Waiting for Godot

Home , Charles Kimbrough, Donald Moffat, Donal McCann, Frank Dunlop (director), Leonard Garment

WAITING FOR GODOT BY SAMUEL BECKETT BAM THE BROOKLYN ACADEMY OF MUSIC The look were Big on this season! Liberate your body with full easy tops sliding over voluminous skirts or narrowed trousers for an exciting new proportion! Layer.on a roomy vest or an uncon- structed blazer for polish in this new relaxed mood in dressing. Al the A&S nearest you.

Abraham and Straus 1975s, 002,67

LEPERCQ SPACE SAM Thursday, May 25, 1978- Sunday, June 18,1978

The BAM Theatre Company with the cooperation of Goethe House, New York

presents Samuel Beckett's Production of WAITING FOR GODOT by Samuel Beckett

with Michael Egan Milo O'Shea Austin Pendeleton Sam Waterston

R.J. Murray,Jr.

directed by Walter D. Asmus

scenery supervised by costumes supervised by lighting supervised by Carole Lee Carroll Dona Granata Shirley Prendergast

This production is based on Samuel Beckett's own direction of Waiting For Godot at the Schiller Theater in Berlin during its 1974-75 season.

BAM Theatre Company Board of Directors: Arne Vennema, Chairman/ Harvey Lichtenstein, President/ Hart ney J. Arthur/ Frank Dunlop/ Rita Hillman/ Berenice Weiler

SAM Theatre Company Productions are made possible in part through a grant from the New York State Council on the Arts. The Brooklyn Academy of Music gratefully acknowledges the support of the National Endowment for the Arts, and the Department of Cultural Affairs of the City of New York. Brownstones THEY DON'T MAKE 'EM LIKE THAT ANYMORE

Why? Because the painstaking With unique classic shapes and forms from craftsmanship involved in a Brownstone rooftops to stoop railings that speak out, structure is virtually a lost art today. But "I'm one of a kind." With spacious interiors not really lost. You can recapture it in the that offer endless possibilities for creating Brownstones of Brooklyn that exist today. your own particular "dream house." Interested? Then let us give you a little background about the place you can visit to find out everything you want to know about owning a Brownstone. In response to the growing back-to-the- city movement that began several years ago, community leaders requested Brooklyn anion to provide a facility where people could obtain information they needed about owning and renovating a Brownstone residence. Hence, the Brownstone Information Center, as part of our 10-year- old Cinderella restoration program that has been spurring the rebirth of Brooklyn, was born in 1975. Itself a restored Brownstone, the center is staffed by community members knowledgeable about current Brownstone availabilities. As a non-profit service, they provide information regarding where and what to look for, how to arrange financing, remodeling techniques, and the positive advantages that make a Brownstone home so conducive to gracious living. So, even if you're just thinking about buying a Brownstone, visit the center for an insight into a rewarding way of life. Start by calling for an appointment today.

The Brownstone Information Center 93 Prospect Place Call Carol Leshner, 643-4293 By appointment only 0 Brooklyn Union Gas Cast for Waiting For Godot Restaurant Charcuterie Catering

11111) (in order of appearance/

Estragon Austin Pendleton AMMM Vladimir Sam Waterston Lunch Lucky Milo O'Shea daily Pozzo Michael Egan and on a boy R.J. Murray, Jr. matinee weekends 12 -2 Synopsis Pretheater dinner Act I 1.) A country road. A tree. Evening. at 6:15 2nd sitting Act ii at 8:45 Next day. Same Time. Same Place. Reservations recommended 624-8852 There will be one fifteen-minute intermission.

178 Atlantic Ave Brook!), N.Y

STANDBYS AND UNDERSTUDIES Standbys and understudies never substitute for listed players unless a specific announcement is made at the time of the performance Understudy for Vladimir, Lucky -George McDaniel, for Estragon, Pozzo -Paul Perri.

