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2 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

'c 7 0, s ' BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 3

Brooklyn Festival of Dance 1970-71

The Brooklyn Academy of Music

in association with

The American Dance Foundation

presents The American Ballet Company Director

OLGA JANKE ELIZABETH LEE CHRISTINE SARRY ELIOT FELD JOHN SOWINSKI

Marilyn D'Honau Karen Kelly Christine Kono Cristina Stirling Eve Walstrum Kerry Williams Larry Grenier Edward Henkel Kenneth Hughes Daniel Levins James Lewis Richard Munro

Musical Director CHRISTOPHER KEENE

Associate Conductor ISAIAH JACKSON

Ballet Mistress BARBARA FALLIS

The is a resident company Am"icahBFriMaresithe Brooklyn yofrMusic. of the ade possible Re72,1:4F,31.1'11.21de,miireW,Pea'Lt:, ThThe Ford Foundation, the ilgf`YtrIc on the Arts and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performan 4 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 The Brooklyn Academy of Music The Brooklyn Academy of Music Is a department of the Brooklyn Institute of Arts and Sciences.

Brooklyn Academy of Music Administrative Staff Management Company, Inc. Harvey Lichtenstein, Director Lewis L. Lloyd, General Manager Board of Directors: Charles Hammock, Asst. General Manager Seth S. Faison, President Jane Yockel, Asst. General Manager Donald M. Blinken Barry Moore, Comptroller Martin P. Carter Thomas Kerrigan, Assistant to the Director Richard M. Hester Michele Goldman Brustin, Assistant to the Director Peter C. R. Huang Anne Goodrich, Associate Press Representative Gilbert Kaplan Linda Fosburg, Manager of Harvey Lichtenstein Audience and Community Development Alan J. Patricof Betty Rosendorn. Administrator, School Time Program David Picker Sarah Welder, Administrator, Membership Program Richard C. Sachs Mildred Levinson, Administrative Secretary Adele Allen, Press Secretary The Academy of Music Sylvia Rodin, Administrative Assistant Governing Committee Frances M. Seidenberg, Financial Secretary Seth S. Faison, Chairman Evelyn August, Staff Assistant Edward S. Reid, Vice Chairman Pearl Light, Secretary, School Time Program Hon. Alexander Aldrich Ellen W. Jacobs, Program Editor Bernard S. Barr Deirdre Dietrichson, Dr. William M. Birenbaum Registrar for Academy Dance Center Donald M. Blinken John R. H. Blum Martin Carter House Staff Thomas A. Donnelly Alfredo Salmaggi, Jr., House Manager William B. Hewson Gary Lindsey, Asst. House Manager Rev. W. G. Henson Jacobs Richard R. Burke, Box Office Treasurer Howard H. Jones Bill Griffith, Assistant Treasurer Gilbert Kaplan Lars Jorgenson, Assistant Treasurer Max L. Koeppel James Hillary, Assistant Treasurer Msgr. Raymond S. Leonard John Cooney, Stage Crew Chief Mrs. George Liberman John Van Buskirk, Master Carpenter Harvey Lichtenstein Edward Cooney, Assistant Carpenter Mrs. Constance J. McQueen Donald Beck, Master Electrician Alan J. Patricof Louis Beck, Assistant Electrician James Q. Riordan Thomas Loughlin, Master of Properties Richard C. Sachs Charles Brette, Custodian William Tobey Foundation and Corporate Contributors Abraham and Straus Foundation, Inc. The Altman Foundation American Can Co. Fdn. Anchor Savings Bank Arthur Andersen & Company Bache Corp. Fdn. Bankers Trust Co. John R. B. Blum Fund - through New York Community Trust Robert E. Blum Fund - through New York Community 'I' nut Bowery Savings Bank Brevoort Savings Bank Irving Brodsky & Co. Brooklyn Savings Bank Brooklyn Union Gas Co. Burlington Industries Foundation Caristo Construction Corp. The Celanese Fibers and Marketing Company Chase Manhattan Bank Fdn. Chemical Bank Trust Co. Community Drug Co., Inc. Consolidated Edison Co. of New York, Inc. Consolidated Mutual Insurance Company Continental Can Co., Inc. Cranshaw Corp. The CT Foundation Cultural Fund - through New York Community Trust Dime Savings Bank of Brooklyn Dime Savings Bank of Williamsburgh Dow Jones Foundation Dun & Bradstreet Foundation The Duplan Corp. Eastern Air Lines. Inc. Fast New York Savings Bank First National City Bank Fdn. Flatbush Savings Bank The Ford Foundation David Goodstein Family Foundation The Grace Foundation, Inc. Greater New York Savings Bank Green Point Savings Bank The Henfield Foundation Hirshel & Adler Galleries International Business Machines Corp. International Telephone & Telegraph Irving One Wall Street Foundation, Inc. Johnson & Higgins Kings Lafayette Bank Kirsch Beverages, Inc. M. Knifed!. & Co.. Inc. Samuel IL Kress Foundation A. W. Fund The Samuel & Ethel Lefrak Foundation, Inc. Leper.) Foundation Lincoln Savings Bank, Magnusin Products Corp. Manufacturers Hanover Trust Co. Marine Electric Corp. Marine Midland Grace Trust Co. of N. Y. William Marx Foundation The Mats Foundation J. W. Mays, Inc. Abraham Mazer Family Fund Joseph & Cell Mazer Fain.. Inc. Merrill. Lynch, Pierce. Fenner & Smith, Inc. Mobil Foundation, Inc. Morgan Guaranty Trust Co. of New York Nathan's Famous, Inc. National Bank of No. America New York Daily News New York i-ounnstiou, inc. New York state Council on the Arts New York Telephone Co. Ovilvy & Mather, Inc. Pfizer Foundation, Inc. Milton & Lillian Pollack Foundation, Inc. Leon & Harriet Pouter.. Fdn., Inc. Charles Portia Foundation Readers Digest Foundation Rockefeller Bros. Fund. inc. The Rockefeller Foundation S & H Foundation. Inc. F & M Schaefer Brewing Seamen's Bank for Savings Seatrain Shipbuilding Corp. Florence & Carl Selden Foundation. Inc. The Shoreham Hotel South Brooklyn Savings Bank J. P. Stevens & Co., Inc. Foundation John F. Thompson Foundation Trans World Airlines Fred C. Trump Foundation Joy & Samuel Ungerleider Foundation United Air Lines Foundation United Mutual Savings Bank United States Steel Foundation, Inc. United States Trust Co., Fdn. van Am insert Foundation. Inc. Wildenstein & Co_ Inc. Williamsburgh Savings Bank A. B. Y. Fund - through New York Community Trust Zeitz Foundation The George & Margarita Delacorte Fdn.

