I ( A ' I
BROOKLYN ACADEMY OF MUSIC
ANNUAL REPORT 1986-1987 1
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~ I Editor in Chiif: Douglas W. Allan Manaoino Editor: Christopher Broadwell Contributino Editor: Lynn Moffat Director Brooklyn Academy of Music 30 Lafayette Avenue 1 Brooklyn, New York 112 I 7 (718) 636·4100 Harvey Lichtenstein President and Executive Producer \ OFFIC~RS PresiBen~ &..Executive Producer \larvey lichtenstein Vice Pres~dent &.Manoging DirectDr Judith E. Daykin President for Marketing &.Promotion Douglas w. Allan Vice President &..Treasurer Richard Pt?$identjor Pl CALENDAR OF' EVil~ NEXT WAVE FESTIVAL ROARATORIO TWYLA THARP DANCE Merce Cunningham/John Cage October 7-12 In the Upper Room KIDS KABARET Ball are Lydia Adams Davis SOCIAL AMNESIA The Catherine Wheel Jazzy Jumpers THE ENCHANTED TOY SHOP Impossible Theater Nine Sinatra Songs Albee Tappers Ballet America Concert Dancers October 14-19 Baker's Dozen George Schindler & Nina january 5-9 As Time Goes By Tom Chapin SPANISH FOLKTALES AND SONGS JON HASSELL Fugue DANCEAMERICAS THE GREAT VAUDEVILLE Puerto Rico-Felix Pitre October 17 &._ 18 February 3-March 1 Shango Haitian Folklore Group SPOLETO COMES TO BAM Garifuna Ibayani MAGIC SHOW February 23-27 MICHAEL CLARK & COMPANY Roots of Brasil Landis & Co. GIAN CARLO MEN01TI, THE GERSHWIN CELEBRATION October 21-26 RAY BARRETTO ORCHESTRA january 12-16 OSCAR BRAND- composer NOEL POINTER with the FROM THE REVOLUTION TO MARVIS MARTIN, soprano The Gershwin Gala FAIR MEANS OR FOUL THE ANGELS OF SWEDENBORG INSTITUTIONAL RADIO CHOIR THE ROLLING STONES KATHERINE CIESINSKI, March II After Dinner Opera Co. Ping Chong's Fiji Company April 26 VNI mezzo-soprano january 13 &._14 October 22-26 March 17-20 DAVID GORDON, tenor Of Thee I Sing DANCEAFRICA RAIMON BOLIPATA, cello Let 'em Eat Cake DINOSAURS FOREVER THE PafATO PEOPLE CARTER BREY, cello ANNE TERESA DE KEERSMAEKER March 18-29 Michele Valeri NANCY ALLEN, harp Rosas Company UNDER THE BAOBAB TREE Theatre Beyond Words january 12-23 JEAN-YVES THIBAUDET, piano October 28-November 2 Calabash Dance Theater Company O ntario, Canada CHARLES WADSWORTH, piano Dinizulu and his African March 23-April 3 BROOKLYN BRIDGES CALABASH AFRICAN RIDGE STRING QUARTET ONCE UPON A TIME Dancers Drummers & Singers THE WORLD DANCE COMPANY December 13 IN THE EAST VILLAGE T he African-American Dance T HE FROG BRIDE & january 20- 23 Ennio Morricone/]ohn Zorn Ensemble aTHER TALES BEN VEREEN T he Shoestring Players JAIME LAREDO, violin October 31 &._November I Women of the Calabash April 23 W HEN THE COOKIE JEAN-YVES THIBAUDET piano Sabar Ak Ru Afriq April 22-24 CRUMBLES, YOU CAN STILL RIDGE QUARTET MOUSSA FENLEY & DANCERS May2 November 5-8 LESTER BOWIE'S FANTASIA PICK UP THE PIECES THE LITTLE PRINCE january 17 Lester Bowie's Brass Fantasy Theatreworks U.S.A. Centro Teatro Ragazzi, Verona, THE HONORING OF O liver Lake Quartet january 20- 23 Italy YEFIM BRONFMAN, piano SONGS OF INNOCENCE THE ELDERS Randy Weston April 27-May 1 MELIORA STRING QUARTET AND OF EXPERIENCE Charles Moore Dance Company Dianne Mcintyre's Sounds MUSIC AND THE February 7 Bolcom/Brooklyn Philharmonic Calabash Dance Theater in Motion UNDERGROUND RAI LROAD LA TROUPE CIRCUS November 7-9 Company The Fantasia Ensemble VNI Montreal Canada EMERSON STRING QUARTET Steel Wool Singers Women of the Calabash MARK MORRIS DANCE GROUP january 28-30 May 11-May 15 SC01T NICKRENZ, viola BLACK ROCK COALITION Kan Koran West African Dance November 12-15 COLIN CARR, cello Subculture 9 Company THE SILLY JELLYFISH PETER & THE WOLF/ February 28 Living Colour May3 KRONOS QUARTET &ONIROKU BREMENTOWN MUSICIANS Eye & I November 14-16 Hudson Vagabond Puppets Hudson Vagabond Puppets PAULA ROBISON,flute Jerome Harris Group MASTER CLASSES February 9- 12 May 18-22 FRANK MORELLI, bassoon April 24 April 27-30 EIKO & KOMA (1 1 winds, cello, and double bass) JUXTA-POSITIONS- JUST SO STORI ES March 21 November 18-23 DOO WOPP-A-DO! MOVEMENT TH EATRE Mermaid Theatre, Nova Scotia, The Capris PAPYP Kuperberg Morris DAVID GORDON/PICK UP CO. Canada PAULA ROBISON,flute The Harptones February 17-20 November 19-22 May 18-22 DOUGLAS BOYD, oboe The Jive Five SLIM GOODBODY FRANK MORELLI, bassoon The Persuasions John Burstein THE EMPEROR'S YANKEE DOODLE DANDY KENNETH COOPER, harpsichord THE SOLDIER'S TALE LUNATUNE October 27-30 NEW CLafHES United States WENDY YOUNG, harpsichord The Flying Karamazov Brothers DANITRA VANCE Theatreworks U.S.A. April 18 December 2-7 & THE MELL-O WHITE BOYS May 26-29 BABES IN TOYLAND February 23- 27 RICHIE HAVENS BILL T.JONES/ARNIE ZANE & CO. Theatreworks U.S.A. JOSEPH SWENSEN, violin April 25 SNOW WHITE AND THE December 3-6 November 12-21 SHERLOCK HOLMES AND SEVEN DWARVES SC01T NICKRENZ, viola THE RED-HEADED LEAGUE Gingerbread Players & Jack CARTER BREY, cello the CIVIL warS the Rome Section MARTIN LUTHER KING JR. Theatreworks U.S.A. june 1-12 KATHRYN SELBY, piano Robert Wilson/Philip Glass Theatreworks U.S.A. March 3-6 May2 December 14-30 December 15-19 4 5 ,a .,.... ~ 6. r: ~ ... jot ..~ ...... r ~ 'It - - ~ ~ - / - I / •. -f ..... ~ ri"' .... -. ' ~ I . lr I f J' ;II I ~ J~ 1! '\. ~· ~ ~ ~ ~ • ... .-r ') .. (\ '1>: • ~ rf • I ..J~ ~ ~L ;L 2~ .n. •• Jt ll 1l li The Brooklyn Academy of Music's rich 12 5-year history BAM chose to open the landmark 12 5th anniversary and presenting dance, drama, opera and music is unequaled in the NEXT WAVE Festival on October 7 with the American this country. However, it is the NEXT WAVE Festival that premiere of a large-scale work by two men who have been has propelled BAM into the international spotlight in just at the forefront of the contemporary dance and music scene four short, but intense, seasons. Established in 1983, it is now for more than three decades. Merce Cunningham and John one of the largest contemporary performing arts festivals in Cage's Roaratorio: An Irish Circus on Finneaans Wake, demon the world. strated, yet again, that these two giants of their genres con Running for three months each fall season and utilizing tinue to forge innovative and thrilling new works, both all three of BAM's theaters (the 2,000 seat Opera House, the individually and collectively. 