Beef Goulash I BAM's Sale Price Mailing List I vs If you're already on the BAM mailing list you know the value of receiving BAM's great Chicken Paprikash sale priced ticket offers. If you're not, why not fill out the blank below and hand it to culinary where I the nearest usher or mail it to SAM from you're home. Once you do, well send you ad- A perpetual controversy Is the fun. Because events, plus special opportunities to save up to 50% on our choosing sides halt vance notification of SAM our Szekely Goulash and Chicken top -priced seats. Paprika,. are prepared with old world loving care. So are the other delightful Name Hungarian specialties on our brimming menu We invite you to drop by for Address lunch or dinner before the show and pick your favorite. CI IY State Zip but here's my new address. I; I I' m already on your mailing list, Old Hungary Cocktails, Luncheon and Dinner daily. Return to, BAM Malting List 30 Lafayette Avenue Montague St. Elk lyn. Hts. 625-1609 Brooklyn. N.Y 11217 142 IIIIIIMMI Beckett directs G o d o t . . . M11111W7 by Walter D. Asmus (Translated by Ria Julian) BAR AND RESTAURANT

Beckett is coming to Berlin to direct everybody, even if only taking part in- Open Daily Waiting for Godot. He is no stranger at the directly, is willing to help and clear them Schiller Theatre: after Endgame, Krapp's up. This atmosphere of constant, con- 11.30 am to 1:00 am Last Tape and Happy Days, this is his centrated alertness, and the pleasure in SUNDAY BRUNCH fourth visit as a director. He also took part following up processes, in which each in- in the rehearsals of Godot in 1965, and dividual might not always be directly in- Eggs Benedict, it was then that he met the actors Bollman, volved, is a further result of the iunauthor- Bloody Mary, 0.1 Wiger and Herm. Bollman and he had also itarian' working relationship. Coffee, $3.50 worked together on Endgame. The rehearsals are carried out in a Rehearsal conditions are ideal from rather conventional way: after a relatively 'HAPPY HOUR' 28 December to 8 March, mornings only, fast read-through of the script, the de- Monday thru Friday mostly on stage. Everybody taking part tailed work follows with increasing in- in the production brings enormous is 5 PM -7 PM sym- tensity. Content not being discussed, pathy and respect towards Beckett-to only necessary) situations are cleared All Drinks $1.00 (if such an extent that this will be inevitably, up, and with that explanations about the at the Bar Only though not obtrusively, reflected in the characters given. The great precision of working process. But he is not only re the work and the striving to keep the form Come to Minsky's for fine dining in spected as an authority, as a competent as tight as possible are fascinating in comfortable surroundings. interpreter of his own script; more than themselves. So the necessity to investi- that the working relationship with him gate the content of the play is being Now at two convenient locations: is characterized by caution, attention, pushed to the background for the time concessions and openness-criteria for at- being (which, of course, has also got some- 222 Seventh Ave. Park Slope titudes to set free like behavior in those thing to do with Beckett's well -known Brooklyn, N.Y. Tel. 499-2311 working with him. On this basis, every- aversion to 'explaining' his play). body tries to strengthen the 163 Remsen St. Brooklyn Heights tacit mutual Beckett subjects his own script trust, and to do their job with the highest Tel. 643-1444 constantly to critical control, in the most possible degree of understanding and ap- amazing and sympathetic way. He is also preciation towards Beckett. As the weeks open to suggestions any time, and he even go by, there is a strong and at the same asks for them. He aims for the best pos. time a very vivid and dynamic structure sible interpretation of his script. to the group, interchangable relationships Should uncertainty occur, ne 6 evolving. ready with a new suggestion the next day, Beckett's immaculate German is always precise and thought -through-even characterized by a typical idiomatic ex- if it does not always work immediately. actness which seems to influence the tone So it happens that before the second full of all taking part. The language gains gen- rehearsal, there is a two-page cut to be Our Maestro erally a slight over-emphasis, expressive discussed, because the scenic transfor-i of care and consciousness. As a result of mation remained unsatisfactory. The v. is in the this linguistic precision, most misunder- high degree of consciousness and self- standings are resolved from the beginning. control does not strike the actors as ma- The every-day colloquial tone ensures a king them performing animals-indeed, Kitchen strange, unauthoritarian accent, unusual they consciously accept it, intensify it, in the theatre. and build on it. ,Imax Should misunderstandings still a- rise, if only through chance mis-hearings, Wale t ss