We are pleased to extend this invitation to you to become a Friend. Friends of the Brooklyn Academy of Music are people who Batiste in the need for quality programs at low box office prices Offer assistance to the educational services provided by the Academy Inform the community of the variety of programs the Academy offers Help bridge the gap between costs and receipts SIO Supporting 91011 Donor $500 Benefactor Eliot Feld and the Extinct Metaphor by Marcia IB. Siegel

P1NO ABBNESCIA Eliot Feld's Harbinger (1967)

the curtain rises, a boy is crouched, What you see is what's happening, and WHENlow to the ground, in front of a huge, what's happening is precisely what you see. He slowly back-lit, pastel-spattered sail. Compare this to almost any other sort of his upward and greets the unfolds body - ballet. Take a classical pas de deux. The stage with a flourish. The gesture has empty man and woman enter, meet, dance together confidence of a boat whistle all the resonant for a while; then one partner retires while at dawn. saluting the harbor the other does a solo. There are two reasons This is the first moment of the first ballet why he or she leaves the stage at this point: choreographed by Eliot Feld, Harbinger. It to breathe and rest before the next exertion, contains, in a way, everything one needs to and to give the entire stage to the other know about why many people consider Feld dancer. But the audience is not supposed to the most important young choreographer at think of that. We are supposed to imagine work today. that the first partner is really there, gazing fascinated on his beloved's performance, Someone recently told me that after see- because this is after all an ecstatic love ing Feld's work for the first time he was scene. puzzled because it didn't seem to be about Or take a Jerome Robbins duet. There anything but dancing. That, perhaps, is the often seems to be much more going on be- fundamental point. The critics may suggest tween the partners than is evident. How metaphors about it later, but that doesn't else can we explain those ambiguous little make the moment of performance any less gestures that seem so important, the loaded complete, Feld's dance isn't a metaphor for glance, the crackling pause, the sudden ca- emperors and princesses, or anything, not pitulation? Some unspoken contest has been the demons of the psyche, or the vapors of simmering for ages between them, we're mysticism, or dawn, harbors, boats, portents, forced to suppose, but they're not telling or anything but a boy extending his arm. us what it's about. And then they are gone, leaving us none the wiser. by Copyright O 1970 Consider the colorful sexuality of modern MARCIA B. SIEGEL ballet the clutchings and acrobatic falls covers dance in New York - Marcia B. Siegel the contorted embraces someone's for the Los Angeles limes and the Boston - - Herald. She is a contributing editor of hand shoots up in the air - orgasm! Or Arts in Society. the decorative anonymity of "abstract" bat- 11 6 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

intensely, until suddenly their ardor sub- sides, and the men pick up the girls in their arms and rock them to a lullaby. At Midnight poses solo dancers against groups, the way Mahler threaded his long, gorgeous melodic line through and over the orchestra in the Ruckert Songs, which ac- company the ballet. The group makes no statement of its own, but its presence, always surging and hovering in the background, determines the actions of the soloist. In Meadowlark, Feld matched the exuberant momentum of Haydn, and in Harbinger the frenetic pace of Prokofieff. Several unusual things are implied by this highly developed musicality of Feld's. His dancing often has a folk quality. The vo- cabulary is classic ballet, but the impulse r to dance, the vitality, the lack of restraint

