l:3AIVI bi II Brooklyn Academy of Music 1996 Next Wave Festival

Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" Les Enfants Terribles

BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Harvey Lichtenstein President & Executive Producer

presents Les Enfants Terribles Children of th G m

BAM Opera House November 20, 1996 at 7pm November 22 & 23 at 8pm November 24 at 3pm

A Dance Opera Spectacle based on the work Les Enfants Terribles by

Running time: Adaptation and Susan Marshall approximately 100 Music and Libretto Philip Glass minutes. There is no Direction and Choreography Susan Marshall intermission. Sound Design Kurt Munkacsi Music Direction Karen Kamensek Set Design Douglas Stein Costume Design Kasia Walicka Maimone Lighting Design Robert Wierzel

Musicians: Nelson Padgett, Eleanor Sandresky and Philip Glass Singers: Christine Arand, Hal Cazalet, Philip Cutlip and Valerie Komar Dancers: Hans Beenhakker, Susan Blankensop, Mark DeChiazza, John Heginbotham, Kristen Hollinsworth, Krista Langberg and Eileen Thomas

Producer Jedediah Wheeler Production Management by IPA, New York City Co-Producer Steps '96 MIGROS Switzerland-Cultural Commitment World Premiere, Theatre Casino, Zug, Switzerland May 18, 1996 ©1996 Dunvagen Music Publishers, Inc.; ©1929 Editions Grasset & Fasquelle

American companies participating in the Next Wave are sponsored by:

The BAM presentation of Les Enfants Terribles is sponsored by Independence Savings Bank. Special support provided by The Fan Fox and Leslie R. Samuels Foundation, The Harkness Foundations for Dance and Club France. Performers Administration Gerard, Narrator-Hal Cazalet General Management Paul-Hans Beenhakker, Philip Cutlip, Mark DeChiazza, John Heginbotham International Production Associates, Inc. (I PA) Lise, Paul's Sister-Christine Arand, 584 Broadway, Suite 1008 Kristen Hollinsworth, Krista Langberg, New York, NY 10012 Eileen Thomas T. 212-925-2100 Dargelos/Agathe-Susan Blankensop, F. 212-925-2426 Valerie Komar E. [email protected]

Keyboards Jedediah Wheeler-President Philip Glass, Nelson Padgett, Eleanor Sandresky Linda Greenberg-Vice President David Bradford-Production Manager Creative Staff Alisa E. Regas-Project Manager Music Director-Karen Kamensek Sound Engineer-Dan Dryden Vocal Coach-Julie Kuipers Th is prod uction gratefuIly acknowledges the Titles/Narration-Jim Lewis cooperation of Christopher Beach, Rachel Chanoff Stage Typography-J. Abbott Miller, and the entire staff at the Performing Arts Center Design /Writing /Resea rch at Purchase College/SUNY Purchase. Special Titles Editor-John Howell gratitude is extended to Dr. Walter Boris Fischer Assistant Choreographer-Eileen Thomas (Federation of Migros Cooperatives) and August French Coach-Alexandra Montano Villiger (Theater Casino, Zug). Additional thanks to Dance Continuum Inc. aka Susan Marshall & The choreography for Les Enfants Terribles was Company (Ryan Gilliam, Management; Rena developed in collaboration with the dancers, Shagen, Booking Management; and Peter Carzasty whose movement, inventions and ideas have of The Kreisberg Group, Publicity). contributed immeasurably to the work.

