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BROOKLYN ACADEl\IY OF l\1USIC FESTIVAL 1987 SPO~SORED BY PHILIP MORRIS C01\1PANIES INC. For Release: November 3, 1987 Contact: BAMPublicity 718-636-4129 SQUATTHEATRE PRESENTS YORLD PREMIERE OF "'L' TRAIN TO ELDORADO"DECEMBER 1-6 AT THE 1987 NEXTYAVE FESTIVAL Squat Theatre will make its NEXT WAVEFestival debut with the world premiere of 'L' TRAIN TO ELDORADOin the Carey Playhouse December 1-6. The production is part of the fifth annual NEXT WAVEFestival, sponsored by Philip Morris Companies Inc. 'L' TRAIN TO ELDORADOcontinues the company's unique experiments in combining theater and film while exploring, what director Stephan Balint calls, "the realities and myths of urban life." The hero of the play travels through progressive stages of despair after he is jilted by his lover. Throughout the work a movie crew of devils appear periodically shooting the activity on stage. 'L' TRAIN constantly plays with one's sense of reality through the theatrical equivalents of such film concepts as close-ups and long shots. The original music by art-rock composers Arto Lindsay and Peter Scherer works like a movie score. Appearing in the production is Eszter Balint, who was featured in the film "Stranger Than Paradise." Eva Buchmuller designed the hyper realistic backdrops. Since its inception in 1969, Squat Theatre has been known for its unusual and innovative approach to theater space and aesthetics. Originally formed in Hungary, the group was censored by the government for their political radicalism and forced to perform "underground" in apartments and across the countryside. They arrived in New York in 1977 after a year in Western Europe. They presented "Pig, Child, Fire!" in their storefront theater on West 23rd Street and won an Obie Award. Their other major works for that space were "Andy Warhol's Last Love" (1978) and "Mr. Dead And Mrs. Free" (1981), which was also awarded an Obie. When they performed "Dreamland Burns" at The Kitchen in 1985, the firs t part was a movie and the second part a live performance, with some of the characters from the movie appearing onstage either in person, or presented as statues animated by Super-8 projections superimposed on their faces; a technique which will be further explored in 'L' TRAIN TO ELDORADO. Philip Morris Companies Inc. again serves as primary corporate sponsor for the NEXT WAVEFestival, completing a two-year $500,000 grant for the 1986 and 1987 Festivals. Funding for this production was also provided by the NEXT WAVEProduction & Touring Fund. -more- BROOKLY~ACADE11Y OFjIUSIC 30 Lafayette Avenue, Brooklyn, New York 11217-1486 (718)636-4100 America'sOldestPerforming ArtsCenter TeleCopier!il818~1-Wil Telex298.Wl BAJIURCable Acadmusic PERFORMANCESCHEDULE: Tuesday, December 1 at 7 pm Wednesday, Dece mbe r 2 at 8 pm Thursday , Dece mber 3 a t 8 pm Friday, Dec emb er 4 at 8 pm Saturday, Dec ember 5 at 8 pm Sunday, December 6 at 2pm & 7 pm Tickets r ange f r om $12- $30 . For ticket information call 718-636-410 0. ********************************************************** For Publicity Informati on Contact : Peter B. Carzasty , Dir ector of Publicity & Public Relations Karen Goldman, Press Representati ve Michael McGover n, Pre ss Representative Robert Boyd, Press Ass i stant 718-636-4129 .

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HENRY THREADGILL RUN SILENT, RUN DEEP, RUN LOUD, RUN HIGH BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President and Executive Producer
B OOKLYN ACADEMY OF MUSIC "L" TRAIN 10ELDORADO • HENRY THREADGILL RUN SILENT, RUN DEEP, RUN LOUD, RUN HIGH BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Carey Playhouse December 1-6, 1987 presents SQUAT THEATRE "11' TRAIN TO ELDORADO World Premiere Written andDirected by STEPH~N BALINT Musicby PETER SCHERER & ARTO LINDSAY Artand Stage Design Lighting Design Sound Design EVA BUCHMULLER ANNE MILITELlO CONNIE KIE"LTYKA "L" Train to Eldorado was commissioned by the Brooklyn Academy ofMusic NEXT WAVE Festival and ArtBureau Munich. This production was made possible, in part,with public funds provided'by th~ National Endowment for the Arts. BROOKLYN ACADEMY OF MUSIC I i III.-----FEI~~~AL SPONSORED BY PHILIP MORRIS COMPANIES INC. The 1987 NEXT WAVE Festival is sponsored by PHILIPMORRIS COMPANIES IN:c.' The NEXT WAVE Production and Touring Fund and Festival are supported by: the NATIONAL ENDOWMENT FOR THE ARIS, THE ROCKEfELLER FOUNDATION, THE FORD FOUNDATION, THE ELEANOR NAYWR DANA CHARITABLE TRUST, PEW CHARff,ABLE TRUSTS, the BOOTH FERRIS FOUNDATION, THE HENRY WCEFOUNDATION, INC., the AT&T FOUNDATION, THEHOWARD GILMAN FOUNDATION,THE WILLIAM AND FLORA . HEWLETI' FOUNDATION, theMARY FLAGLER CARY CHARITABLE TRUST, TIIEHINDUJA FOUNDATION, THEEDUCATIONAL FOUNDATION OFAMERICA, the MORGAN GUARANTY TRUST COMPANY, ROBERT W. Wll..SON, THE REED FOUNDATION INC., theEMMA A. SHEAFER CHARITABLE TRUST, SCHLUMBERGER, YVES SAINT LAURENT INTERNATIONAL, andthe NEW YORK STATE COUNCIL ON THE ARIS. Additional funds for the NEXT WAVE Festival are provided by: THE BEST PRODUCTS FOUNDATION, COCA-COLA ENTERTAINMENT, INC., MEET THE COMPOSER, INC., the CIGNA CORPORATION, THE WILLIAM AND MARY GREVE FOUNDATION, INC., the SAMUEL I.
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Squat theatre Staging Life/Living on Stage Anna Koós quat Theatre is known for having presented provocative, avant-garde perfor- mances in a New York storefront from 1977 to 1983. The stage was situated Sinside, in front of the window. Seats on risers served as the auditorium in the back of the store. The audience watched what transpired on the stage and beyond it, through the window, in the street — an extension of the stage, or a living back- ground, if you like. Our collective work began in Budapest in 1970. We were young artists, poets, former members of a university ensemble who formed an independent theatre company. In the Cold War, the Communist government in Hungary did not tolerate gatherings, cultural or otherwise, beyond its direct control. Our performances were banned in 1972. After four more years of skirting around prohibition (performing underground on the fringes of officialdom, mostly in private apartments) and fending off infiltrat- ing informers, the police, and even the neighbors, our theatre company was given the green light to emigrate, with four small children in tow. The core of the group which stayed together from 1970 until 1985 included five friends, namely: Stephan Balint (1943–2007), Peter Berg (b. 1947), Eva Buchmuller (b. 1943), Peter Halasz (1943–2006), and myself, Anna Koós (b. 1948). (Since our personalities mattered much, here I call us by our first names except Berg, to avoid mixing up the two Peters.) In the fifteen years of our collaboration, several other people joined us and sooner or later parted with us, two more children were born, and languages changed.
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