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LEONARD FREY Mr. Frey turned from a promising career as a painter to become an actor. Before he entered the theatre. he had won painting scholarships at the THE COACH WITH THE SIX INSIDES Brooklyn Museum. the Skohegan School of Art. and Cooper Union. A graduate of the Neighborhood Playhouse, he most recently played the taciturn Indian Yellow Feather in "Little Mary Sunshine," a role which he surveyed for the past two seasons. He will soon be seen in "Night Terror," a comedy inspired by a motion picture which was shot in location in New York. Jaynes Joyce's "Finnegans Wake" GAll.. RYAN Miss Ryan began her professional career by organizing a theatre company, The Omnibus Players. For two seasons thereafter she acted in the company with which lived and traveled in an old school bus, bringing Shakespeare and Moliere to many towns throughout the country. Immediately after her graduation from Skidmore College she appeared at the Corning Summer jean Erdman Theatre. Most recently she was seen at the Arena Stage in Washington, D. C. in Giraudoux's "The Mad Woman of Chaillot," and under the direction of Alan Schneider in Brecht's "Caucasian Chalk Circle." Anita Dangler Van Dexter TEIJI ITO Leonard Frey Gail Ryan Composer Mr. Ito was the recipient of the 1960-61 Obie award for the best music for theatre, based on his scores for the Helen Menken productions of three APRIL 10, 11, 12, 1964 modem one-act Japanese plays at the Player's Theatre, a cafe-theatre pro­ duction of "King Ubu" and the Living Theatre's production of Bertolt , Brecht's '1n the Jungle of Cities." New Yorkers have also heard his musical scores for "20 Poems" by e. e. cummings which was choreographed by Jean Erdman. His credits include the music for the production of "Caucasian Chalk Circle" presented at the Arena Stage in Washington, D. C., directed by Alan Schneider, and the score for "Mavea" which was filmed in Tahiti and shown at the Venice Film Festival. MILTON HOWARTH Designer of Slide Projections PRESENTED BY THE ASSOCIATION OF NO PHOTOGRAPHS MAY Mr. Howarth most recently designed the sets for the Vancouver Inter­ AMERICAN COLLEGES ARTS PROGRAM, BE TAKEN NOR national Festival of Arts production of Brecht's "Caucasian Chalk Circle." THE INSTITUTE OF AMERICAN STUDIES, RECORDINGS MADE Graduated from Carnegie Tech Drama School, he is now the stage designer for the Long Beach State College Theatre Department in California. AND THE UNIVERSITY OF HAWAII THEATRE DURING THE PERFORMANCES University of Hawaii / John Fitzgerald Kennedy Theatre THE COACH WITH THE SIX INSIDES PRODUCTION CREDITS Music by Teiji Ito Assisted by Jose Ricci Costumes by Gail Ito Slide Projection Designs by Milton Howarth The roles, as played, are as follows: ' Written and Staged by Miss Erdman JEAN ERDMAN ________________________ :_____________________________________________ Anna Livia Plurabelle Musicians: Teiji Ito, Jose Ricci, Shotaro Kawazoe ANITA DANGLER ------------------------------------------------------------------Wi£e and Charwoman Michael Prince: Assistant to the Director and understudy for the Elder Son GAIL RYAN --------------------------------------------------------------------------------Daughter - lseult and the Younger Son LEoNARD FREY --------------------------------------------------------------------------Elder Son- Shaun Carol V. Hoover: Lighting Designer and Stage Manager VAN DEXTER ------------------------------------------------------------------------Younger Son - Shem Kay Carney: Assistant Stage Manager and understudy for the Daughter and Wi£e ACT I PROGRAM NOTES f Time: Past Present (Harry' Me) The Fall, Wake and Reappearance of a Certain Party ••• on the story of ''The Coach With the Six Insides": The time is night; the scene, the interior of a Dublin Tavernkeeper's dreaming mind. The characters are members of the dreamer's family and a certain number of his tavern customers, both transient and regular; chiefly, his two sons, at various ages, past, present, and future; his daughter, his wi£e, ACT II and the charwoman - all of whom tend both to coalesce and to suggest various others, human, animal, and supernatural, actual and legendary, who, Time: Future Present (Marry Me) at one time or another, have caught his fancy. The dreamer has just lost an Chips Off the Old Block election, due to rumors spreading from an undefined event one night in Phoenix Park, which involved, apparently, a couple of nursemaids, a police­ man, and a sort of tramp (perhaps poet) with a pipe; and in his remorseful dream this unhappy fault becomes confused with Adam's fall and the resultant condition humaine. The women thus are aspects of the one Eve: temptress and mother of this sinning (and thus, living) world; and the ACT III dreamer is the Creator, invisible yet everywhere, himself ultimately respon­ Time: Future