1,000 seat Helen Carey Playhouse, and the 250-550 seat Roaratorio was inspired by the James Joyce novel, itself Lepercq Space), the NEXT WAVE Festival constitutes a major a masterpiece of twentieth century literature. Mr. Cage's commitment by BAM to today's visionary artists. score utilized five Irish musicians improvising on fiddles, The 1986 Festival incorporated sixteen dance, theater pipes, conch shells and drums; a taped score of sounds and music events in a total of 78 performances. Over 300 gathered from around the world; and a recitation by Mr. Cage artists participated and the enthusiastic audiences numbered of excerpts from the Joyce novel. The resulting mischievous more than 70,000, filling 84% of all available seats. cacophony was matched by sprightly and inventive choreog· Record attendance was accompanied by an important raphy: non-stop, colorful movement that prompted critic milestone in corporate support. The 1986 Festival marked Dale Harris to write, "As is nearly always the case, what Mr. the beginning of an unprecedented two-year grant totalling Cunningham gave. his dancers to perform looked both beauti· $500,000 from Philip Morris Companies Inc. ful and surprising, offering unexpected insights about human The continuing financial commitment from the National grace, dignity and resourcefulness:' But what is truly amazing Endowment for the Arts, The Rockefeller Foundation, The about the work (and Messrs. Cage and Cunningham's process Ford Foundation and Robert W Wilson, combined with that of collaboration in general) is that although the choreo of Mary Boone Gallery, The Pew Memorial Trust, The grapher and composer conceived and created the two ele William and Flora Hewlett Foundation, AT&T Foundation, ments of the work separately and at different times (Cage WilliWear Ltd., The Educational Foundation of America, the in 1979 and Cunningham in 1983), Roaratorio, circus-like Mary Flagler Cary Charitable Trust, The Howard Gilman though it may be, is a complete and unified piece. New York Foundation, Manufacturers Hanover, the Emma A. Scheafer Maaazine critic Toby Tobias remarked, "The whole piece has Charitable Trust, Meet the Composer, Inc., the BEST an irrepressible rhythm that the dance seconds joyously:' Products Foundation, Abraham & Straus/Federated Depart· ment Stores Foundation, Inc., the CIGNA Corporation, The William and Mary Greve Foundation, Inc., the Samuel I. Newhouse Foundation, Schlumberger Foundation, Inc., the BAM NEXT WAVE Producers Council, the New York State Opposite pone: Merce Cunningham and Catherine Kerr dancing in Roararorio: An Irish Circus on Finnenans Wake. Abo•-e: (Top) Merce Council on the Arts, and the City of New York Department Cunningham Dance Company in Roararorio. (ujr) Mark Morris Dance of Cultural Affairs, set an unprecedented high in private and Group performing Pieces en Concen. (Riohr) Molissa Fenley and Dancers corporate donations to the Academy. performing Geolonic Moments. Photos © 1986 by Tom Brazil. 7 6 As Roaratorio closed in the Opera House, Impossible the accompanying Kamikaze Ground Crew Band were Not only were all three performances of the Kronos Morris became a "rising star" after his 1984 Festival Theater's Social Amnesia opened in the Lepercq Space, directed by Robert Woodruff in this world premiere. Of the Quartet sold out, but an additional performance of john appearance in the Lepercq Space. This year, Morris sold out running October 14-19. In direct contrast to the Cage/ evening, New York Times critic John Rockwell wrote, "The Zorn's concert, Once Upon a Time in the East Vi/Jane, had to the Opera House for four performances, November 12- 15, Cunningham model of artistic creation, this young theater whole affair takes on the character of a popular Chinese be added in November. Joined by twenty-two other East as his company premiered his new large-scale work, Sea bat troupe from Baltimore describes its process as a "democratic opera, with juggling, jokes and coups de theater ....The Village musicians including Anton Fier, Arto Lindsay, Fred Mater, along with two of his earlier works, Pieces En Concert collective;• with all members writing, designing and produc jokes come fast and delightfully furious:• Frith, and Robert Quine, Zorn led a rollicking tribute to and Marble Halls. Commissioned by BAM and set to ing their socio-political works. Concerned with the juxtapo New music has always been an important element in each Italian film composer Ennio Morricone. john Rockwell of Pergolesi's baroque score, Stabat Mater showed a new, darker sition of technology and the society that it has spawned, Social of the NEXT WAVE seasons, but this year it seemed to play The New York Times rated the concert "just about perfect:' side of Mark Morris. In the omnipresence of an imposing Amnesia continued the company's relentless search for new an even greater role, accounting for a fourth of the season's When the Jon Hassell Group wound its way through a and constantly changing crucifix, the dancers struggled to forms of effective theater, combining multiple-screen projec programming and permeating virtually every event. In addi sea of electronics and hot haze onto the stage of the Carey overcome earthly temptations and find eternal peace. tions and serial-track recording with live performances. tion to the john Cage score for Roaratorio, BAM's theaters Playhouse on October 17, they had not performed in New Molissa Fenley, in her quest for a dance idiom born out Impossible Theater described the resulting production as reverberated with the music ofseve ral other major American York since 1983. The sounds this trio put together (Hassell, of pure kinetics and the laws of physics, has found a means "a live movie:• A collaboration with writer-director john composers, including Philip Glass's celebrated score to the trumpet; ].A. Deane, acoustic and electronic percussion; of expression which draws the audience into a breathless Schneider of Milwaukee's Theater X, and with excerpts taken Rome Section of Robert Wilson's the CIVIL warS. The produc Richard Horowitz, synthesizers) were an amalgam of the whirl of ideas and adrenaline-surging movements. With the from the writings of Helen Keller, Black Elk, jack London, tion of William Balcom's majestic Sones qfInno cence and qf primitive and futuristic. African, Latin American and Asian world premiere of Geolooic Moments in the Helen Carey Play John Dos Passos, and Benoit Brecht, Social Amnesia employed Experience, set to the poetry ofWilliam Blake, incorporated musical textures and rhythms were re-examined through house November S-8, Fenley and her company of four sources not usually identified with theater, in particular more than 200 musicians including the Brooklyn Philhar highly advanced electronic techniques, creating what Hassell dancers explored the slowly shifting emotional states within Howard Zinn's treatise, A People's History qfth e United States monic and three choruses with nine soloists, in addition to refers to as "Fourth World -coffee-colored classical music individuals, with the earth's strata providing the essential and Russel jacoby's Social Amnesia. rock and jazz musicians. The music gamboled spiritedly of the future:' "Extraordinary beauty;• was the outcome metaphor. The first half of the work utilized Philip Glass's Ping Chong's theatrical work, The Anoel s qfSwedenboro, across compositional borders-one moment atonal, the next according to the Times qf London. Again, a second perfor score from the Coloone Section of the CIVIL warS, and for the which opened in the Carey Playhouse on October 22, could melodic- covering styles from classical to modern and mance was added to this engagement in October. second movement Fenley commissioned a work for two also be characterized as multi-media, but the effects were swinging deliriously from folk and country to rock and jazz. One of the major goals, and now an achievement, of the pianos from composer/pianist Julius Eastman. Anna far different. Rather than the didactic nature of Social The West Coast's Kronos Quartet showed their own NEXT WAVE has been to introduce wider audiences