*Mk MARTHA SWOPE Feld at rehearsal with Christine Sorry looking on L let, where you are not supposed to see a man touching a girl at all, but an idealized depiction of a musical phrase. What makes Feld's dancing different from all these is its immediacy, its refusal to adopt euphemisms, and its total reliance on the energy and sweep of the movement to convey meaning. All of Feld's ballets take their impetus a. from the flow of the music that accompanies them. Events in the dance arise out of that accompanies them. Events in the dance arise out of that flow and continue going with it, never stopping to crystallize a beau- tiful moment or point out some feat of agility. Feld works like a master of old- MARTHA WONT fashioned, cursive handwriting, achieving Elizabeth Lee and John Sowinski in Intermezzo emphasis, shape and character without lift- ing his pen from the paper. belongs to Balkan and other folk forms, Intermezzo begins with the music itself, where people dance just for the sake of Brahms played on an onstage piano, while dancing. In these forms, and often in Feld's the dancers stand formally, awaiting their work, the men and women partner each cue. No pretense about a ballroom, gloves, other to share something, rather than to bowing and curtseying, just dancers ready show off. Their arms go around each other's to dance to Brahms. A girl raises an arm waists companionably, one might almost and goes up on her pointes in one breath, say democratically. One seldom feels that and the dance is on. Carried along on the fussy concern for placing and arranging so current of music, the three couples whirl common in ballet, because what matters is and float, dip and rise, faster and more the motion, not the stops. The partners adapt to each other rather than dominate each other. A girl may be running or turning and the man can pick her up without disturbing her flow; you hardly notice she has left the ground. In the opening section of Intermezzo the man slips his hands under the girl's arm and across her breast, and she covers his hand with hers, as if to say "that's nice, keep it there."

Responding to the pulse of the music, these dancers convey a real sense of the body's weight. Girls are thrown up and caught in midair; in Early Songs, Feld runs while carrying Christine Sarry high in the air, and she swings her whole lower body back and forth like a pendulum: in Har- binger the girls curl up into a solid mass and jump with their whole weight, back-

RON PROT/. Feld and trio in Early Songs

Feld is incredibly good at the pure craft of dance composition - making up steps, patterns, group designs that illuminate the music, like the headlong six-part canon at the end of Meadowlark. He is daring, witty, intelligent. But his greatest gift is for mak- ing movement that authentically expresses feelings. The taut, jagged lines of distress and the roundness of embracing, the in- quisitive stretches into space and the com- pactness of energy mobilized, the long delicate quiets and the furious, tumbling chases - these are the marks of Eliot Feld's choreography. He is important because he is the first choreographer of this generation to break with the idea that ballet is about another .7 OP world a universe peopled with invincibly John Sowinski and Christine Sorry - beautiful beings who are possessed of super- in At Midnight human powers. Feld's ballet is about this world. We and his dancers are in it wards into the boys' arms. This kind of together, not separated by some great gulf dancing is exciting to watch because it is of virtuosity. I remember my delight when closer to our own experience than the con- the first astronauts stepped out of their tinuous withholding of weight that ballet hermetic, computerized capsule and began dancers habitually do. We know the feeling leaping around the moon. When I look at of our own weight, rocking in a hammock, Eliot Feld's dancers, I get the same flash dangling from a handhold on a moving of recognition: - Hey, they're like us after subway. Feld intensifies this experience for all! Or maybe even more exciting, we're us instead of denying it. like them! 8 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

AMERICAN BALLET COMPANY Wednesday Saturday (EVe.) Wednesday Saturday (Eye.) Oct. 21, 7:30 p.m. Oct. 24, 8:30 p.m. Oct. 28, 8:00 p.m. Oct. 31, 8:00 p.m. Harbinger Meadowlark Harbinger Clockwise A poem Forgotten A Poem Forgotten. The Consort. A Poem Forgotten Cortege Parisien Intermezzo Cortege Burlesque Cortege Parisien Early Songs At Midnight The Consort Harbinger Thursday Sunday (Mat) Thursday Sunday (Mat.) Oct 22, 8:00 pall. Oct. 25, 2:00 p.m. Oct. 19, 8:00 p.m. Nov. 1, 2:00 p.m. Meadowlark Clockwise The Consort Clockwise A Poem Forgotten Caprichos Intermezzo Caprichos Cortege Parisien Cortege Burlesque At Midnight Early Songs At Midnight Harbinger Friday Sunday (Eve.) Friday Sunday (Eve.) Oct. 30, 8:00 p.m. Nov. 1, 7:30 p.m. 25, 7:30 p.m. Clockwise The Consort Oct. 23, 8:00 p.m. Oct. A Forgotten Harbinger Meadowlark A Poem Forgotten Poem Clockwise. A Poem Forgotten The Maids Intermezzo The Maids intermezzo Early Songs At Midnight Early Songs The Consort Saturday (mat) Saturday (Mat.) Tuesday Oct. 31, 2:00 p.m. Oct. 24, 2:00 p.m. Oct. 27, 8:00 p.m. Clockwise Clockwise The Consort Caprichos Early Songs Caprichos Early Songs Harbinger Cortege Parisien Early Songs