A maestro is a master of art. And at Cafe Patisserie the art is in the cook- The very famous restaurant in Brooklyn. ing. Each dish is virtuoso Perform. once. Enjoy our savory, homemade Before curtain at the Brooklyn Academy of Music. soups and salads,unusual sandwiches, French Quiches and our speciality - The season at the Brooklyn Academy of Music is in full swing tempting array of palate pleasing crepes. The master conf helot of Before curtain, let us make you welcome in the style Eclair have created pastries which that's made us a New York tradition for nearly a will surely inspire an encore (or two century. Dine by soft gaslight on your choice of more or three!). Complement the *aped. ence with expresso or cappuccino: than 100 savory dishes on our menu, each cooked the perfect ending to a memorable strictly to order. Then be off to your seats in plenty of indulgence. time. It's how we came to fame. Minimax is only a few minutes from BAM. 174 Montague Street in his- toric Brooklyn Heights. GAGE&TOLLNER Seafood & Steak House Mon-Thun gam -11orn/Fri-Sat Sam- Brooklyn's Landmark (Est. 1879) 12pm/Sun 9arn-10pm 372 Fulton Street (between Born Hall and BAM). Open daily except Sunday. 11:30 AM-9,00 PM Mon. thru Fri. 4 00PM-11 00 PM Sat. For reservations call 875-5181. Amex, Di ners, Visa and Mastercharge. 71.11FIEN

On the play and the characters ...

