Mrs. George B.Green, Arlington, Virginia our Mrs. Henry E. Catto,Mc/,ean, Virginia Mrs. Edward D. French, McLean, Virginia Dl/NCV^N Is Dti(VCAIV Mrs.Marjorie Phillips, Seattle, Washington ChlnaM Cefftry Lawrence Biov/n, Washington, D.C. (mi ill* wie ••r) Mrs. Wiley T. Buchanan, PVai/i/ngfon, D.C. Mrs. George yi.BunV.eT,Washington, D.C. Daily 104, cleswl Sun. Robert S.Carter, JVa^ftingfon, D.C. Mrs. Anna C\\ent\au\t, Washington, D.C. finest M Collection Mrs. Benjamin C. Evans Jr., Washington, D.C. Mrs.S.Everette Gui\e%, Washington, D.C. in Wdshinpjon Mrs. Katharine McCook Kno-x., Washington, D.C. Mrs.J.Willard MatxiotX, Washington, D.C. Mrs. Robert G.McGuire, Washington, D.C. Mrs. Gladys LMonXgomery, Washington, D.C. Wesley S.^Miams, Washington, D.C. Mrs. Rose Saul Za\\e&,Washington, D.C. Richard E.Duncan, Morgantown, West Virginia Mrs. Frank J. Pelisek, Milwaukee, Wisconsin Mrs. Stanley Hathaway, Cheyenne, Wyoming

Mrs. Eunice Larson, Administrative Assistant • To comply with the Presidential directive on the conservation of energy all thermo- stats in the Kennedy Center have been lowered to 68 degrees F^renheit.In addition to reducing I the heat, most of the architectural lighting has been eliminated including all landscape lights and half of the lights on the building's exterior. The four fountains have been deactivated for the duration. And, as visitors will readily note, opTicnn normal lighting in the public areas, such as the Grand Foyer, has been reduced by fifty percent. 7 LOCATIONS D.C-MD.-VA. 44 The arts have proved themselves more durable than scandals,wars and oil shortages.^ —Osbom Elliott Editor, Newsweek

One of 1973's most memorable issues.

the world's most quoted newsweekly

45 knight FACILITIES AND SERVICES sit next Box Offices: Hall of Nations (Conceit Hall tickets); Hall of States (Theater and Opera House tickets). Hours: 10:00 a.m.- to someone 9:00 p.m. (Mon.-Sat): 12 noon-9:00 p.m. (Sundays and holidays) famous For information telephone: 254-3600. m Thirty minutes free parking in Center Ga- rage for ticket buyers prior to 6 p.m. Box office will validate parking stub. La Grande Scene is the Theater Party information: 254-3626 place where famous -ill Parking Facilities: Enter South from En- vvasdingiuiiiciiib « trance Plaza. Rock Creek Parkway or

go, because it is one of Expressway. Exit North to Rock Creek Parkway or New Hampshire Avenue. Washington's truly Check Rooms: Hall of Nations and Hall of fine restaurants. One States. Check Rooms close 15 minutes after pleasant surprise is the the end of the last performance. Lost and Found: Telephone 254-3676 elegant dinners for a § Lounges and Restrooms: On all seating and parking levels and on Roof Terrace. modest $7.95. Let Public Telephones: Located in Box Office table for us reserve a > alcoves, parking, seating and roof levels. you next to someone Public Transportation: D.C. Transit buses to you know. '^, and from Pennsylvania Avenue, routes 80, 81 and R 5. Taxi stand is located at Hs^l of States entrance.

Wheelchairs: Reserve in advance by calUng La Grande Scdne 254-3718 Atop the John F. Kennedy Center for the Incoming Calls: One can be reached by Performing Arts. Reservations: 833-8870. fl Open noon-2:30 p.m. and 6 p.m.-11 :00 p.m. phone on 254-3624 if name and seat Monday-Saturday, closed Sunday and holi- number are left with usher. days. Banquet facilities available. Late comers will be seated at the discretion of the management.

Restaurants: On the Roof Terrace:

"La Grande Scene" (Mon.-Sat., 12 noon to 2:30 p.m.; 6 p.m. to 11 p.m.) Closed Sundays and holidays. Reservations accepted. Cocktail lounge. (Mon.- Sat., 5:30 to 12 midnight.) Qosed Sun- days and hoUdays.

"The Promenade"-buffeteria (Mon.-Sat, 11:30 a.m. to 8:00 p.m.; Sun. 11:30 a.m. THE (UTJ.KEY to 5:00 p.m. on performance days only.) "The GaUery"-cafe (Mon.-Sat. 11:30 a.m. to 11 p.m. Closed Sundays and holidays.) Telephone: 833-8870

The Filene Memorial Organ in the Concert Hall contributed by Mrs. Jouett Shouse. Sound systems contributed by the RCA Corporation. Baldwin is the official piano and electronic organ of the John F. Kennedy Center. Panel truck courtesy of Sheehy S33 mess's Ford, Marlow Heights, Maryland.

46 American conductors are a rare breedl -especially in America.

In the culture-conscious United States, the aged, and in other institutions where the there is a surprisingly small number of Ameri- audiences are often unfamiliar with classical can symphony conductors. music. Exxon is trying to help. We're sponsoring They're also working with smaller musi- the Exxon-Affiliate Artists Conductor program. cal groups in areas around their orchestra's This program is designed to accelerate the home city. Because one of the aims of the careers of young American conductors, and, program is to build public support for classi- at the same time, expose more Americans to cal music and symphony orchestras. fine symphonic music. And most important to them, these young The program has already placed six maestros are conducting the full orchestras young conductors in residence with the in regularly scheduled concerts several times Atlanta Symphony, the San Diego Symphony, during the season. the St. Paul Chamber Orchestra, the Pitts- We hope Exxon with Affiliate Artists, Inc. burgh Symphony, the National Symphony in will bring many hours of musical Washington, D.C., and the Milwaukee Sym- pleasure to American audiences. phony. They're getting invaluable experience By American conductors. working closely with ranking conductors for a full season. Theseyoung conductors are handling re- E^ON hearsals. And they're conducting "outreach" concerts for special audiences— in parks and schools for youngsters, in homes for We'd like you to know • During World War I, Captain Just like today's Parliament, Adams made the cigarette holder with the recessed filter tucked I regular part of his uniform. back, away from your lips. So all itlvas not only dashing, it gave you taste is rich, clean flavor. Im a cleaner taste. \f" Never the filter. The Captain would be pleased.

The Parliament recessed filter. It works like a cigarette holder works.

PARLIAMENT

Kings, Box; 15 mg'.'iari' 1.0 mg nicoime— 100's:17mg'.'iar|' 1.2 mg. nicotine av.per cigarette, FTC Report Sept!7J._