MERCE CUNNINGHAM AND DANCE COMPANY Tuesday Friday Tuesday Saturday Nov. 3, 7:30 p.m. Nov. 6, 8:00 p.m. Nov. 10, 8:00 p.m. Nov. 14, 8:00 p.m. Rain Forest Rain Forest Canfield Scramble Second Hand Signals New Work II Signals Tread Canfield How to Pass, Kick, Second Hand Fall and Run Wednesday Saturday Sunday Nov. 4, 8:00 p.m. Nov. 7, 8:00 p.m. Wednesday Nov. 15, 7:30 p.m. Canfield Canfield Nov. 11, 8:00 p.m. New Work II Signals. Signals Scramble Signals Tread Second Hand Signals Tread Thursday Sunday New Work II Nov. 5, 8:00 p.m. Nov. 8, 2:00 p.m. Friday Walkaround Time RainForest Nov. 13, 8:00 p.m, Second Hand Second Hand Walkaround Time Tread Signals New Work II Pr'g'"'"ubj"t =ire

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Tuesday Morning, October 20, 1970, 10:30 a.m.

Student Performance

Brooklyn Academy of Music

The American Ballet Company

Harbinger

INTERMISSION

The Consort

INTERMISSION

Cortege Parisien

The performances of the American Ballet Company at the Brooklyn Academy of Music are made possible by grants from the National Endowment for the Arts, The Ford Foundation, the New York State Council on the Arts and individual donors. - .

HARBINGER (1967)

Choreography by Eliot Feld Music by Serge Prokofieff (Concerto #5 for Piano and Orchestra) Decor by Rouben Ter- Arutunian Costumes by Stanley Simmons Lighting by Jules Fisher

I DANIEL LEVINS Olga Janke, Elizabeth Lee, Karen Kelly, Christine Kono, Eve Walstrum, Kerry Williams

II CHRISTINE SARRY, LARRY GRENIER

III ELIZABETH LEE, EDWARD HENKEL Christine Kono, Karen Kelly, Eve Walstrum, Kerry Williams, Kenneth Hughes, Daniel Levins, James Lewis

IV OLGA JANKE, RICHARD MUNRO, JOHN SOWINSKI

V Karen Kelly, Christine Kono, Elizabeth Lee, Christine Sarry, Eve Walstrum, Kerry Williams Larry Grenier, Edward Henkel, Kenneth Hughes, Daniel Levins, James Lewis, Richard Munro

GLADYS CELESTE MERCADER, Pianist

CHRISTOPHER KEENE, Conductor

Decor for this production commissioned by the New York State Council on the Arts, 1969. First Produced by , 1967. Music by arrangement with Boosey and Hawker, Inc., Publisher and Copyright Owner.

INTERMISSION THE CONSORT (1970)

Choreography by Eliot Feld Music by Dow land, Neusidler, Morley, and Anonymous Composers Orchestrated by Christopher Keene

. Costumes by Stanley Simmons Lighting by Jules Fisher

Marilyn D'Honau, Olga Janke, Christine Kono, Elizabeth Lee, Cristina Stirling

Larry Grenier, Kenneth Hughes, Daniel Levins, Richard Munro, John Sowinski

CHRISTOPHER KEENE, Conductor

This ballet was made possible through a grant from the National Endowment for the Arts and also with the assistance of The Rockefeller Foundation.

INTERMISSION CORTEGE PARISIEN (1970)

Choreography by Eliot Feld Music by Emmanuel Chabrier (Fete Polonaise) Costumes by Frank Thompson

Lighting by Jules Fisher

Christine Sarry Elizabeth Lee Cristina Stirling

John Sowinski Richard Munro Kenneth Hughes

CHRISTOPHER KEENE, Conductor &boa -S Iq7K BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 9

Wednesday Evening, October 21, 1970, 7:30 p.m.

Opening Night

Brooklyn Academy of Music

The American Ballet Company

Harbinger

INTERMISSION

A Poem Forgotten

INTERMISSION

Cortege Parisien

INTERMISSION

Early Songs 10 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

HARBINGER (1967)

Choreography by Eliot Feld Music by Serge Prokofieff (Concerto #5 for Piano and Orchestra) Decor by Rouben Ter-Arutunian Costumes by Stanley Simmons Lighting by Jules Fisher

I DANIEL LEVINS Olga Janke, Elizabeth Lee, Karen Kelly, Christine Kono, Eve Walstrum, Kerry Williams

II CHRISTINE SARRY, LARRY GRENIER

III ELIZABETH LEE, EDWARD HENKEL Christine Kono, Karen Kelly, Eve Walstrum, Kerry Williams, Kenneth Hughes, Daniel Levins, James Lewis

IV OLGA JANKE, RICHARD MUNRO, JOHN SOWINSKI

V Karen Kelly, Christine Kono, Elizabeth Lee, Christine Sarry, Eve Walstrum, Kerry Williams Larry Grenier, Edward Henkel, Kenneth Hughes, Daniel Levins, James Lewis, Richard Munro

GLADYS CELESTE MERCADER, Pianist

CHRISTOPHER KEENE, Conductor

Decor for this production commissioned by the New York State Council on the Arts, 1969. First Produced by American Ballet Theatre, 1967. Music by arrangement with Boos, and Hawkes, Inc., Publisher and Copyright Owner.