Production Staff Production Manager-James Griffith Production Stage Manager-Michele Steckler Company Manager-Timothy Grassel Technical Director-James Slater Lighting Supervisor-Judith Daitsman Audio Technician-Zachary Glass Projectionist-Elaine McCarthy

Assistant Stage Manager-Brandon Prendergast Assistants to Set Designer-Peter Pi-Te Pan,r Atsuko Kurita Assistant to Lighting Designer-Brian Haynsworth Assistant to Costume Designer-Nancy Brous

Audio Production-Euphorbia Productions, NY, NY Costume Construction-Stenia Zielinska, Maria Prat, Basia Jachminowicz Lise's Robe Textile Design-Caroline Keil Chairs and Beds Construction-Rob de Mar Softgoods Construction-Gerriets International, Rosebrand

Photos: Brigitte Lacombe When Philip and I began discussing the shape this dance/opera would take, realized I did not want to direct a conventional opera in which dance would play its traditional role of divertissement, secondary to the main action. Nor did I want to create choreography that would "enact" the story in a literal fashion, for the power of dance lies in its mystery. Nevertheless, Cocteau's story is the heart of the work; how could I communicate it to an audience in a way that an audience could follow?

The central challenge has been to find that delicate balance (so Cocteau l ) between clarity and mys­ Les Enfants Terribles, Jean Cocteau's novel which tery. Much of the process of creating this piece was written in 1929 and was later made into has been about finding balances: between singers both a play and a film forms the basis of the third and dancers; simplicity and density; humor and installment of the trilogy of music/theater works tragedy; melodrama and drama. Perhaps this is which began with Orphee and continued with as it should be since Les Enfants Terribles is full La Belle et la Bete. In the previous two works, of sharply contrasting images, and peopled by film and opera were combined to create a hybrid characters who struggle under strongly opposing form. For Les Enfants I envisioned something desires. different. I invited the American choreographer Susan Marshall, to create with me a dance/opera In addition to the challenge posed by the particu­ based on the novel in which singers and dancers lar nature of this opera, I carry another challenge would share center stage. into this process, a personal, perennial and elu­ sive one: to let a little chaos into my work. If Orphee is Cocteau's tale of transcendence and Cocteau wrote in his journal of the work writing La Belle et la Bete his romance, then Les Enfants itself. In much the same way, this dance/opera Terribles is his tragedy. Like the others, it articu­ seems to have taken over at the controls. And it lates Cocteau's belief in the power of imagination feels right to step aside, to let the work guide me­ to transform the ordinary world into a magical it is the best way to hear Cocteau's voice. one. But, as opposed to the two previous works, in which transformation leads to love and tran­ -Susan Marshall scendence, in Les Enfants it leads to a world of Narcissus and ultimately to death. Hence the tragedy and power of the piece-a snowball becomes a ball of poison. Dargelos becomes Agathe. A "Room" (normally a place of imagination and creativity for Cocteau) is transformed into a place that jealously refuses to let its "children" grow up. A harmless "Game" turns into a fierce struggle that ends in destruction.

The natural world, in the image of the snow which falls throughout, like the spectator silently looking on, bears witness to these events. Here time stands still. There is only music, and the move­ ment of children through space.

-Philip Glass Synopsis Gerard tells the story of a brother and sister, Paul and Lise, who live in a fantasy world of their own imaginings. They are severed from the outside world when Paul-after being struck by a snowball thrown by his idol Dargelos-falls ill and is forced to stay home from school. Shortly thereafter, their mother's untimely death leaves them completely alone. Isolated and totally dependent on each other, they pass their days in their Room, acting out their wild fantasies, which they term "playing the Game." At first innocent, these games become increasingly twisted. Gerard, their only friend, visits them and serves as their private audience. Lise, growing tired of this oppressive situation, eventually gets a job as a model. She befriends another model, Agathe, and brings her home. Agathe looks exactly like Dargelos, and her presence further threatens the delicate balance that these "children" have created. Lise's last chance to get away crumbles when her fiance Michael dies in a car crash. Fate has set the stage for tragedy. Unable to accept that her brother Paul has fallen in love with Agathe, Lise acts to prevent it. She tricks their friend Gerard to marry Agathe, insuring that she and Paul will never be separated. But the "magical" world the two of them had before cannot be recreated. Paul tries to poison himself, and in the confusion that follows, the truth about Lise's plot comes out. What had begun as an innocent child's Game ends tragically in death and destruction.

