THE BROOKLYN ACADEMY OF MUSIC

presents

JEAN ERDMAN THEATER OF DANCE

Saturday evening, May 9, 1970, 8:30 P.M.

JEAN ERDMAN

JIMMY GIUFFRE 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 on this very stage in 1952 when , 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 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. His Second Quartet was sets and costumes for THE CASTLE and first performed by the Claremont String TWILIGHT WIND.

(I MARGARET BEALS-the Anna Livia Plura­ KELLY HOLT - well-known as a leading belle of Jean Erdman's THE COACH WITH dancer and a favorite with TH E SIX INS IDES in the 1967 return en­ ent husiasts, emerged as a choreographer gagement. Always attracted to the arts of last year in the Summer Dance Series at improvisation, she has worked with several . But he was a gradu­ jazz musicians at such clubs as Steve ate of the Universi ty of Georgia in theatre. Paul's "The Scene" and "The Happy Me­ In recent seasons he has been guest direc­ dium" in Chicago. She was seen last year tor and instructor at many universities with Paul Sanasardo's company and re­ in t he U.S. and Canada. Now on the faculty cently gave a solo series at the Cubiculo. of N.Y.U. School of the Arts, he teaches ELI ZABETH KAGAN - Wellesley College dance and movement for actors. graduate, now with an MFA from New York PAU L PLUMADORE - has danced with I University School of the Arts, has appeared Katherine Litz at Judson Chu rch and the with the Jean Erdman Theater of Dance Brooklyn Academy- also at the Whitney and presented her own choreography at Museum and Cooper Union with the Jean the Cubiculo. As an authorized exponent Erdman Theater of Dance. He has perform­ of Labanotation, she has taught that system ed his own choreography at the Cubiculo, and, this year, is reconstructing the Doris where he will present new works in late Humphrey classic, NEW DANCE. May. ANDREA STARK-danced with the N. Y. THEODORE ROT ANTE-last summer return­ Pro Musica in AN ENTERTAINMENT FOR ed from a tour iwth the National Company ELI ZABETH and, also last season appeared of FIDD LER ON THE ROOF. But, before with Katherine Litz and in DRACULA at that, he had studied dance at N.Y.U. School the Judson Church. (She is a graduate of of the Arts (since 1967) and had performed Bryn Mawr with an MFA from New York with the Jean Erdman company at the University School of the Arts.) Whitney Museum and Cooper Union. AVIVA STERN-seen earlier this year with ROBERT TUCKER-has choreographed for Dan Wagoner, has also appeared with films and "co-choreographed" several Katherine Litz in DRACULA and with the Broadway productions. As dancer, he has Jean Erdman Theater of Dance. (She attend­ appeared frequently on television in the ed the High School of Performing Arts U.S. and Canada. He has danced in the and graduated from New York University companies of Agnes De Mille and John School of the Arts.) Butler and, on Broadway, he will be re­ RUTH SOLOMON-has appeared on and membered as a featured dancer in CAROU­ off-Broadway, on TV, in touring companies SEL, A TOUCH OF VENUS and MISS and summer stock throughout the United LIBERTY. States, Canada, Puerto Rico, Hawaii and BYRON WHEELER-was seen in the Lincoln Japan-in fact, introduced the f irst modern Center reviva l of and dance program in Puerto Rico. East and with the Donald McKayle Dance Company. West do meet in her career. She was He was also guest artist with the Jean choreographer- in - residence for Hawaii's Erdman Theater of Dance at the 1969 East-West Festival of Muic and Art in Honolulu Summer Festival of Contemporary association with and Toru Take­ Arts, where he had the central role created mitzu, guest instructor at the International for him by Miss Erdman in EXCURS ION, a Artists Center, Tokyo; and artist-in-residence work for ten musicians and solo dancer. at Chautauqua 1968-69. For the past four He is a graduate of N.Y.U. School of the years she has taught dance and movement Arts and, this summer, will be assisting for actors at N.Y.U. School of the Arts. in Liverpool, England.

STAFF FOR JEAN ERDMAN THEATER OF DANCE ART ISTI C DIRECTOR: JEAN ERDMAN OFFICE ADM INISTRATOR: MARC IA SHERMAN PRODUCTION STAGE MANAGER: CAROL V. HOOVER Costumes for Changingwoman and Fearful Symmetry executed by Elizabeth Parsons. Assistant to Miss Hoover: Frank Meottel Assistant to Mr. Lines: Frances Snygg JEAN ERDMAN THEATER OF DANCE 110 West 14th Street, New York, N. Y. 10011