Vladimir is going to wear striped trou- dsts on an exact, rhythmical rendering The play should be done very sers which fit him, with a black jacket, and reads each syllable with him, under. simply, without long passages. To give which is too small for him: the jacket be- lining it with gestures. confusion shape, he says, a shape through longed originally to Estragon. Estragon on The actor carries on reading. repetition, repetition of themes. Not only the other hand, wears black trousers which Beckett stops him again, and starts themes in the script, but also themes of fit him, with a striped jacket which is reading the lines together with the actor: the body. When at the beginning Estragon too big for him: it originally belonged to . . that man in short, that man in brief is asleep leaning on the stone, that is a Vladimir. In act two, Vladimir is going to in spite of the strides of alimentation and theme that repeats itself a few times. wear a striped jacket and black trousers defecation is seen to waste and pine ...' There are fixed points of waiting, where and Estragon a black jacket and striped He stresses the word mensch (man) everything stands completely still, where trousers. Similarly, Lucky's shoes are the making the 'sch' into a long, hissing sound. silence threatens to swallow everything same color as Peace's hat, his checked "Dwindle": that is the climax,' he says. up. Then the action starts again. waistcoat matches Pozzo's checked trou- In the next section 'the earth abode An actor: But in spite of every- sers, as his trousers do Pozzo's jacket. of stones' is the most important, Beckett thing, it is at odd moments quite a cheer- About Estragon and Vladimir, points out. The earth is good only for ful game.' Beckett says: 'Estragon is on the ground, stones. Beckett: 'Yes, of course, but he belongs to the stone. Vladimir is Actor: 'I have looked them up, that should be done very accurately. The oriented towards the sky. He belongs to the names you use. Petermann was a cart- splitting up of Vladimir and Estragon is the tree.' ographer.' such a point: they are, in fact, inseparable.' about stones, a rubber band, Pozzo's tone of voice towards Beckett: 'It is all An actor: 'Like about the world of stones.' they come together time after time.' Lucky is sharp and forceful, while he is exists.' 'The principle is: they nice and amiable towards Vladimir and Actor: 'Petermann Beckett: of that,' says together step by step.' Estragon. Beckett makes it clear that he 'I haven't thought have to come Beckett. 'And Steinwig, the name means Beckett walks on stage, his eyes does not want Pozzo to be interpreted as nothing.' fixed on the ground, and shows the move- a boss-man, but all the figures should be Actor: 'Belcher, that one was a he speaks Estragon's lines: 'You equal; they are all in the some boat. ment as navigator had something to say to me? Pozzo is dressed in rags in a similar way ....' Beckett interrupts him excited . . You're angry? ... Forgive me as the others are. He plays the big gentle- and with delight: `No, Belcher, that is . ... Come, Didi. Give me your hand ....' man, the generous man because he is in- the opposite of Fartoy, English to fart. With each sentence, Becket makes secure. His short monologue about the And Belcher, to belch.' With one blow a step towards the imaginary partner. sky is a "number" to lead Vladimir and the mysticism about Beckettian names Beckett calls this a step-by-step approach, Estragon's attention to him; he does not is destroyed. a physical theme, which comes up five, want to lose their company. Beckett once again returns to the six or seven times, and has got to be done Beckett starts to talk about Lucky's ideas he thinks most important. He scans accurately. This is the the balletic side of monologue. It is not as difficult as it 'to shrink and dwindle,' making a pro- the story. Lucky falls twice, and this may seem, he says. We are going to divide phetic and threating gesture with his musn't be done realistically either, but it into three parts and the second part finger. 'To shrink and dwindle . ..' will very cleanly. is going to be divided again into two sec- cause bewilderment for the public: but at An actor: 'Does that mean that tions. The first part is about the indiffer- this point everything will be absolutely there is no naturalism left whatsoever?' ence of heaven, about divine apathy. This clear-for Lucky. Lucky's thinking isn't Beckett demonstrates: he goes part ends with, 'but not so fast ...' The as good as it used to be: 'He even used to down on his knees and, his arms first up- second part starts off with 'considering think prettily once .. .' says Pozzo. The wards then stretching forwards, lets him- what is more,' and is about man, who actor could play it that way, watching self slide on the ground. wastes and pines and furthermore fades Pozzo from time to time. And the two An actor: 'But how can one pre- away. These two points represent the two others, too. He is not talking simply to vent the loss of all human consideration, under-sections of the second part. The himself, he is not completely on his own, how can one prevent it from becoming theme of the third part is 'the earth abode says Beckett. sterile?' of stones' and starts with 'considering Actor: 'But he kind of refuses Beckett: 'It is a game, everything what is more, much more grave.' Beckett first, he doesn't like the idea of think- is a game. When all four of them are ly- is very concerned to be exact in his ex- ing...' ing on the ground, that cannot be handled planations and repeats certain ideas, un- Beckett: 'He would like to amuse naturalistically. That has got to be done derlining them with short gestures. Pozzo. Pozzo would like to get rid of artificially, halletically. Otherwise every- The actor would like to know, him, but he finds Lucky touching, he thing becomes an imitation of reality.' how should he deal with the end of the might keep him. Lucky would like to be An actor: 'Are you implying dry- monologue. Beckett explains that the dif- successful. ness?' ferent elements, belonging to the first Actor: He gives Estragon once, a Beckett stands up: 'It should be- three sections, are returning here, at the long look. What do you mean to say with come clear and transparent, not dry. It is end. He compares these with a cadence this long look? a game in order to survive.' in music: The threads and themes are be- Beckett: It's a kind of look you ing gathered together. The monologue's can't explain in a few words. There is a Beckett continues to make associations theme is: to shrink on an impossible lot in that look. Lucky wants the piece with the play, he is very concerned to earth under an indifferent heaven. of bone, of course. Estragon, too. That is find clues and to share them with the He starts to read. Beckett stops a confrontation, a meeting of two very others. him, to undertake some alterations in poor people. Beckett: "'Relaxation" is a word the script. Instead of on der anthropo Recognizing the other one's situ- of Estragon's. It is his dream, to be able pometrischen Akakakakademie, it should ation, that is very important-but also to keep calm. Vladimir is more animated. read von der Akakakakademie der Anthro some pride, that he is free to dispose of 'Jupiter's son' is wrong: Atlas was not popopometrie (as it stands originally in the bones, as opposed to Estragon. But Jupiter's, but Japethos' son ...' the English version). The alteration is in the shin should be interpreted as Wigger: And no one noticed this He re fact that Estragon purely for rhythmical reasons. Lucky's revenge for the continue... peats the line several times. Beckett in- took the bone. ------