Jean Cocteau: "I am a liar who always tells the truth" What a credo! On His Own Terms The thrill of Jean Cocteau is that one can never be quite sure exactly what he is up to. He himself confessed to being a pretender and a provocateur. He would twist personal facts into fiction, and turn his fancy into fact. In few other writers is the distinction between fantasy and reality so precari­ ously balanced, the work so open to so wide a range of interpretation. Les Enfants Terribles is the perfect case in point. This ground-breaking novel was written (or as Cocteau wrote "spit Up") in seventeen days-or nineteen, depending on which Cocteau story one wishes to believe, while Cocteau was recovering from his opium addiction in a clinic in the suburbs of Paris. Starting from a few autobiographical facts (his own schoolboy obsession with a handsome rogue two years older named Dargelos; two friends, a reclusive brother and sister he knew who passed their days making up fantastic stories; his own poor health as a child), Cocteau wove a tragic tale of Fate and Love that has defied critical analysis, but never failed to appeal. Its deceptively simple story belies its power to draw a passionate following. Ironically, these "children" do not come for answers. Instead, Cocteau invites us to let go of answers, to become a child again, to dream, to "Play the Game." In him, we learn to appreciate complexity. As he states near the end of his novel, Life-and Art-"never play out in the way we imagine. Their simplicity, grandeur, and bizarre detail lie beyond our understanding."