INTERMISSION BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 11

A POEM FORGOTTEN (World Premiere)

Choreography by Eliot Feld Music by Wallingford Riegger (Concerto for Piano and Wind Quintet) 1 Scenery and costumes by Jose-Luis Cuevas Lighting by Jules Fisher

Cast in order of appearance: Daniel Levins, Edward Henkel, Christine Kono, Cristina Stirling, Elizabeth Lee, Larry Grenier, James Lewis, Richard Munro

ISAIAH JACKSON, Conductor

This ballet was made possible through a grant from The Rockefeller Foundation. Wallingford WIND by permission of RiAggiaateWaT1gbrtgels,PIIZON'etv York, publisher and copyright

INTERMISSION

CORTEGE PARISIEN (World Premiere)

Choreography by Eliot Feld Music by Emmanuel Chabrier (Fete Polonaise) Costumes by Frank Thompson Lighting by Jules Fisher

Christine Sarry Elizabeth Lee Cristina Stirling

John Sowinski Richard Munro Kenneth Hughes

CHRISTOPHER KEENE, Conductor

INTERMISSION aweswwui-Y--ssT--

12 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

EARLY SONGS (1970)

Choreography by Eliot Feld Music by Richard Strauss Costumes by Stanley Simmons Lighting by Jules Fisher

Elizabeth Lee Christine Sarry Cristina Stirling

Olga Janke Christine Kono Eve Walstrum

Eliot Feld Richard Munro John Sowinski

Edward Henkel Kenneth Hughes James Lewis Daniel Levins

SYLVIA DAVIS, Soprano

WILLIAM JUSTUS, Baritone

GLADYS CELESTE MERCADER, Pianist

This ballet was made possible through a grant from The Corbett Foundation and also with the assistance of the National Endowment for the Arts and the New York State Council on the Arts. -Der Stern" by arrangement with Boosey and Hawk., Inn., Publisher and Copyright Owner. BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 13

Contributors to The American Dance Foundation, Inc., 1970.

PATRONS SPONSORS The Corbett Foundation Mr. and Mrs. Richard Anthony The National Endowment for the Arts Dr. and Mrs. Philip S. Bergman The New York State Council on the Arts Iris De La Torre Bueno The Rockefeller Foundation The Paul H. Epstein Foundation Mr. and Mrs. Irving Feld BENEFACTORS Mr. and Mrs. Milton D. Felson The Marion R. Ascoli Fund The Harold & Jean Goldstein Foundation The Blinken Foundation Herman C. Gulack John R. H. Blum Mrs. Harold Hermann William Crawford Dr. and Mrs. John S. Hermann Mrs. Henri Doll Mr. and Mrs. Eugene D. Lavery Mr. and Mrs. Benjamin N. Feld The Overseas Foundation Stanley Goldstein Mr. and Mrs. Leon Pomerance Gilbert Kaplan Mrs. Robert Pomerance The J. M. Kaplan Fund Mr. and Mrs. George Schein Paul A. Lepercq Ray Stark The Edmond de Rothschild Foundation Frances P. Strauss Helena Rubinstein Foundation Dr. Milton Thomashow Richard C. Sachs Alice Tully The American Ballet Company William Crawford, Administrative Director Randall Brooks, Production Stage Manager Ellen Wittman, Stage Manager David Bix ler, Production Assistant Gladys Celeste Mercader, Pianist Elonzo Dann, Wardrobe Supervisor Eleanor Winter, Secretary Studios. c ostarevacener=loScinWexecuted Barbara Teis* Ltd.,Sli1 %Morrow. The official school of The American Ballet Company is The New York School of Ballet, Richard Thomas, Barbara Fallis, Eliot Feld, Directors, 2291 Broadway, New York, N. Y. 10024. The activities of The American Ballet Company and The New York School of Ballet are supported by The American Dance Foundation, Inc. - President: Paul H. Epstein, Vice-President: Richard Thomas, Secretary: Mrs. Richard N. Gardner, Treasurer: Benjamin N. Feld, Board of Trustees: Leonard Baskin, Joseph L.

Broadwin, Paul H. Epstein, Barbara Fallis, Eliot Feld, Mrs. Richard N. Gardner, Mrs. Arthur J. . Goldberg, Nora Kaye, Harvey Lichtenstein, Anita Loos, Richard Thomas. All contributions to The American Dance Foundation, Inc. are tax-deductible. For the Academy of Music Lighting by Four Star Lighting The Academy of Music is grateful to The Metropolitan Museum of Art for lending the sculpture Herakles by Bourdelle now on exhibition in the Main Lobby. The statue was a gift to the Museum by Mr. and Mrs. Stephen C. Milieu. 1924.