to con Kisselgoff of The New York Times wrote, "The happy part Amnesia, Th e Anoels qfSwedenboro, performed by Mr. Chong's eclectic musical range during three evenings of different temporary music. With the music subscription series sold about Geolooic Moments is that its movement is always Fiji Company, was ritualistic and ethereal. Visions of angels, twentieth century chamber works in the Lepercq Space, out far in advance and with concerts being added, The New interesting . ...Th e reason seems to lie in the depth of both good and evil, haunted a modern equivalent of the November 14-16. The programs ranged from two world York Times noted, "Harvey Lichtenstein with his NEXT WAVE dynamic range:' eighteenth-century Swedish visionary, Emanuel Swedenborg. premieres by Scott johnson and Terry Riley to modern clas Festival has proven that actual new music ... can draw Adding to the beauty of Mr. Chong's choreography was an sics such as jimi Hendrix's Purple Haze. The quartet's ren bustling crowds:' eerie score and vocorders, slides, and highly evocative light de rings prompted john Rockwell to write that "they In the formative years of the NEXT WAVE Festival, dance ing effects. In the words of The Chicano Tribune, "This is a transcend polemics by playing everything well or better, played a leading role, indeed as it has in the contemporary heavenly work of art:' equally at home in knotty complexity and seraphic arts movement around the world for more than a half a cen Opposite page: A scene from Robert Wilson's and Philip Glass's rile Rome They are not brothers and they don't fly, but the Flying simplicity:' The quartet also offered the New York premieres tury. The choreographers who brought their special vision Seccion of che CIVIL warS. Above: (Clockwisefrom cop life) The Fl ying Karamazov Brothers' inimitable recreation of the Stravinsky of Philip Glass's Mishima ~artet and jon Hassell's Pano Da to the 1986 NEXT WAVE Festival were England's Michael Karamazov Brothers; The Animal Trilogy performed by Bill T. )ones/ Arnie Zane & Co., phocos © 1986 by Tom Brazil; Anne Teresa De Ramuz classic, A Soldier's Tale, took the Carey Playhouse Costa; Thelonious Monk's Monk Suite which featured bass Clark; Belgium's Anne Teresa De Keersmaeker; the Japanese audiences for a light-hearted and light-headed spin, player Ron Carter; and additional compositions by La Monte Keersmaeker's Rosas company performing Rosas dansc Rosas, photo by Guy American duo Eiko & Koma; and America's Molissa Fenley, Delahaye; Tile Angels '?JSwedenborg by Ping Chong's Fiji Company, photO December 2-7. Jugglers extraordinaire, these five men and Young, Mel Graves, and jin Hi Kim. Mark Morris; David Gordon, and Bill T. Jones and Arnie Zane. © 1986 by Daniel Dutka; Kronos Quartet, photo by Michele Clement. 8 9 Ms. Fenley's physical and athletic vocabulary contrasted From Isadora Duncan and the Ballets Russe to Pina BAM commissioned the third and final section entitled Water with ten performances December 12-30. From the open starkly to the pure austerity of Eiko & Koma. Steeped in the Bausch, Reinhild Hoffmann and now Anne Teresa De Buffalo: An Acquired Taste, and the entire trilogy was ing tableau on a parched and deserted battlefield to the Japanese Butoh tradition, Eiko & Koma's art is "exhaustingly Keersmaeker, BAM has been at the forefront, introducing premiered in the NEXT WAVE Festival. With their move astonishing beauty of the procession of trees in the finale, beautiful;' and its clean and simple aesthetics provide for new expression in dance from around the world to New ment derived from classical, modem and jazz dance, Messrs. the impassioned eloquence of Philip Glass's music and the the deep intensity of the primal emotional states which these Yorkers for 12 5 years. And from Ted Shawn and Ruth Draper Jones, Zane and their versatile company gave audiences near-hallucinatory stage pictures of Robert Wilson said more two dancers achieve. For their NEXT WAVE debut, Novem to Laura Dean and Mark Morris, the Brooklyn Academy of "exciting, complex, constantly shifting stage pictures that than words ever could about the health of the contemporary ber 18-23, Eiko & Koma performed the world premiere of Music has also heralded the achievements of modem Ameri are inventive both as a single, large image and a panoply of performing arts. the complete New Moon Stories, a tetralogy incorporating can choreographers. individual configurations;• according to Jennifer Dunning, The NEXT WAVE Production and Touring Fund sponsored movement, silence and impassioned imagery. The effect, as Thus, it is not surprising that the 1986 Festival also writing in The New York Times. a six-performance tour of Social Amnesia which took it to described by jack Anderson in The New York Times, was to included premieres· by two American modern dance com Philip Glass's association with BAM predates the first Cornell University and to the Painted Bride in Philadelphia. "unite terror with grandeur:• panies: David Gordon/Pick Up Co., and Bill T. Jones/Arnie NEXT WAVE Festival. It was the overwhelming success of In addition, the Production and Touring Fund provided Two phenomenal young Europeans were invited to par Zane & Co. his opera Satyagraha in 1981 that contributed to the estab support for two other tours: Steve Reich and Musicians at ticipate in the 1986 Festival. Michael Clark had been David Gordon, whose choreography for The Photo lishment of the Festival in 1983. Subsequently he collabo the Parrish Art Museum in Southampton, New York, and proclaimed in the English press as "the hottest thing in British grapher: Farfrom the Truth inaugurated the first NEXT WAVE rated with Robert Wilson on the landmark revival of Einstein a major four-city North American tour of Nina Wiener and dance:· For its New York debut in the NEXT WAVE Festival, Festival in 1983, presented three works on November 19-22 on the Beach for the 1984 Festival. Mr. Glass has further col Dancers to Anchorage, Iowa City, Los Angeles and Boston. Mr. Clark's company presented his latest full-length work, by his eight-member company, including the world premiere laborated with many of the choreographers represented in The full-length work Ms. Wiener presented on the tour, In No Fire Escape in Hell, to 'standing room only' audiences in of The Seasons. A light, teasing, enticing summation of sum the NEXT WAVE Festivals, and he was a major force in the Closed Tim e, was commissioned by BAM for the 1985 NEXT the Lepercq Space, October 21-26.1n a spirit of androgyny mer, autumn, winter and spring, it was danced to a bubbling conception and creation of the first NEXT WAVE Festival WAVE Festival. and anarchy, Mr. Clark combined graphiC costumes, inflam score of familiar music evocative of each season. This, along production in 1983, Th e Photographer: Far From the Truth. matory movement, grotesque make-up and thunderous with two other works, My Folks and Transparent Means for Robert Wilson's involvement with BAM also predates the music in a provocative work which spoke eloquently of the Traveling Light, earned Mr. Gordon the praise of critic NEXT WAVE Festival and his work has