-Jim Lewis Philip Glass (Composer/Keyboards) was born in Susan Marshall (Director/Choreographer) is the Baltimore, and discovered music in his father's Artistic Director/Choreographer of Susan Marshall radio repair shop. Ben Glass carried a line of & Company, which has performed her work since records and would take those that sold poorly 1982 throughout the US, Europe and Asia. home to play for his ch iId ren, tryi ng to discover Venues include the BAM Next Wave Festival why they didn't sell. Glass began the violin at six (1988, 1990, 1994), the Festival International and the flute at eight. He left high school after two de Nouvelle Danse in Montreal, Spoleto Festival, years to attend the University of Chicago. Majoring USA, The Los Angeles Festival, Cannes Festival in philosophy and mathematics, Glass supported International de Danse, Vienna Tanz, Pepsico himself waiting tables and loading airplanes. He Summerfare, American Dance Festival, Jacob's graduated at 19 and moved to New York to attend Pillow Dance Festival and an Arts America spon­ Juilliard. By this time he had abandoned 12-tone sored tour to Eastern Europe, Cyprus and Turkey. techniques, preferring composers like Copeland In 1991, Alive From Off Center commissioned and Schuman. the creation of the film Contenders (featuring By the time he was 23, Glass had studied with Susan Marshall & Co) from Marshall and director Vincent Persichetti, Darius Milhaud and William Mark Obenhaus. Marshall collaborated with Bergsma; he had rejected serialism and preferred director Francesca Zambello on the operas, Les maverick composers like Harry Partch, Moondog, Troyens at the Los Angeles Music Center (1991) Ives, Henry Cowell and Virgil Thomson. and Midsummer Marriage at the New York City Searching for his own voice, he moved to Paris Opera (1993), and has created dances for the to study under Nadia Boulanger. In Paris, he was Lyon Opera Ballet, Frankfurt Ballet, Boston Ballet, hired to transcribe the music of Ravi Shankar into Ballet Hispanico and Montreal Danse. She received notation readable by French musicians. In the a Dance Magazine Award, a Guggenheim process, he discovered the techniques of Indian Fellowship, a Brandeis University Creative Arts music. Glass renounced his previous music and Citation, an American Choreographer Award and began applying Eastern techniques to his work. a New York Dance and Performance Award By 1974, he had composed a large collection ("Bessie"). Her work grows out of a long collab­ of new music for his own performing group, the oration with the dancers of Susan Marshall & Co. Philip Glass Ensemble, much of it for use by This collaboration has been the main influence Mabou Mines (Glass was one of the co-founders on the development of her choreographic process of that company). This period culminated in Music and approach. in 12 Parts, a 4-hour summation of Glass' new Jean Cocteau was often drawn to the myths and music, and in 1976 with the Philip Glass/Robert dramatic plots of ancient Greece. is a Wilson opera Einstein on the Beach, now seen study of the poet's search for inspiration and as a landmark in 20th century music-theater. struggle to gain acceptance for his work. The Glass' output since Einstein has ranged from Infernal Machine is an adaptation of . opera to film scores to symphonic works to string In Cocteau's fantastic style these plays use events quartets and music for dance and theater. Recently out of time sequence, unexpected colloquial completed works include The Voyage; Orphee phrases and symbols explainable in terms of and La Belle et la Bete (also based on Cocteau modern psychology. Cocteau's novels include Les films); and the 2nd and 3rd Symphonies. Recent Enfants Terribles. His ballets include with projects include a composition for the Rascher music by Eric Satie. He wrote and directed motion Saxophone Quartet; two collaborations with Robert pictures including , La Belle Wilson, Monsters of Grace and White Raven; and et la Bete, Les Enfants Terribles and Orpheus. Heroes, a ballet symphony written for Twyla Tharp. Cocteau was born in 1889 and died in 1963. Glass was made Chevalier de l'Ordre des Arts et des Lettres by the French government in 1995 Kurt Munkasci (Sound Designer) has worked with and has been awarded honorary degrees from artists including Ornette Coleman, Don Cherry, Brandeis University, University of the Arts in The Waitresses, Lucia Hwong, John Lennon, Philadelphia and The State University of New Brian Eno, Mike Oldfield, Ray Manzarek and York in Buffalo. Polyrock. Best