Past (Bury Me) sible for, and secretly enjoying, the whole disgraceful mess. His Gadabout in Her Day The name, "The Coach With the Six Insides," was the title of a television play seen on the screen of the tavern bar a few hours before the dream. Its vaudeville acts, song and dance numbers, jokes and political references, contribute a theatrical form to the nightmare. It all seems to mean something - as does a dream, as does the world. But what? Or what did the letter say that was posted in this ruined envelope? Who wrote it, and to whom? The dreamer's initials, H.C.E., suggest "Here Comes Everybody," and his wife's initials, A.L.P. (the German word Alp means "nightmare") suggest "Anna Livia Plurabelle," which is James Joyce's name for the River Liffey flowing through Dublin to the sea while the city sleeps - in the way of the river of time and change, which is flowing through us all as Creator, Sustainer, and Destroyer. It is in this larger, mythic dimension that the characters of Joyces Dublin family are in play within us all in an enigmatic festival of dream, from which we all one day are to wake. • • • on the language of "Finnegans Wake": The language of "Finnegans Wake," like the imagery of a dream, is a distorted medium, telling many tales at once while playfully hiding its main point - which we somehow seem to know though we cannot bring it quite to mind. The book goes down with us into a land of sleep, where everything -as in Ariel's song- undergoes a curious change. Full fathom five thy father lies, Of his bones are coral made, These are pearls that were his eyes; Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his bell, Hark! Now I hear them- ding-dong bell. The Tempest, Shakespeare - ' The rhythmical structure of the language carries the burden of commu- nication. Words, memories; and thoughts ride upon it as flotsam on a tide; echoes of childhood and of ~ld causes telling not so much of themselves as of the Here-we-are-again Gaities of the ever-living song that carries all of us along. And wltere sleep joins death, there is life still, tolling in the knell. We dance with it in wonder and delight. Joseph Campbell WHO'S WHO IN THE CAST JEAN ERDMAN Miss Erdman comes to the legitimate theatre from a distinguished career in the concert dance. The first Broadway showings of her own choreography were in festival seasons of the New Dance Group at New York Times Hall and The Mansfield Theatre; and the year of her first full company concert, presented at Hunter Playhouse, she received the Dance Magazine Award for the best new work of the season. New York theatregoers most recently saw her at the Circle-in-the-Square in 1960, when she presented a new work \ based on "20 Poems" by e.e. cummings. Having developed her own school and concert company in New York City, Miss Erdman has produced her new works there annually, has toured the United States extensively with her company, and in 1955 was the first American artist-emissary to tour the Orient after World War II. She has been artist in residence with her com­ pany for seven years at the University of Colorado, three at the University of British Columbia, and was last summer at the University of Hawaii. Her interest in relating dance to theatre was furthered by her choreography for Jean Paul Sartre's "Les Mouches" at the Vassar Experimental Theatre and Jean Giraudoux's "The Enchanted" at the Lyceum Theatre in New York. The composer Alan Hovhaness collaborated with her in the production of William Saroyan's ballet play, "Otherman-Or The Beginning of a New Nation," at Bard College, where, from 1954-1957, she was head of the Dance Department. Born in Honolulu, Miss Erdman has been interested all her life in the synthesis of drama, dance, and music that's characteristic of all Oriental theatre; and in the dream-world atmosphere of James Joyce's "Finnegans Wake" she has found the material for the creation of such an art as contemporary expression. The possibility of realizing this conception was afforded by a grant from the Ingram Merrill Foundation, and furthered by individual contributions made to the Arts Program of the Association of American Colleges, under whose auspices this production is being presented. Her husband, Joseph Campbell, author of "The Hero With a Thousand Faces" and "The Masks of God," bears the responsibility for having intro­ duced her to the magic of James Joyce's language during his years of labor on "The Skeleton Key to Finnegans Wake." ANITA DANGLER Miss Dangler recently £ompleted an extensive national tour of the Circle­ in-the-Square's production- of "Under Milk Wood" after appearing in the Dylan Thomas•hit for many months in New York. Last seen on Broadway in the original production of "The Hostage," she toured with the play for one season coast-to-coast and in Canada.

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