been seen in three dispossessed classes from which punk rock has evolved. Jennifer Dunning in her New York Tim es review: "Mr. of the four Festivals to date. Following Einstein on the Beach "A choreographer who makes you think and feel at the Gordon's dance is a rich, warm and rigorously plotted weave, in 1984, he staged his chamber work, Th e Golden Windows, same time and who makes you conscious of both processes a:nd his vision a grand and comic one:• in 1985 and this season BAM produced his Rome Section of is rare. Anne Teresa De Keersmaeker is such a choreogra Bill T. jones and Arnie Zane's lust for the unpredictable the CIVIL warS. pher:• So wrote Anna Kisselgoff in The New York Times fol was sprung on NEXT WAVE audiences in the 1984 season Although the complete magnum opus of the CIVIL warS: lowing the debut of this extraordinary young Belgian in the with the world premiere of the highly popular Secret Pastures. a tree is best measured when it is down has never been per 1986 NEXT WAVE Festival, October 28-November 2. On This season, Messrs. Zane and Jones set forth in yet another formed in its entirety, critics have hailed its individual parts Opposire paoe: (LeJr ra rioht) Eiko & Koma performing New Moan Stories, a bare stage with only a few assorted chairs as props, Ms. De as a major work of the twentieth century. BAM brought the photo © 1986 by johann Elbers; john Zorn leading Once Upon a Time direction with Animal Trilogy, performed in the Opera House in the East Villaoe, the Music ifEnni o Morricone, photo © 1986 by Tom Keersmaeker and her company, Rosas, presented Rosas Danst December 3-6. The first two parts, How to Walk an Elephant fourth NEXT WAVE Festival to a resounding conclusion with Brazil. Above: (Clockwisefrom lift) Michael Clark; jon Hassell Concert Rosas, a stunning hybrid of postmodern formalism and and Sacred Cow: Lifting an Elephant Everyday Until it Becomes the American premiere of Robert Wilson's the CIVIL warS: Group, photos © 1986 by Tom Brazil; David Gordon/Pick Up Co., minimalism with European sensitivity. an Ox, had been previously commissioned and performed. Part V, The Rome Section by Philip Glass and Robert Wilson, photo © 1986 by Tom Caravaglia. 10 II ....,_ She has choreographed for film (Amadeus, White Nights), what has become a Tharp classic, Nine Sinatra Songs. The pro and created for Broadway (Sing in' in the Rain, The Catherine gram climaxed with the New York premiere of In the Upper Wheel). She polarizes critics and sends audiences into Room, a work ofs uch unrelenting energy that it literally left euphoric frenzies. But no matter what she does, Twyla Tharp the audience, as well as the dancers, exhausted and exhila always leaves her own unique and indelible creative stamp rated. The following night, Ms. Tharp's company presented on her work. their first performance of As Time Goes By, a work Ms. Tharp Nearly twenty years ago, the Brooklyn Academy of Music originally created fo r the Joffrey Ballet, plus a new produc and Ms. Tharp first got together. Thus it was fitting that for tion of The Catherine Wheel with a musical score by David its 12 5th Anniversary, BAM's Opera House should have been Byrne. The third program, headlined by the premiere of the setting for the first four-week season in New York of Ballare, included Fugue and Nine Sinatra Songs. Ms. Tharp Twyla Tharp Dance, a season which broke all previous BAM also revived her delightful Baker~ Dozen, which was paired box office records. with In the Upper Room for the subscription performances Nor was record-breaking attendance the season's only following the opening night Gala. mark of success. Once again the energetic and unpredictable BAM's Twyla Tharp Dance program was sponsored by Ms. Tharp showed her ample creative genius in three pro grants from the Chase Manhattan Bank, N.A.; the Coca-Cola grams which included the premieres of two amazing and Foundation; Starrett City; and S. j . Conway & Company Inc. diametrically different works: In the Upper Room , to a commissioned score by Philip Glass, and Ballare to music of Mozart. Opposire paae: (Clockwise from rop lifr) Twyla Tharp Dance members Ms. Tharp's return to BAM marked her first New York Kevin Santee and Stephanie Foster in Ba/lare; John Carrafa and Sara season in over three years. She brought with her a new com Rudner in Nine Sinatra Sones. photos by Richard Avedon; jennifer Way pany and, in addition to the two premieres, five other dances and Shelley Washington in The Catherine Wheel, photo by Herbert Migdoll; Shelley Washington and John Carrafa in Baker's Dozen, from her amazing repertory of over eighty works. photo by Jack Mitchell. Above: Shelley Washington, Jamie Bishton, john The Tharp company's opening-night gala benefit on Carrafa and Kevin O'Day performing In the Upper Room, photo J>y February 3, with Robert Redford as chairman, began with Herbert Migdoll. 12 13 The list of performers in BAM's Gershwin Celebration In the words ofpresident Ronald Reagan in his letter of read like a Who's Who of the music and dance world. The congratulations to the Academy, it was "an evening to gala tribute honored, through definitive performances, the remember...!Who could ask for anything more?' " musical genius of George and Ira Gershwin. But the Gershwin Gala was just the beginning. Seven days George Gershwin, one of the greatest of American com later, on March 18, the Academy opened a two-week run posers, was born in Brooklyn. His prolific but short life was of a concert performance combining the music of two of tragically cut short, at age 39, just 50 years ago. George the Gershwins' landmark musicals. OjThee I Sing, with book Gershwin and his brother Ira as lyricist formed one of the by GeorgeS. Kaufman and Morris Ryskind, originally opened most respected collaborative teams in American musical in 1931 and was the first Broadway musical ever to win a theater. Pulitzer Prize. Its 441 performances made it one ofth e musi In homage to these musical prodigies and to mark its own cal hits of its time. Its 1933 sequel, Let ~mEat Cake, though I 25th anniversary, the Brooklyn Academy of Music dedi less successful, featured one of George and Ira's most ambi cated the month of March, 1987 to the music and words of tious scores. For the combined concert version, BAM went the Gershwins. to great lengths to reconstruct and reorchestrate the latter It all began at 7 pm on March II when the BAM Opera musical. With special assistance from Mrs. Ira Gershwin and House curtain rose on The Gershwin Gala. Produced by the particular aid of the Gershwins' friend, Kaye Swift, Music Arthur Whitelaw with musical direction by Michael Tilson Director Michael Tilson Thomas restored to the American Thomas and directed by Patricia Birch, the Gala recreated musical theater a lost gem. Funds for these performances many of George and Ira's best-loved works, along with were provided by The Wallace Funds. recently discovered ones. The stars who c;:ame to pay The concert performance, produced by Morton Gottlieb tribute to the Gershwins included Drew Barrymore, Mik and directed by Maurice Levine, featured Larry Kert as U.S. hail Baryshnikov, Leonard