Official School of The American Ballet Company Eliot Feld, Director

New York School of Ballet

Full Professional Curriculum - Adult Evening Classes Graded Children's Classes - Pointe & Variations Classes

2291 Broadway, New York 10024 - Telephone 799.5445 A Giant Awakens

For all you know, you might be sitting as Director of Audience Development for in the seat occupied by Mrs. Abraham the and Opera at Lincoln when she attended a production Lincoln Center, dance seemed a logical of the opera II Guiramanto in March, place for him to begin. 1861. But the changes did not happen right Since before the Civil War, the Brooklyn away, During his first season in Brooklyn, Academy of Music has been an artistic oasis Lichtenstein kept things the way they had for generations of audiences. Some of the been, offering visiting dance companies on most important figures in literature, theater, the Academy stage for one night stands. music and dance have appeared here, in- The 1967-68 season saw Paul Taylor, cluding such singers as Enrico Caruso, Donald McKayle, Jose Limon, the Jake), Madame Schumann-Heink, Feodore Chalia- Ballet, Alwin Nikolais and Merce Cunning- pin, Lilly Pons and composers and musi- ham. Cunningham was given the longest cians such as Sergei Rachmaninoff, Heifetz, New York season he had ever had Paderewski, Casals and Stravinsky. Sinclair eight performances. - Lewis, William Jennings Bryan, Sir Win- ston Churchill, Edna St. Vincent Mil lay and Because Cunningham did so well that and Booker T. Washington spoke here, year Lichtenstein decided to chance a while Edwin Booth, Sarah Bernhardt, Ellen more extended season. So the next year. Terry and Mary Pickford starred in Aca- 1968-69, the Academy took a big plunge demy productions. Among the early ballet and offered Martha Graham, Paul Taylor, companies to perform in Brooklyn was the Alwin Nikolais, American Ballet Theatre, Russian Imperial Ballet with Anna Pavlova Alvin Ailey, Merce Cunningham, Anna and Michael Mordkin. And Isadora Dun- Sokolow and Erick Hawkins in longer en- can danced barefoot on the Academy stage. gagements. "It was a difficult season and The list goes on and on. we had a lot to catch up with," Lichtenstein said. "We were fairly new in terms of the Then for many years Brooklyn lay a general public." half-sleeping giant. Things were still hap- pening, but not as much as was possible. But there was enough response to en- In 1967 the sluggish spirit of the Academy courage a new idea: resident companies. was re-awakened by its new director Har- Knowing only too well the nomadic exist- vey Lichtenstein. He set out to find a new ence foisted on many artistically important direction for the then 109 year old in- theater and dance companies, the Academy stitution. invited Merce Cunningham, Alvin Ailey and Eliot Feld (who was in the process Having a been dancer himself, Lichten- of creating his American Ballet Company stein has a knowledge and natural sym- at the time), as as for well the Chelsea Theater pathy dance. And with his experience to work in Brooklyn. With the move, the BROOKLYN ACADEMY OF MUSIC / OCTOBER ISIS / 15

