THE BROOKLYN ACADEMY OF MUSIC presents JEAN ERDMAN THEATER OF DANCE Saturday evening, May 9, 1970, 8:30 P.M. JEAN ERDMAN JIMMY GIUFFRE EZRA LADERMAN SAMUEL BARON guest artist, composer guest conductor, composer conductor, f lautist CHAMBER ORCHESTRA FORTUNATO ARICO JEANNE BENJAMIN RAY DES ROCHES JEAN DUPOUY RUTH MAAYAN I SONYA MONOSOFF HENRY SCHUMAN Lighting Design: CAROL V. HOOVER I MARGARET BEALS ELI ZABETH KAGAN RUTH SOLOMON ANDREA STARK AVIVA STERN KELLY HOLT PAUL PLU MADORE THEODORE ROTANTE ROBERT TUCKER BYRON WHEELER JESSICA ALLEN NORA GUTHRIE CLAIRE HASH MICHELLE LEVINE SUSAN MATHEKE KAREN MOORE CAROL TUROFF THE PERILOUS CHAPEL (1949) Choreography: Jean Erdman Music: Lou Harrison Deco~ Carlus Dyer Costumes: Roxanne Marden And I saw a new heaven and a new earth: for the first heaven and the f irst ea rth were passed away; and there was no more sea. - Reve lations 21 AVIVA STERN ANDR EA STARK CLAIRE HAS H ELI ZABETH KAGAN CAROL TUROFF and JEAN ERDMAN Cello ----------------------· --· ·---·---- -- ---------·-------· ________ _ Fortunato Arico Harp --------·------------- --·- ---------- ----------···----·-·- --- --- -- Ruth Maayani Flute ----·-------------- ------- ------ ------ ----------------------- -- -- - Samuel Ba ron Percussion -- ------------ -- ------- ------------ ---------------- -Ray Des Roc hes TWILIGHT WIND (Premiere) Choreography: Jean Erdman Music: Ezra Laderman* Costumes and Decor: Harry Lines RUTH SOLOMON AVIVA STERN JEAN ERDMAN ROBERT TUCKER BYRON WHEELER KELLY HOLT ANDREA STARK ELIZABETH KAGAN PAUL PLUMADORE THEODORE ROTANTE Flute ...................................... .................................... Samuel Baron Oboe ...................................................................... Henry Schuman Violins ................................Jeanne Benjamin, Sonya Monosoff Viola ............................................................................ Jean Dupouy Cello ...................................................................... Fortunato Arico Conductor .............................................................. Ezra Laderman *Published by Oxford University Press FEARFUL SYMMETRY (1957) I Choreography: Jean Erdman Music: Ezra Laderman Decor: Carlus Dyer An allegory in six visions EYE OF FIRE- The Dare-The Net- The Sword-The Rack-BUR NING BR IG HT JEAN ERD MAN Ce llo: Fortunato Arico 1 J INTE RM I SS I O N THE CASTLE (New York Premiere) A collaboration of Jean Erdman and Jimmy Giuffre Costumes and Set: Harry Lines Projections: Carol V. Hoover Built on a binary pattern of contrasting moods, the duets of Miss Erdman and Mr. Giuffre are improvised in performance; the structured group sections having grown from the interaction of dancers, mobile settings, and taped compositions. Moods of the Duets: Joy-Nostalgia, Nerves-Sleep, Machine-Made, "Jazz," Strength-Tenderness, Violence-Love, Peace-Unrest- Peace Jean Erdman Jimmy Giuffre Margaret Bea ls Elizabeth Kagan Ruth Solomon Andrea Stark Aviva Stern Jessica Allen Nora Guthrie Michelle Levine Susan Matheke Karen Moore Paul Plumadore Theodore Rotante Robert Tucker Byron Wheeler Clarinet and Saxophone: Jimmy Giuffre live and on tape This Dance Work Commissioned and first performed for U.C.L.A. Festival. JEAN ERD MAN THEATER OF DANCE REPERTO RY As a choreographer and director Miss Erdman has worked in a great variety of environments, as she says, "always exploring new possibil ities for the dance stage." But, as environment is important, all the pieces on these programs were chosen because they were designed for a spacious, proscenium stage, and, coincidently this selection provides an overview of the span of her repertoire. THE PERILOUS CHAPEL premiered at her N. Y. debut concert was last seen in New York City on this very stage in 1952 when Merce Cunningham, Erick Hawkins, Dona ld McKayle and Miss Erdman were invited to present a showcase concert sampler as the pioneering performa nce that wou ld open the Academy to the dance world of greater New York - a project which has been continued with distinction in recent seasons. COL LA BORATORS AND COMPANY JEAN ERDMAN-began as a dancer. She is val at Va nco uver, B.C.; Honolulu, Hawai i; now dancer, cheoreographer and director­ Tokyo; Los Angeles and Sa n Francisco, for Broadway, off-Broadway and on TV. Cal ifornia; Boulder, Colorado. But she has And she has always been setting prece­ always remained close to the theatre. Early, dents. Originally called "the mistress of she did the choreography for Sartre's THE the so lo dance," she made a solo world FLIES and for Giraudoux's THE ENCH ANT­ tour in 1955- the first by an American ED but, just to indicate the range, she artist (and it may still hold a record). directed the Helen Hayes Touring Company Without fuss or fanfare, she created what in HAM LET, and THE MUNICIPAL WATER was ca lled "total theatre," THE COACH SYSTEM IS NOT TRUSTWORTHY seen off­ WITH THE SIX INSI DES which first won Broadway at the Sullivan Street Playhouse. the Vernon Ri ce and Obie awa rds in the She also did the choreography