known for his work with Philip Glass, he has produced and recorded all of Glass' ago, she has worked on a variety of theatrical and recordings since 1971, including North Star, film projects and continues her fashion line. Credits Glasspieces, The Photographer, Einstein On the include Donald Byrd/The Group's Bristle at BAM, Beach, Satyagraha, Akhnaten, Liquid Days, and Life Situations; Daydreams on Giselle at The Dance Pieces. He produced the award-winning Joyce, En Garde's J. P Morgan Saves the Nation, soundtracks for Thin Blue Line, A Brief History Blondell Cumming's Women in the Dunes at The of Time, Koyaanisqatsi, Powaqqatsi and Mishima. Japan Society, Jason Kao Hwang's opera He was the sound designer for Einstein On The Immigrant of the Womb at Dance Theater Beach, and aImost aII of Glass' other live pro­ Workshop. For Susan Marshall, she designed ductions. Recent achievements include producing Private Worlds in Public Spaces at the Whitney Glass' Anima Mundi, Hydrogen Jukebox, and Museum of Modern Art and Spectators at an the new recordings of Einstein On The Beach and Event at BAM. Kasia thanks her extended family La Belle et la Bete. Caroline, Myles and John. Karen Kamensek (Music Director) was assistant Robert Wierzel (Lighting Designer) recently col­ conductor for Glass' Low Symphony CD recording laborated on Diverse Voices by Bill T. Jones, and its European premiere in Munich. In 1992, Max Roach and Dr. Bernice Johnson Reagon at she was music director for Woyzeck at the New the "Exit" Arts Festival. He has collaborated with York Shakespeare Festival, and made her New York Bill T. Jones ("Bessie" Award 1993 for sustained conducting debut in Philip Glass' Orphee at BAM. achievement in lighting design) on many projects In 1995 she conducted a performance of John including work at BAM, Lyon Opera Ballet, the Adams' Nixon in China with Indiana University Deutsche Opera Berlin and at Lincoln Center's Opera Theater, and appeared as the first female Serious Fun! on Degga with Jones, Toni Morrison guest conductor with the Orquestra Sinfonica and Max Roach. He worked with Philip Glass on Nacional de Honduras. In 1995-1996, she 1000 Airplanes on the Roof and Hydrogen served as assistant conductor with the Indiana Jukebox (1991 American Theatre Wing Award), University Opera Theater, conducting performances and with The New York City Opera, The Seattle of Rigoletto and Tales Of Hoffmann; and was Opera, Glimmerglass Opera, Canadian Opera, the assistant conductor for Houston Grand Opera's Houston Grand Opera, with choreographers Margo production of Four Saints in Three Acts. Sappington and J. Fregalette-Jansen and artists Red Grooms and Robert Longo. Douglas Stein (Set Designer) Broadway credits include Our Town, Largely New York, Falsettos, Christine Arand (Lise, Soprano) was last seen as Fool Moon, Timon of Athens, The Government Cherubino in Le Nozze di Figaro, directed by Frank Inspector and The Moliere Comedies. Off­ Corsaro with Richard Bradshaw conducting at Broadway includes Bill Irwin's The Regard of the Juilliard Opera Center, where she also sang Flight (Lincoln Center), the original Playwrights Poppea in Monteverdi's L'incoronazione di Poppea. Horizons productions of March of the Falsettos, Last summer she portrayed Tiny in Britten's Paul Falsettoland and Franz Xaver Kroetz's Through Bunyan with Glimmerglass Opera and sang Laurie the Leaves (Obie Award). He has designed for in Copland's The Tender Land with Bronx Opera. major regional theaters across the US including She has performed in Lincoln Center's Focus! an ongoing relationship with the Guthrie in Festival, and featured in the US premiere of Tan Minneapolis. He has collaborated with directors Dun's Lament: Autumn Wind. A recent winner in including JoAnne Akalaitis, Gordon Davidson, the Metropolitan Opera Council Regional Auditions, Andre Ernotte, Gerald Gutierrez, Zelda Fichandler, she premiered Menagerie, Songs for Soprano and Athol Fugard, Bill Irwin, Michael Langham, Orchestra by Courtney Evans at Alice Tully Hall. James Lapine, Gregory Mosher, Susan Sontag, Hal Cazalet (Gerard, Tenor) is a singer and Robert Woodruff and Garland Wright. composer/lyricist, and graduated from the Kasia Walicka Maimone (Costume Designer) Guildhall School in London. Operatic roles include was awarded an Arts MA in 1988 at Warsaw Nebuchadnezzar in Britten's The Burning Fiery University. She then specialized in costume and Furnace, MacHeath in Britten's version of John fashion design. Since coming to New York six years Gay's The Beggar's