Bernstein, Gregg Burge, Rosemary President john P. Wintergreen, jack Gilford as his bumbling Clooney, The Copasetics, Bob Dylan, Damon Evans, john Vice President Alexander Throttlebottom and Maureen (Johnny) Green, Cynthia Haymon, Ruby Hinds, Madeline McGovern as the corn muffin baking Mary Turner. Best Kahn, Larry Kert, the Manhattan Rhythm Kings, julia summed up by Clive Barnes in his review in the New York Migenes, Maureen McGovern, Erie Mills, Harold Nicholas, Post, " It was wonderful; that kind of gold-plated, gilt-edged, Chita Rivera, Bobby Short, Tommy Tune, Christopher diamond-encrusted wonderful:' Walken, plus the American Ballroom Theater and the Following the BAM engagement, the concert versions of Orchestra of St. Luke's. They sang and danced their way OjThee I Sing and Let ~mEat Cake went on to a smash three through Tin Pan Alley to the Broadway and Hollywood years. week run at the Kennedy Center in Washington, D.C. WNET/1 3 taped the historic performance for showing on its popular Great Performances series in December 1987, and The Bankers Trust Company Group sponsored the gala performance with additional support from The Wallace Funds. Opposice poae: (I.ejc co riahc, cop co bouom) Madeline Kahn, Michael Tilson Following the performance, over I ,000 members of the Thomas and julia Migenes; Lawrence Wien · NYSCA, Chairman Kitty audie11.ce (itself a Who's Who of the entertainment and cor Carlisle Hart and Brooklyn Borough President Howard Golden, photos ~X Roxanne Lowit; Brooklyn Chairman Evelyn Ortner (riahc) greets porate worlds) proceeded to lavish parties in the Lepercq audience members in the lobby, photo by Laima Druski s; Vani9' Fair Editor Space and the Carey Playhouse. Support for the gala dinner and Gala Co·chairman Tina Brown (cencer) with guests; Gala Chairman and reception was provided by Vanity Fair Magazine and Amber Lightfoot Walker and Cynthia Haymon, photos by Roxanne Abraham & Straus. Gala Chairman Amber Lightfoot Walker, Lowit; Mikhail Baryshnikov and dancers, photo © 1987 by Speliotis Gala Co-Chairmen Francis M. Austin, jr. of New York Photography; Erie Mills and the chorus; Gregg Burge and dancers; Telephone and Tina Brown of Vanity Fair Magazine joined Maureen McGovern, Larry Kerr, jack Gil ford, Paige O'Hara and David Garrison with the chorus, photos © 1987 by Tom Brazil. Above: The Brooklyn Chairman Evelyn Ortner as hosts of the postper Gershwin Celebration Music Director Michael Tilson Thomas and the formance festivities, honoring the generous sponsorship of star·studded cast of the Gershwin Gala in the show·stopping finale, the Bankers Trust Company Group. photo © 1987 by Speliotis Photography. 14 15 IL---- • DANCEAFRICA reached a major landmark of its own ringed with bells, performed a moving gumboot dance of this year as dancers, singers and musicians gathered for the the oppressed gold miners of South Africa. Calabash Dance tenth anniversary season. Theater, Sabar Ak Ru Afriq and the African-American Dance In the nine seasons since its founding in 1978, Ensemble (with stage-storming Watusi Warriors) heaped From April 23-26, BAM's Opera House and Lepercq featuring more than two dozen of Brooklyn's leading jazz DANCEAFRICA has established itself as not only the largest colorful spectacles onto the Opera House stage. Djimo Space reverberated with music and dance as Brooklyn musicians; an evening of comedy and music with Danitra but the most exciting gathering of African-American dance Kuoyate, the a riot, wove these works together with his unique celebrated its roots and the diverse cultural backgrounds of Vance and Ritchie Havens; and a Sunday afternoon Kids companies in the United States. This year, in celebration of and insightful musical narration. Indeed, in this richly its neighborhoods in a festival aptly entitled Brooklyn Bridaes Kabaret with Tom Chapin; to an international dance the completion of the first decade, Artistic Director Chuck textured celebration, a bantaba was created: the traditional the World. "pop-pourri;" and the world premiere concert of scriptural Davis fashioned a week-long celebration that, in addition dancing ground beneath the sacred baobab tree. For centuries, Brooklyn has been the first home in music composed and performed by Noel Pointer with the to the traditional two performances, included four differ DANCEAFRICA continued with Th e Honorina if the America of generations of immigrants from Europe, Asia, Institutional Radio Choir, BAM provided a showcase of the ent master classes in African movement and music from Elders on Sunday, May 3, paying homage to the tradition the Middle East, Africa, the Caribbean and the Far East. arts " Brooklyn Style:• April 27-30, and a forum entitled African Dance in Contem that the elders are the repository of the wisdom and These new Americans have brought with them a rich cul porary Society plus the return of the ever-popular outdoor knowledge of each succeeding generation. A tribute to those tural heritage in dance, music, theater and opera. From this arts and crafts bazaar. DANCEAFRICA was produced in "elders" who have shaped DANCEAFRICA into an African influx of cultures, Brooklyn has given to America and the cooperation with Con Edison, who have supported this American tradition was the celebration's grand finale. world such outstanding talents as Barbara Stanwyck, jackie program since 1980. "DANCEAFRICA;' wrote critic jennifer Dunning, "is an Gleason, Neil Diamond, Woody Allen, Barbara Streisand, . Nine African-American dance troupes came together exuberant shout of an experience. May it live forever:• Ben Vereen and many, many more. Under the Baobab Tree on May 2. It was a night of pulsating ·• Cultural diversity was the keynote of Brooklyn Bridaes the rhythms, hemp headdresses and beaded fabrics, with exqui World, which was co-sponsored by National Westminster sitely detailed song and dance. The Women of the Calabash Above: (Clockwisefro m cop life). Lester Bowie o n trumpet; Danitra Vance. brought wild cheers from the audience with their instrumen Bank USA and New York Telephone. From the opening night photos © 1987 by Speliotis Photography; Ben Vereen and Harvey which featured Ben Vereen in an all-singing, all-dancing Lichtenstein. photo by Laima Druskis; The Albee Tappers in Kids Kabaret; tal and vocal music: songs from the Ba-Benzele people of Above: Chuck Davis and the African-American Dance Ensemble. Photo extravaganza through a jazz Fantasia led by Lester Bowie and The Capris in Doo Wopp·A·Do!, photos © 1987 by Speliotis Photography. Cameroon. The Dinizulu Company, costumed in galoshes by jessica Katz. 16 17 SPOLE'IQ COMES TO BAM BROOKLYN PHILHARMONIC ORCHESTRA The 1986 season marked several major changes in the In February, the Melinora String Quartet performed "The Brooklyn Philharmonic continues to present the Rome Section by Philip Glass and Robert Wilson at the Brooklyn Academy of Music's chamber music series. Under Mozart's Hunt ~artet in Bflat major before being joined by most engrossing and unusual orchestral programs in town;' Academy, and a benefit performance at Avery Fisher Hall the direction of Scott Nickrenz and co-director