for VERMA, 1962-63 season, then toured the U.S., the Repertory Theatre of Lincoln Center Europe, Ca nada and Japan, returning to production in the Vivian Beaumont Theatre. New York's East 74th Street Theatre in And, aside from TV productions of her 1967-five years later. She has been artist­ own works, she co-directed with Michael in-residence, creating new works, at arts Howard a television special of Jean Coc­ festivals, including the International Festi- teau's WEDDING ON THE EIFFEL TOWER, originating in Atlanta, Georgia, under the Quartet in Madrid and his Second Sym­ sponsorship of the Atlanta Arts Council. phony, by the RIAS Orchestra in Berlin, Always in the vanguard (and never one to both in 1967. In this country, however, CBS decline an artistic challenge), she has has commissioned several works- among entered into more radica l and advanced them, an oratorio, GALILEO, and AIR RAID, co llaborations than any dancer-choreogra­ a music-drama done with Archibald Mac­ pher you might name. At the Minneapolis Leish. Also with MacLeish, was MAG IC Museum, she improvised dances in spatial PRISON, a dramatic work for actors and relation to sculptural forms for an audi­ orchestra, performed by the Philharmonic ence of architects and sculptors. At the in 1967. The future offers SHADOWS Whitney Museum, at a composer's show­ AMONG US, an opera with libretto by case combining light and sound and dance, Norman Rosten, comm issioned by the New she composed a work for 11 dancers to York City Opera under a grant from the music of Milton Babbitt and a light-com­ Ford Foundation. position by Anthony Martin. As late as last summer, in the Honolulu Festival of Con­ CAROL V. HOOVER- lighting designer and temporary Arts, the collaboration was with production stage manager for the Jean contemporary composers- and produced Erdman Theater of Dance, is also respon­ three world premieres. sible for the projections in THE CASTLE. For over 15 years Miss Hoover has worked JIMMY GIUFFRE-musician, composer, col­ as lighting designer, technical director and laborator and guest-artist in THE CASTLE, stage manager in theatre, opera and the began his international "progress" from dance in America and Europe. After thea­ North Texas University, where he grad u­ tre studies at Vassar and Yale University ated. Early on, he won a Guggenheim School of Drama, she worked for many Fellowship for composition (in 1968). Hard­ off-Broadway and summer theatre com­ ly a jazz buff is now alive who does not panies before going to Chicago to become know of his performances-or his many lighting director for the Lyric Ooera and recordings. He has appeared at Lincoln the Chicago Opera Ballet. In 1962 she re­ Center with the Buffalo Philharmonic Or­ ceived a Fullbright grant to study German chestra and with Woody Herman, Jimmy scenic projection techniques and opera Dorsey, Buddy Rich, Boyd Raeburn and production in Munich and, in 1963, joined Shorty Rogers. He has played not only at the European tour of Jean Erdman's TH E the Newport Festival several times, but also COACH WITH THE SIX INSIDES in Spoleto. at the Museum of Modern Art, The Whitney In the fall, she returned to Munich as Museum and U.C.L.A. He has twice won assistant scenic designer at the Bava rian the Clarinet Award of DOWNBEAT Maga­ State Opera, which she left to rejoin the zine. To add to these, he has toured Europe tour of THE COACH to Japan. Recently, three times with "Jazz at the Philhar­ Miss Hoover has commuted to Europe to monic" and appeared at the Library of serve as technical director, assistant de­ Congress as soloist, playing his own com­ signer (and interpreter!) for German opera positions. productions in Italy at Bologna, Venice and Trieste. Last winter she was projection EZRA LAD ERMAN-composer of the score effects consultant and lighting designer for FEARFUL SYMMETRY and the new for the Opera Company of Boston. TWILIGHT WIND, which he conducts on these performances, has collaborated with HARRY LINES- designer of decor and Jean Erdman on many previous works. It costumes for the new works, earned his all began with DUET FOR FLUTE AND B.S. in Opera Scenic Technique from DANCER. Then came HARLEQUINADE. And Indiana University. Then he came to New once, Miss Erdman presented an entire York, where he worked as assistant to program of their collaborations under the va rious Broadway designers. By 1966, he over-a ll title, DIALOGUE OF DANCE AND was associated with the design staff for MUSIC. More recently, her dance work, the Metropolitan Opera National Company. ENCOUNTER IN THE GROVE, commission­ But, with that fine experience behind him, ed by U.C.L.A. was based on his Three he elected to return to study as a gradu­ Duo3 for Violin and Cello. As with many ate design student in the N.Y.U. School of American composers, many "first oerform­ the Arts. There. he was the designer for ances" happened abroad. A SINGLE VOICE Jean Erdman's SAFARI. As a result of this (for oboe and string quartet) was first collaboration, he was asked to design the heard at Spoleto.