Opera, The Prince in Maurice Sendak's production of Prokovieff's Love of Three Montreal Danse, Lyon Opera Ballet, Frankfurt Oranges with the Juilliard Opera Center and Ballet and Boston Ballet. Mr. Angel in Mozart's The Impressario at the Hans Beenhakker (Paul) is a graduate of Kennedy Center with the National Symphony Rotterdam Dance Academy. He has been a mem­ Orchestra under Christopher Hogwood. His musical ber of Krisztina de Chatel company where he also Street People was performed in the 1989 danced in work by Jennifer Muller. He has also Edinburgh Festival and First Night was most danced with company Conny Janssen and recently performed by the Juilliard Opera Center Wuppertaler Tanztheater led by Pina Bausch directed by Frank Corsaro. with whom he tou red extensively. Recently, he Philip Cutlip (Paul, Bass-Baritone) Concert credits has toured with choreographer Amanda Miller. include Brahms' Uebeslieder Waltzes and American Susan Blankensop (Dargelos/Agathe) is a gradu­ Lovesongs with the Moab Music Festival and the ate of Ohio University. Since moving to New York New York Festival of Song, Stainer's Crucifiction in 1980, she has worked with choreographers for the American Guild of Organists' National including Douglas Dunn, Neil Greenberg, Karole Centennial Convention, Mozart's Mass in C-minor Armitage, Randy Warshaw, Bill Young and with Canterbury Choral Society, Brahm's Requiem Yoewiko Chuma. For the past five years she with Delaware Valley Philharmonic, and Messiah danced with Lucinda Childs one year of which with Hartford Symphony and the Dallas Bach included a world tour of Einstein on the Beach. Society. Opera credits include Gianni Schicchi Susan is also a recipient of a 1989 "Bessie" with SUNY Stony Brook Opera Ensemble, Dido award for performance. She has had the pleasure and Aeneas (Polyphemus) with Arts at St. Ann's, of dancing in several films by Rudy Burkhardt Brooklyn, and Charpentier's Les arts f10rissants and Charles Atlas. This is her first project with (Discorde) with Concert Royal in New York. Susan Marshall. Valerie Komar (Dargelos/Agathe, Mezzo-Soprano) Mark DeChiazza (Paul) received his BFA from is equally at home on operatic and concert stages, North Carolina School of the Arts. In New York, having appeared with the Juilliard Opera Center he has worked with choreographers including as Nicoletta in the 1995 production of L'Amour John Jasperse, Jennifer Muller and Mark Dendy des trois oranges and in the Opera Theater pro­ and performed with Brian Jucha's experimental ductions of The Beggar's Opera as Polly Peachum theater group Via Theater. He joined Susan and as LEnfant in L'Enfant et les Sortileges. Her Marshall & Company in 1993. Mark's parents, concert performances include the world premiere who are both dancers and teachers, have provided of Betty Olivero's Juego di Siempre with the New him a great source of training and inspiration. Juilliard Ensemble, Schoenberg's Pierrot Lunaire at Alice Tully Hall and Babbitt's Phi/omel at John Heginbotham (Paul) is from Anchorage, AK MoMA's 1995 Summergarden series. Also in and graduated from The Juilliard School in 1993. 1995 she performed George Crumb's Ancient He has performed with Pilobolus Dance Theater, Voices of Children and Luciano Berio's Folk Songs Mark Morris Dance Group, John Jasperse, Susan at the Juilliard Theater. Marshall & Company, and in The Mesopotamian Opera's Sunset Salome. Eileen Thomas (Assistant Choreographer, Lise) began working with Susan Marshall in 1985. Kristen Hollinsworth (Lise) has worked with She has created 15 origi na I works with the Susan Marshall since 1994. She has danced in company including Interior with Seven Figures three projects for Doug Varone, and performs in (1988), Contenders (1990) and Fields of View the mixed-media works of Sham Mosher. (1994). In 1993 she received a "Bessie," a Previously a resident of San Francisco she danced New York dance and performance award for with Della Davidson and Cheryl Chaddick, and Sustained Achievement in the work of Susan in Oregon with the Oregon State Ballet. Marshall. Previous opera work includes Les Krista Langberg (Lise) has been a member of Troyens and Midsummer's Marriage both directed Susan Marshall & Company since 1994. Before by Francesca Zambello. She has been Assistant movi ng to New York, she was a mem ber of Choreographer on Marshall's commissions for Minneapolis-based New Dance Performance Laboratory and Zenon Dance Company, where J. Abbott Miller (Stage Typography) is a designer she worked with choreographers including