Paula pianist Yefim Bronfman for Schoenbergs Opus II and the noted The New York Times in reviewing the 33rd season of for the Shaare Zedek Hospital in Israel. Robison, the BAM series is now associated with the exciting Brahms F minor Piano ~intetfor Strinns and Piano. Bronfman BAM's resident orchestra. Under the direction of Lukas Foss Meet the Moderns, in its fourteenth year, remains a unique Spoleto Festivals of Italy, South Carolina and Australia. also performed the Liszt Mephisto Waltz for solo piano. Later and his associate conductors, David Amram, Tania Leon, series, even for a city as musically rich as New York. Th e New With the season entitled Spoleco Comes to BAM, the cham that month, the Emerson String Qual'tet, which has been Yuval Waldman and Steven Mercurio, the orchestra offered York Times emphatically stated, "Anyone with an interest in ber music concerts were moved from the smaller Lepercq hailed as "one of the finest such groups in memory'' by the 86 performances at BAM and throughout New York City. contemporary music owes a debt of gratitude to Lukas Foss:' Space to the vaulted and wood-panelled Helen Carey Play New York Times, performed Shostakovitch's StrinB ~artet No. The popular Command Performance Series featured six The 1986-87 Meet the Moderns presented three world house. As the Playhouse was originally designed at the turn 8 and Boccherini's Cello ~intet in C major with soloists Scott world renowned soloists-violinists Henryk Szeryng and premieres written for this series: john Downey's Discourse of-the-century to maximize the special acoustical charac Nickrenz, viola, and Colin Carr, cello. Elmar Oliveira; pianists Alexander Toradze and Bella for Oboe, Harpsichord and Strinns, john Thow's Madronefor teristics of small orchestral works, it was ideally suited to Paula Robison, flute, and Frank Morelli, bassoon, were Davidovich; harpsichordist Anthony Newman; and soprano Fourteen Players and Leo Kraft's Clarinet Concerto; the house the seven outstanding Spoleto Comes co BAM concerts. featured in two concerts this season. The first, on March 21, Erie Mills- in a repertoire that offered new works juxtaposed American premieres of Karl Aage Rasmussen's Pianissimo The season opened on December 13 with a special included Dvorak's lush Wind Serenade in D minor; opus 44 with the great classics of world musical literature. Virgil Furioso and Giacinto Scelsi's Ananaminfo r Nature Renovatur tribute to the Spoleto Festival's founder and guiding force, for II Winds, Cello and Double Bass, and a rare performance Thompson's Pilnrims and Pioneer.s contrasted with Dvorak's for 11 Strinns; and the New York premieres of Pierre Boulez's Gian Carlo Menotti, on the occasion of his 75th birthday. ofVilla Lobos' Bacchiana Brazilierosfor Flute and Bassoon. The New World Symphony in a rare Thanksgiving Day program Memoriale, George Perle's Serenade No. 2, Ivan Tcherepnin's Joining Mr. Menotti on stage for a retrospective of his cham repertoire of the April concert stretched from baroque to tribute to Americana; the American premier of the philos New Rhythmantics IV and Ralph Shapey's Discour.se for Four ber music works were soprano Marvis Martin; mezzo ragtime, with works by Vivaldi, Hande l, Telemann, opher Friedrich Nietzshe's Hymn us an das Leben opened a Instruments as well as second hearings of many other soprano Katherine Ciesinski; tenor David Gordon; pianists Stravinsky, Johnson and Joplin. Couperin's Musettes for two program of German Romantic music featuring Webern, challenging works by Milton Babbitt, Ulysses Kay, Takashi Jean-Yves Thibaudet and Charles Wadsworth; cellists Raimon harpsichords was performed by Kenneth Cooper and Wendy Schumann and Beethove n. Villa Lobos' rarely heard Yoshimatsu, Charles Wuorinen,Joan Tower, Pauline Oliveros Bolipata and Carter Brey; and harpist Nancy Allen. The pro Young. Sirifonetta No. 1 commemorated the composer's I OOth anni and Roger Reynolds. gram included Mr. Menotti's Nocturn, Harp ~artet, Sonn The season closed on May 2 with the Beethoven StrinB versary. And Oliver Knussen'sMusicfora Puppet Court received Cycles I and II and Cello Suite. Also honored that evening were Trio in C minor; Opus 9 no. 3, Schumann's popular Piano its New York Premiere alongside Brahms' Fir.st Symphony. corporate sponsors Abraham & Straus!Federated Depart ~arte t in £flat major; and the exceptional joseph Swensen's The BPO was also featured in the NEXT WAVE Festival's ment Stores, Inc., which has supported the chamber music interpretation of the twentieth century classic Sonata for Solo presentation of William Bolcom's monumental Sonns cif series since 1983, and The Metropolitan Life Foundation, Violin by Bartok. Innocence and cif Experience with over 200 performers. And which underwrote the broadcasts of the concerts that will on May 7, 8, and 9 they concluded their season with a air locally on WNYC radio and nationally on the American four-hour Baroque Marathon featuring Bach, Purcell, Public Radio Network in the fall of 1987. Vivaldi, Handel and Scarlatti. Soloists who joined Lukas Foss The Ridge Qua.rtet drew oustanding notices for its eclec .and the first-chair BPO musicians were Concertmaster tic program on January 17 that presented Beethoven's Serino Above: (Clockwise from top lift) Pianist Jean-Yves Thibaudet and mezzo Benjamin Hudson, Anthony Newman, Erie Mills, and the soprano Katherine Ciesinski; Composer and fou nder of the Spoleto ~artet, Opus 74, Chausson's Concertfo r StrinB ~artet, Violin Festi va l, Ciao Carlo Menotti; Soprano Marvis Martin with the Ridge Canticum Novum Singers. In addition, t he Brooklyn and Piano, (with Jamie Laredo and Jean-Yves Thibaudet) and String Quartet ~nd Nancy Allen, harp. Philharmonic performed for many other special engage Above: William Bolcom's Sonas ifInnocence and ifExperienc e conducted Terry Riley's Sunrise cif the Planetary Dream Collector. Photos © 1987 by Tom Brazil. ments including Robert Wilson's the CIVIL warS: Part V, Th e by Lukas Foss. Photo © 1987 by Tom Brazil. 18 19 Brooklvn Academv of Music is owned bv the Citv of ~ ~ ., ., New York and administered bv the Brooklvn ' ' Academy of Music, Inc. BAM's operation is sup ported, in part, with public funds provided through the New York City Department of Cultural :\tbirs and with grants from the National Endowment t<)r the Arts and the Nevv York State Council on the :\rts. BAM wishes to thank the tollowing individuals. toun dations and corporations that support BAM's General Operating, NEXT \NAVE, Challenge and Bendh Campaigns. LEADERSHIP The New York 1imes PATRONS General Electric Company Abraham & Straus/Federated Company Foundation Best Products Foundation Global Sysco Depanment Stores, Inc. The Pew Charitable Trusts Chappell lntersong Music Group Grace Foundation Inc. Anonymous Philip Morris Companies Inc. Mr. & Mrs. Neil D. Chrisman Great Performances Pany AT&T Foundation The Reed Foundation CIGNA Corporation Coordinators The Vincent Astor Foundation Samuel & May Rudin Mr. & Mrs. Stephen J. Conway Ms. Agnes Gund Bankers Trust Company Foundation, Inc. Dillon, Read & Co., Inc. Florence & Herbert Irving Brooklyn Union Gas