Chelsea Theater, which had then been per- once by people who have had little previous forming at the Episcopal Church of the opportunity to go to the theater. Holy Apostles in Chelsea, became New York's first professional borough theater Chelsea attracts a mixed audience - outside of Manhattan. men and women from middle and upper social-economic groups, young students The Academy offered the dance com- (black and white, high school and college panies a guaranteed season and performing age), the regular theater buff from the fee without financial risk on their part. Village and East 60's, as well as the family The gap between box office receipts and from Flatbush and Bensonhurst for whom running costs is met by grants from the the theater has generally meant a once a National Endownment for the Arts, The year trip to Hello, Dolly! Ford Foundation and other contributors. During the 1968-69 dance season 40% As Academy residents, the companies of the subscribers came from Brooklyn and also receive rent-free office space, storage 60% were from the other boroughs, New room for props and sets, as well as Aca- Jersey, Connecticut and elsewhere. Sixty demy support in fund raising campaigns. A per cent of the current dance subscription Rockefeller grant of $350,000 over three audience comes from Brooklyn and 40% years was given to the Academy to sub- from other areas. The audience this season sidize new works and new productions by appears younger than in previous years - the resident companies. one third of the seats for the Graham per- formances were occupied by students. Last year Cunningham premiered Tread and Second Hand; Feld premiered Early In addition to luring people from other Songs, Intermezzo, Cortege Burlesque, boroughs to cross the river, much has been Meadowlark, Pagan Spring; and Ailey pre- done to build community consciousness in sented eight new works: Streams, Gymno- Brooklyn itself, including discounts foi pedies, Three Solos, Masekela Langage, ghetto area residents, senior citizens and Panambi, Threnodies, Dance for Six and neighborhood organizations. Poem, The Chelsea Theater Center, pre- sented the world premiere of LeRoi Jones' "We are in Brooklyn. We feel that with Slaveship, the American premiere of Wil- the developing concern for community and liam Geldings' The Brass Butterfly and the local involvement among New Yorkers, we New York debut of Daniel C. Gerould's can also serve an important purpose in Candaules, Commissioner, along with four being Brooklyn's theater. We are here," other plays. Lichtenstein says emphatically, "and we want to feel a kinship with the people in "Though we are not exclusively interested the area." He seeks to create a relationship in contemporary work, our greatest em- with the community analogous to the one phasis is there," Lichtenstein said. "We the Dodgers once had. want to give exposure to living creative artists. This includes not only our own re- "Though the people felt the Dodgers be- sident dance and theater companies, but longed to them, the team also had a na- we also want to present the work of other tional significance. We want to produce companies." The Living Theater, Jerzy works of general importance and general Grotowski's Polish Lab Theater, Martha appeal, but not parochial in terms of quality Graham and American Ballet Theatre are and content. We want Brooklyn to feel among those who have appeared on the proud of us, of what we do, and to support non-resident guest list. us, because in a sense this theater belongs to Brooklyn." Lichtenstein does not intend Brooklyn to be a cultural carbon of Manhattan theaters. Because its programs can not be dupli- Just the opposite. He sees the Academy as cated anywhere else in New York, the size a unique idea, a place for talented artists of the audience (from all parts of the City) who haven't had a chance to show their has increased dramatically over the past works on a major stage. few years. This once-slumbering giant, with its great historical and artistic heritage, has Because of the ideas implicit in its goals been re-awakened! Chelsea is a good example: it does not wish to compete with Broadway commercial ELLEN W. JACOBS theater. Seeking to offer significant theater experiences to the widest spectrum of so- ciety, the plays selected for performance arc generally controversial works with themes directly related to the current prob- lems facing society. Performances are of- fered at low or no cost to encourage attend- It's Farrell Dances in Brooklyn Suzanne Farrell will appear on the New Happening York stage for the first time in nearly two years when she performs with Maurice Mart's Ballet of the Twentieth Century in its American debut at the Academy from January 25 to February 7. Miss Farrell's in husband Paul Mejia will also appear with the Mart company. The pair will give their first performance with the company in Brussels this fall. Brooklyn en- Tickets for the exclusive two week gagement go on sale at the Academy, A & S stores, Bloomingdales and Ticketron Two Cunningham Premieres on November 2. Merce Cunningham will premiere two works during his company's two week en- gagement at the Brooklyn Academy of Music, extending from November 3-15. The engagement, will feature perform- ances of Rain Forest, Second Hand, Tread, Canfield, Walkaround Time, Scramble and How to Pass, Kick, Fall and Run.

Suzanne Farrell and Paul Mejia in Sylvia Pas de Deux

1970-71 Orchestra Series JACK MITCHELL Mecca Cunningham and composer Appearances by the Boston and Pitts- John Cage burgh Symphony Orchestras will highlight the eighty-third season of the Academy's Orchestra Series which begins on Novem- ber 12. Signals, which was premiered at the Theatre de France in Paris in June and William Steinberg, Erich Leinsdorf. Gun- performed at the Festival of the Two Worlds ther Schuller and Michael Tilson Thomas in Spoleto in July, will have its American will conduct. Soloists will include Michael debut in Brooklyn on November 4. The Rabin, Joseph Silverstein, Joseph Katie', music was composed by John Cage, David stein and John Browning. Tudor and Gordon Mumma. Cunningham's other new work, as yet untitled, is a group Subscriptions for the series of five con- dance for the entire company. It is sched- certs range between $13.00 and $26.00 and uled to be premiered on November 10. are available until October 30th. Complete program information is available in the Tickets are available at the box office. lobby. Nr Double Feature The Brooklyn Academy of Music and the Museum of Modern Art join forces to present a double film series, Cinema ers Classics and What's Happening?, at the Academy beginning this month. The Cinema Classics series, which takes c place on Wednesdays, will feature impor- tant films from the archives of the Museum of Modern Art. What's Happening?, sche- duled for Friday evenings, will present cur- rent documentary films that deal with the contemporary social scene in America. Special film memberships, which include admission to both series, may be purchased for $10.00. Student film memberships are available for $5.00. For specific information regarding titles, dates and times, call 783-6700 or see the calendar of events in the lobby. Herakles, the Bourdelle sculpture now in the Main Lobby, arriving at the Academy. It is on loan from The Metropolitan Museum of Art.