Bebe and writer whose stud io, Design/Writi ngiResea rch, Miller, Douglas Dunn, Donna Uchizono and Danny is concerned with the public life of the written word. Buraczeski. She was also a member of the Cleo His exhibitions, publications and projects view Parker Robinson Dance Ensemble based in Denver, visual culture through the lens of history and theory. Colorado. Her own work has been presented in John Howell (Titles Editor) is editor and publisher New York and Minneapolis in conjunction with of Hemp Times, a new eco-style magazine. He P.O.L.K.A., a collaborative performance group which edited the BAM Next Wave Journal for 1991. He she co-founded in 1990. has performed with Mabou Mines and Robert Nelson Padgett (Keyboards) has performed on Wilson and was Philip Glass' roadie in 1973. four continents and throughout the US. His awards Jedediah Wheeler (Producer) is president of include the silver medal in the William Kapell International Production Associates, Inc. (IPA), a International Competition as well as a Beethoven booking, management and production company Fellowship from the American Pianists Association. created in 1982 to specialize in the work of artists Solo appearances with orchestra include Houston, with singular vision including Philip Glass, Twyla Augusta, North Carolina and National Symphonies. Tharp, Diamanda Galas, Spalding Gray, Sankai He was featured at the Mostly Mozart, Caramoor Juku and Elizabeth Streb. IPA has produced tours and Newport Music Festivals, and opened the of Einstein on the Beach by Robert Wilson and new Northwest Corner Young Artists Series in Philip Glass, Monster in a Box and Gray's Anatomy Connecticut. He graduated from North Carolina by Spalding Gray, La Belle et La Bete by Philip School of the Arts and the Peabody Conservatory. Glass, 1000 Airplanes on the Roof by Philip Glass, He has performed with Philip Glass since 1988. David Henry Hwang, and Jerome Sirlin, Kinkan Eleanor Sandresky (Keyboards) is a composer, Shonen by Ushio Amagatsu, the Knee Plays by pianist and synthesist. She has performed with Robert Wilson and David Byrne, We Keep Our Philip Glass since 1990. She has performed works Victims Ready by Karen Finley. In 1987, Lincoln by Egberto Gismonte, Guy Kluscevek, Steve Reich, Center invited IPA to produce the Serious Fun! and William Russell, and was a member of Laura festival, which won a 1993 OBI E Award. Current Dean Dancers and Musicians. Eleanor performed projects include Tharp! by Twyla Tharp; Monsters an evening of her works for piano and multi-media of Grace by Robert Wilson and Philip Glass; Yuragi at the Southeastern Center for Contemporary Art. by Sankai Juku; Pearls for Pigs by Richard Her works for dance have been presented at the Foreman; Malediction and Prayer by Diamanda Knitting Factory, PS. 122 and DIA Arts Center. Galas; POPACTION by Elisabeth Streb; 2.5 Minute She can be heard on Nonesuch and Mode records, Ride by Lisa Kron; The American Chestnut by with the Philip Glass Ensemble, Essential Music, Karen Finley; It's A Slippery Slope by Spalding and Vanguard Chamber Players. Gray; and the American Premiere of The Waste Land with Fiona Shaw Dan Dryden (Sound Engineer) has been a member of the Philip Glass Ensemble since 1983. He The Cultural Commitment of Migros Switzerland has recorded Philip Glass' The Photographer, (Co-Producer) is the largest retail undertaking in Mishima and Satyagraha and has engineered Switzerland and a cooperative enterprise. Migros hundreds of Philip Glass Ensemble concerts. is dedicated by statute to the pursuit of cultural and social objectives in addition to its commercial Jim Lewis (Titles/Narration) is the dramaturg for aims. Each year Migros contributes.5-1 % of its Bill T. Jones/Arnie Zane Dance company. Formerly gross annual sales to the financing of its projects the Program Director of the American Center, Paris; which include theater, opera, music and dance The Guthrie Theater in Minneapolis; The Second events. It serves as the producer of many cultural Stage, NY; and INTAR, he received a Tony and events including the "Steps" biennial dance festival Drama Desk nomination for the adaptation of the in which visiting companies perform in various Broadway production of Chronicle of a Death Fore­ regions of Switzerland. Taking part as co-producer told (1995); also on Broadway Dangerous Games in Les Enfants Terribles and presenting the world (1990) and the Off-Broadway production of Tango premiere was for Steps '96, a special challenge. Apasionado (1988)-all with Graciela Daniele.