Company The Rockefeller Foundation Dime Savings Bank of New York Irving One Wall Street Louis Calder Foundation Shuben Foundation Donaldson Lufkin & Jenrette Foundation Mary Flagler Cary Starrett City Managed by Max & Victoria Dreyfus Ms. Jennifer U. Johnson Charitable Trust Grenadier Realty Corp. Foundation Johnson & Higgins Chase Manhattan Bank The Wallace Funds Armand G. Erpf Fund Mr. & Mrs. Lawrence B. Levine Chemical Bank Roben W. Wilson Mr. & Mrs. Mailory Factor Beulah & Manin Levine Citibank, N.A. The Norman & Rosita Winston Mr. David Geffen Foundation Roben Sterling Clark Foundation Mrs. Ira Gershwin Lord, Geller, Federico, Einstein Foundation, Inc. William & Mary Greve The Henry Luce Foundation PACESE'ITERS Coca Cola Foundation Foundation McKinsey & Co., Inc. American Express Company Columbia Pictures Industries Harkness Ballet Foundation, Inc. Mr. & Mrs. Richard L. Menschel Rose M. Badgeley Residuary Con Edison The Heckscher Foundation for Morgan Stanley & Co., Inc. Charit!!ble Trust S. J. Conway & Company, Inc. Children Muidallap Corporation Mr. & Mrs. Charles M. Diker Educational Foundation Home Box Office, Inc. Mr. & Mrs. Everett H. Onner The Henri & Eugenia Doll of America IBM Corporation The Parrish An Museum Foundation for the Rarely does a morning go by when BAM's lobby is not Study guides are published for selected programs. The Eleanor Naylor Dana Independence Savings Bank Quaker Sugar Co., Inc. Performing Ans filled with excited, eager youngsters, many of whom could guides, in separate student and teacher editions, are designed Charitable Trust Mr. & Mrs. Stanley H. Kaplan The Rockefeller Group Estate of Lois W. Davis Delmar Management Calvin Klein Ud. Salomon Inc only reach the box office window by standing on their toes to encourage an active response to the performances by First Boston Corporation Corporation Mr. & Mrs. I. Stanley Kriegel Ms. Pippa Scott or on several telephone books. offering reading. writing and research assignments. These Horace W. Goldsmith Foundation The Aaron Diamond Foundation Mr. Monimer Levitt Evelyn Sharp Foundation William Randolph Hearst For twenty-five years, BAM has been providing New York guides are an important tool for children, helping them to Asher Edelman Mr. Edmund Littlefield Jr. Silverstein Propenies, Inc. Foundation schoolchildren with music, dance and theater productions. understand that one's experience and reaction to the per Exxon Corporation Mr. Hamish Maxwell WNET Mrs. Alex Hillman The Ford Foundation Ed & Sheila McDougal These "field trips" are often a child's first exposure to the forming arts should not end when the final curtain comes Family of Anhur Levitt, Jr. Howard Gilman Foundation McGraw-Hill Foundation THE NEXT WAVE performing arts. This year the PAPYP program was presented down. The study guides were made possible by special under Philanthropic Fund Herman Goldman Foundation Merrill Lynch PRODUCERS COUNCI L Marsh & McLennan in association with Con Edison. Additional funding was writing grants from the Samuel and May Rudin Foundation The Greenwall Foundation Metropolitan Life Foundation Companies, Inc Co-Chairmen provided by the Louis Calder Foundation, the Helena and the Michael Tuch Foundation, Inc. The William & Flora Hewlett Henry & Lucy Moses Fund Meet the Composer, Inc. Stephanie French Foundation Samuel I. Newhouse Foundation Rubinstein Foundation, The Hearst Foundation, Inc., the During the 1986-87 season, over 100,000 students The Kathryn & Gilben Miller Amory Houghton Ill Mr. & Mrs. Sidney Kantor Pepsico, Inc. Uris Brothers Foundation, the Heckscher Foundation for attended the PAPYP performances at BAM. In addition, BAM Fund Vice Chairmen J.M. Kaplan Fund, Inc. Ms. Alice Holbrook Platt Mr. Jan Mitchell Alex Katz Children, the Seth Sprague Education and Charitable provided thousands of tickets to home-bound, disadvantaged Mr. & Mrs. Anhur J. Levitt Jr. Nile Rodgers Productions Mobil Foundation, Inc. Bette Midler Foundation and the Samuel and May Rudin Foundation. and handicapped children. It is BAM's strong belief that Sydney & Frances Lewis Rudin Management New York Magazine Gene Pressman Manufacturers Hanover Trust Mr. Henry Schneider The Performing Arts Program for Young People is one today's youths are tomorrow's creative artists and audiences. Newsweek Inc. Roger Wallace Company Skidmore, Owings & Merrill of the most extensive of its kind in the nation. Its purpose Ptizer Inc. Members Morgan Guaranty Trust 1iffany & Company Premiere Wine Merchants Diane & Manin Ackerman is to awaken and expand an aesthetic awareness in students Company 1ime Inc. Remy Martin Amerique Mr. Allan Alben who range from kindergarten to junior high. Productions National Endowment for the Ans Amber Lightfoot Walker The Helena Rubinstein Foundation Anonymous National Westminster Bank USA Young & Rubicam Inc. that are selected probe relevant social issues, offer a greater The Scherman Foundation Ms. Leslie Appleby New York City Depanment of awareness of cultural heritage, or explore language and liter Schlumberger CONTRIBUTORS Dr. Sima Ariam Cultural Affairs Above: (Top life and riahr) C hild ren enjoying a puppet from performance Emma A. Sheafer Charitable Argenti, Inc. Mr. Michael C. Bailkin ature through drama. New York Community Trust ofjust So Stories, Mermaid Theatre, Nova Scotia, Canada. Photos by Trust Mr. Michael C. Bailkin Ms. Jennifer Banlett As a new initiative for 1986, PAPYP provided children New York State Council on the Mic hele Ann Travis. (Borrom life and riah r) W inners of the 1987 Leonard Steuben Glass Educational Broadcasting Mr. Om Batheja Ans an exposure to international arts through puppets from Italy, Natman Memorial Poster Contest, sponsored by BAM in coope ration Michael C. Thch Foundation Corp. Mr. Roben Beleson New York Telephone Company West African dancers, trapeze artists from Canada, folk tales with Con Ediso n; Broc hure poster artist Anton Atherly. Photos courtesy Uris Brothers Foundation Estate of Anne Brier Ms. Dianne Bleil of Puerto Rico and even an old-time Broadway musical. of Con Edison. Mr. Nelson Blitz, Jr. 20 21 Ms. Mary Boone Dr. David Ramsay Mr. Thomas H. Ginzburg Nonnan & Joanna Sher Mr. Jonathan S. Bowers Dr. & Mrs. Philip Romero Kitty & Herben Glantz Mr. Gabriel Sherover Greater New York Savings Bank Cowles Charitable Trust Ms. Allison Kyle Leopold Mr. Leonard Tanzer Eddo A. Bult Mr. & Mrs. Joel Rosenberg N. Glantz & Sons, Inc. 