Chelsea Opens with "Saved" Granted When Edward The New York State Council on the Bond's Saved opened Arts recently awarded the Brooklyn Aca- at the Royal Court demy of Music a 5250,000 grant to help Theatre before a pri- subsidize the dance festival, orchestra vate audience in Lon- series and special community programs for don in 1965, it was children and senior citizens. The program is banned by the Lord was initiated by Governor Rockefeller and Chamberlain and the enacted by the State Legislature last spring producers were sub- to meet the urgent needs of arts institutions sequently prosecuted. throughout New York State. Alan Schneider Now, five years later, Each of the Academy's resident com- it will have its New panies York - American Ballet Company, premiere on October 28 at the Chelsea Chelsea Theater Center and Merce Cun- Theater Center of Brooklyn in the Aca- demy's ningham and Dance Company received Third Theatre. Previews begin Oc- separate grants from the Council.- tober 20. The play will be directed by Alan Schneider and will be performed Tuesdays through Saturdays at 8:30 p.m. and on Sun- days at 3 p.m. and 7:30 p.m. Tickets for all Community Outreach performances are $2.95, except Friday and Saturday evenings, which are $3.95, The Brooklyn reaches out to the community again with a new limited engagement ends November 8. program designed to strengthen the alliance between business, art and people in the community. Ten Brooklyn businesses Chemical Bank, Manufacturer's Hanover- Trust Company, Kings Lafayette Bank, East New York Sav- Cafe Bows ings Bank, Y & S Candy Corporation, Ex- Lax, Inc., F & M Schaefer Brewing Com- The Cafe Academie is now open for din- pany, Downtown Brooklyn Development ing, offering a menu that includes appe- Committee, Inc. and Abraham & Straus- tizers, sandwiches, desserts and beverages. have purchased subscriptions and have dis- tributed them to their own employees or The Cafe will be open ninety minutes to organizations in the community. Groups before curtain time for evening perform- to which subscriptions have been donated ances. On Saturday and Sunday matinee include the Bedford Stuyvesant Senior Citi- days the Café will be open from 4:30 p.m. zens Council and students at George Win- until curtain time. There will also be inter- gate High School and Long Island Uni- mission service. versity. 111 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 DIRECTORY OF FACILITIES AND SERVICES

Academy Dance Center Transportation Information Classes for ages 6-15 in ballet/modern For bus schedules from Manhattan and in- dance. Please call 783-6700. formation on public transportation, call 857-1575. Bar Buses to BAM A bar serving liquor and soft drinks is Express - Manhattan located in the Academy's Main Lobby. Direct buses for most evening events leave Service is available one hour prior to cur- S.W. corners unless otherwise noted. No tain and during intermissions. reservations necessary. Return: 15 minutes after performance. Fare: $1.25 round trip, Box Office 75 cents return (if available). Schedule for Ticket booth in Main Lobby 8:00 curtain. Buses leave one-half hour Telephone: 783-2434 earlier for 7:30 curtain and one-half hour Hours: later for 8:30 curtain. Monday through Saturday East Side 9 a.m. to 8 p.m. On performance days Lexington Ave. & 86th St. - 6:54 p.m. 9 a.m. to 9 p.m. Lexington Ave. & 72nd St.-6:58 p.m. Sunday performance days Lexington Ave. & 60th St.-7:02 p.m. Lexington Ave. & 42nd p.m. I p.m. to 9 p.m. St.-7:07 Second Ave. & 14th St.-7:17 p.m. Check Room Second Ave. & E. 5th St.-7:20 p.m. Located in the Main Lobby next to the bar Academy of Music arrival-7:40 p.m. Drinking Fountains West Side Located in the restrooms in both the Opera Broadway & 86th St.-6:52 p.m. House and the Music Hall Broadway & 72nd St.-6:56 p.m. Elevators B'way & 58th St. (NM. Corner)-7:00 p.m. 7th Ave. & 42nd St.-7:05 p.m. Two elevators from Main Lobby to Opera 7th Ave. & 14th St. (N.W. Cor.)-7:13 p.m. House Balcony and Third Theater W. 8th St. & Avenue of Americas Information (S.E. Corner)-7:18 p.m. Academy of Music Desk in Main Lobby near front entrance arrival-7:40 p.m. or at box office Transportation Lost and Found SUBWAYS: (All subway stops are located House Manager's Office, Stage Entrance within one block of the Academy) Telephone: Atlantic Avenue Stop 783-6700 IRT (Lex. Ave.) Lounges and Restrooms IRT ( B'way. & 7th Ave.) Opera House IND ("D" and "QJ" Brighton BMT) Ladies, Orchestra and Balcony Levels Pacific Street Stop Men, Mezzanine and Balcony Levels BMT ("B": West End, "N": Sea Beach, Music Hall "RR": 4th Ave. Local) Fulton Street Stop Ladies, Orchestra Level IND ("GO" Train) Men, Balcony Level Lafayette Avenue Stop Public Telephones IND ("A" Train) Main Lobby, Ashland Place Entrance Refreshments Bloomingdale's, Abraham & Straus Available in Main Lobby during intermis- and Ticketron Outlets sions. Please do not bring refreshments into Tickets for the Brooklyn Academy the Auditoriums. of Music's Fall/Winter Festival of Restaurant Dance are available at all Abraham Monday through Saturday evenings open & Straus stores and at Bloomingdale's ninety minutes prior to curtain and during in Manhattan and Hackensack, New intermission. Saturday and Sunday Matinee Jersey. Customers may charge tickets days open from 4:30 p.m. to evening cur- to their accounts. tain and during intermission. Tickets may also be purchased through Ticketron. For Ticketron out- Smoking lets, call (212) 644-4400. In Main Lobby, Lounges & Restrooms only

The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are administered by the Parks, Recreation and Cultural Affairs Adminis- tration, John V. Lindsay, Mayor; August Hecksher, Administrator; Dore Schary, Com- missioner...... 11Ww.aelimmoinmemmemomoosisesesuommei

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