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Fisher Palm Gallery Hedy & Kent K.lineman DU, Inc. Mr. Jeffney Carey SUPPORTERS Mr. Ed Hepner San Pellegrino. Susa Inc. Ms. Erica Fonnan Mr. & Mrs. Samuel P. Peabody Andrew & Bettina Klink De Laurentiis Entertainment Guy Carpenter & Co. Anthony & Marcia Hill Mr. Shennan Saperstein Fuel Resources, Inc. Mr. & Mrs. Stanley Person Mr. Faneuil Adams Jr. Valerie & Joseph Kosuth Mr. Frank Dellomo Reinsurance Lawrence J. Hohlt Mr. Morris Sarna Gage & Tollner Mr. & Mrs. Milton Petrie Alexander's Mr. & Mrs. I. Stanley Kriegel Valerie Charles Diker Century Communication Group Ms. Stephanie Alter Ms. Ann Hoy Mr. C. Glenn Schor Mr. Kenneth Geist Tatiana Piankove Foundation Mr. Raymond J. Learsy Fund, Inc. W. Chafin American Chai Tru st Mr. & Mrs. Fred lmbennan Mr. Kevin Scou Mr. Monon Gottlieb Mr. Harold Prince Mr. & Mrs. Roben Israel Rosalyn & Richard Leve nthal Mr. & Mrs. Henri Doll John W. & Barbara Upshaw Ms. Jill Babcock Mr. William F. Seegraber Ms. Annette Yvonne Grant Ms. Isabella Rayburn Mr. Melvin Jacobs Mr. Jacques Leviant Mr. & Mrs. J. Gordon Douglas Chancellor Ms. Jean Bach Ruben & Jeanette Selles Mr. Alexander Jay Republic National Bank of Jay-Arr Slim Wear, Inc. Ms. Jackie Lewis The Dover Fund, Inc. Crossland Savings, FSB Mr. Charles C. Bailey Ms. Louise Seymour Frank Gerard Jennings New York Mr. & Mrs. Sydney Lewis Mr. & Mrs. Lorin Duckman Culbro Corporation Mr. Benjamin Bankson Ms. Camille P. Johnson Dr. & Mrs. Lawrence Sharpe Janet Fraser Jones Mr. James Q. Riordan Dorothy & Roy Lichtenstein East New York Savings Bank Ms. Manha A. Davies Mr. A lien Becker Mr. James A. Kane Mr. Samuel Sheiman Just·Tran Construction Inc. Mr. & Mrs. David Rockefeller Rosanne Livingston Mr. & Mrs. Frederick Ms. Elizabeth De Cuevas Bigelow-Sanford, Inc. Mrs. Valerie Kaempf Mr. & Mrs. Spenser E. Dr. Raymond A. Katzen Richard & Dorothy Rodgers Mr. David Mack Eberstadt Mr. Frank Desiderio Rodney & Carol Bitner Mr. Norman M. Kaye Sherman LDC of East New York Foundation Linda & Harry Macklowe The Ferdinand Eberstadt Dreyfus Corporation Mr. Jean Marie Blondeau Mr. Donald R. Kendall Manin & J>dt Simpson Miss Margaret Leiser Rolling Stone Magazine Ms. Mary Kettaneh Ms. Laurie Mallet Foundation Mr. & Mrs. Paut'Dzielinski Ms. Susan Bloom Lavinia & Brian Snyder Lawrence Nathanson Mr. & Mrs. Richard M. Rosan Dr. & Mrs. Reza Khatib Mr. Edward C. Marschner Mr. & Mrs. Dwight Ellis Richard & Pat Earle Ms. Helen Freedman Blue Mrs. R.W. Sochynsky National Ticket Company Mr. Myron Rosenberg Meryl & Roben Meltzer Mr. Matthew A. Epstein Mr. Richard Eisenberg Mr. William Bradley Mr. John J. Kindred Mr. Harvey Sorkin Mr. Alan Stuan Nauer Roben Rosenberg & Bun Minkoff Fair Return League, lnc. Fieldman & Slater Ms. Roslyn Braun Ms. Di ana Niles King Dr. & Mrs. Gerald Spielman Ms. Dorinda J. Oliver Fran Kaufman Bene Midler Mr. & Mrs. Jonathan Farkas Mr. Bob Fisher Carolyn & Kenneth Brody Mr. & Mrs. Samuel Klein Mr. & Mrs. Samuel P. Sporn Realty World- La Mirage Mr. Clifford Ross Kathleen Moriany & R. J. Keefe Mrs. Thomas K. Finletter Austin C. Fitts Mr. Samuel Mandell Brody Mr. Baroukh E. Kodsi Springs Industries, Inc. Mr. Thomas M. Reed Anhur Ross Foundation Jeffney Neale Ms. Stella Fischbach Connie & Warren Fonnan Mr. & Mrs. Roben T. Buck Mr. & Mrs. James Konkel E. Alexandra Stafford Dr. & Mrs. Alben E. Roland Mary Viscountess Rothennere Carolyn & Sam Newhouse Harry & Stella Fischbach Ms. Derene Frazier Canessa /SRO Mr. Roben Kosowski Mr. Charles P. Stanton Sav Mor Copy Center Lorry & Mark Newhouse Foundation Mr. Ernest Rubenstein Dr. Sumner Lester Freeman Ms. Linda Cathcan Ms. Donie Kovel Stanton & Hawthorne Mr. & Mrs. Richard Sexton Mr. & Mrs. Augustus Oliver Mr. & Mrs. Anastossios Mr. Roben S. Rubin Gannett/Westchester-Rockland Mr. Theodore S. Chapin Ms. Joan Koven Mr. Ogden P. Starr, Jr. Silva-Cone Studios Ltd. Mr. Gene Parseghian Fondaras Mr. Harold L. Schiff Newspapers Charles of the Ritz Mr. & Mrs. Clem Labine St. Moritz Chocolatier Ms. Marie M. Simmons Ms. Bokara Legendre Patterson Forbes, Inc. Ms. Marlene Schiff Ms. Faith S. Golding Mr. Bob Chevez Carole & Knight Landesman Ms. Bonni Stein Smith·Haj Enterprises, Inc. Ms. Cecilia Peek The Friars National Mr. & Mrs. Myron Schuster Mr. Eric Goltzer Mr. & Mrs. Ira Cohen B.H. Lange Ms. Penelope A. Steiner Ms. Janis I. Strauss Barbara & Max Pine Association Foundation Mr. Manin E. Segal Goodspeed Opera House Ms. Selma Jeanne Cohen Mr. & Mrs. Leonard Lauder Ms. Martha Roby Stephens Sunnydale Farrns. Inc. Mr. John M. Powers, Jr. Mr. Michael Fuchs Ms. Kira Sergievsky Mr. Herben Gordon Mr. Bob Colacello Mr. Samuel R. Lebowitz Mr. Edward Strausman Mr. & Mrs. David W. Swanson Bonnie & Gene Pressman Mr. & Mrs. Marc George Gershwin Mr. Stephen Graham Mr. Frederick Cole Dr. & Mrs. Wallace Leibner Dr. & Mrs. Leo Swirsky Ms. Monina Von Opel Mr. & Mrs. Alben Colonomos M r. & Mrs. Frank J. Lemieux Mr. Paul Tannen Dr. & Mrs. Walter Weitzner 22 23 FINANCIAL SUMMARY Consolidated Balance Sheet Consolidated Statement of Operations Year Ended June 30, 1987 FY1985# FY1 986# FY1987# Year Ended June 30, 1987 FY1985# FYI986# FYI9 87# Assets Revenue Current Box Office and Rentals and Concessions $2,160,515 $4,154,808 $4,1 73,289 Cash $ 379,616 $ 65,656 $ 89,649 Appropriations & Contributions Cash in Reserve Account 363,720 1,035,588 1,617,155 New York City 1,549,332 1,919,563 2,004,462 Accounts Receivable 67,047 247,580 568,016 New Yo rk State 307,000 310,500 328,000 Grants Receivable 731,709 879,236 1,638,880 Federal Support 588,600 468,884 399,200 Prepaid Expenses 691,978 516,557 1,288,468 Private Support 1,967,250' 2,524,565 ' 2,898,999 ' Total Current $2,234,070 $2,744,617 $5,202,168 Capital Additions 5,926 33,000 55,000 Non-Current NEA Challenge & Match 718,546 694,140 518,931 Grants Receivable $ 157,500 $ 226,429 $ 285,000 Total Revenue & Public Support $7,297,169 $10,105,460 $10,377,881 Fixed Assets (Net of Depreciation) 1,308,027 1,378,827 1,425,397 Expense s Total Assets: $3,699,597 $4,349,873 $6,912,565 Program, Rentals, Concessions $3,731,428 $6,013,933 $5,440,068 Liabilities Artistic Development 467,941 640,115 315,873 Current Program Related Notes Payable, Short Term $ 100,000 -0- -0- Stage & Production 547,450 650,876 648,914 Capital Lease Obligation 4,448 -0- -0- Promotion, Advertising, Community Relations 440,527 485,793 564,896 Accounts Payable 354,820 289,901 1,044,638 House Management & Box Office 167,213 184,196 324,453 Grants for Future Periods 1,358,534 752,540 2,046,182 Building Maintenance & Operations 534,141 576,316 1,156,965 Advance Box Offi ce & Rentals 244,049 353,605 266,203 Administration 242,634 268,769 329,344 Total Current $2,061,85 1 $1,396,046 $3,357,023 Development 389,434 400,007 589,934 Long Term Other Income/Expense (net) 23,042 -0- -0- Grants for Future Periods $ 20,000 $ 627,500 $ 437,920 Operating Expenses $6,543,810 $9,220,005 $9,370,447 Notes Payable -0- -0- -0- Depreciation 159,667 176,874 216,139 Capital Lease Obligation -0- -0- -0- Total Liabilities: $2,081,851 $2,023,546 $3,794,943 Funds applied to deficit elimination and cash reserve $ 594,6 92 $ 70 8,581 $ 79 1,295 Fund Balances #Summ ary'?[ audited.financial statements by the independent CPA .firm, Lutz and Carr Unrestricted & Challenge Fund Balances Combined $ 314,167 $ 947,500 $ 1,600,000 • This includes benifit inca me net '?[expenses BAM Majestic Theater Fund Balances -0- -0- 92,225 ' 'The excess '?[revenue over expenses rif!ects the National Endowmentfor the Arts Challenae Grant and matchinefunds which are restricted to dificit Fixed Assets 1,303,579 1,378,827 1,425,397 reduction and the establishment '?[a cash reserve fund Total $1,617,746 $2,326,327 3, 11 7,622 Funds applied to deficit elimination and cash reserve $594 ,6 92 $708,581 $ 79 1,29 5 #Summary'?[ audited .financial statements by the independent CPA .firm, Luc-L and C 24 25