el l' 74. .3, 54.5 h 5.5t,

1555 atianie cr/..* /...,..., A.... eeerem-.r..0] At rs ;iv V get -, re Sereeft w.f. Am ..e-2-- 11:111110:1=3 eon Roy -ea.. ..,.. - +,.._ RESTAURANT ..1...1 la £ iLokssion. CATERERS /BAKERS Pinindin, mass "=1, eb3.3 =h 27ew..t.pwwet - 9 s' v. held I. erg -,:y BREAKFAST SPECIALS t'72r.larei:' v.,,vjege COMPLETE LUNCHEONS *. .4-44 4...... 04 - Ay...... awl Feetkw.y4A. 5 ,,/7 P 9 W 2.-h Auk- OUR FAMOUS SANDWICHES n beelen3P- k Ap.0 AhnhAnA pis; sitspre.kinem FULL COURSE DINNERS A222.2. LATE SUPPER SNACKS .ar/t. Vin i.4 . ,non, An SUNDAY BRUNCH 1.222,4 InWe . .e,t 6 t, vis Yu sew...-. - ondo.or - A Me« L.a. Mer Wee, & DINNER M",ab, mi."3"0", '16 44 61 In, n, V iakm^ Ktsund13.- I OPEN DAILY & SUN from 6:30 AM kl 30 AM; enesadia sedninis. w Vie g 4.11er uad was FRI to 3 AM, SAT to 4 AM haws. tvI hnot co Avo "eimee anee ann... ^ tqa 3 fa PPM Eifd fRicisb°1^'^^4....., . ans." - imam, All Pdp.asafd 'Reim.iM - nanna3dfensiddedieasi Baking An nude., ed bs.s. .6411..se hti . as PIE fa. SA,5 - Ay rt. /MUSA OUR BURGUNDY PBSigeda 1.teent teneet BANQUET ROOM Available for Private Parties for up to 200 CALL Two sieges of the manuscript of Beckett's directing book. 852.5257 In all these years!' (Much laughter.) The second part of the book is Ratbush Ave Ed Beckett does not like to speak classified by themes: Lucky's movements Cle If30 abe . BYryn a MEMBER. Diners Club, generally about the play. We undertake Estragon's feet; Estrogen's sleep; the whip. ernaa Eafsass discussion of the play, dividing it into Vladimir, Estragon and the tree; examina are tion of location (with sketches); doubt- ONLY 3 BLOCKS different parts. In the first act, there confusions; come, let's go; help; what did FROM BAM six parts, in the second there are five. They are going to be called Al to A6 and I just say; heaven; sleep; to remember; B1 to B5. Everybody makes the divisions step-by-step approach. in their scripts. The waiting points (which Added to each of the thematic are not necessarily in accordance with the cues are the relevant lines or situations; or divisions of the script) are also fixed. (as in the case of Lucky's monologue) Right at the very beginning, there descriptions or explanations concerning You're Surrounded! is an alteration. Estragon is sitting on the meaning. Both parts are diagonally con- stone. Vladimir is standing in the shade nected, too: in the second, thematic part, near the tree, hard to see. Here is the first there are references as to where to find by Boerurn Hill and Fort Greene, waiting point. This is quite an important the relevant lines of the first part, and affordable elegance, convenience, alteration, that both characters are on vice -versa. community, tranquility. Antique stage right from the beginning-as also Beckett compiled this regie-book zing. Come explore with at the beginning of the second act. The before he came to Berlin. It has got to be stage direction in script still says: 'Extra. understood as his attempt to give a scenic yr". con, sitting on a low mound, is trying to outline-a structure-to a play that has take off his boot . . . Enter Vladimir.' been regarded by him as not visualized.' Vladimir approaches step-by-step from be- This is surmising: reading the scriot it hind the tree, which stands at the back of appears to be a non plus ultra of exact- the stage to the right. Estragon is sitting ness and form. 102 Hoyt Street, near Atlantic on the stone in the front to the left. Vla- When Beckett made the attempt- 875-5650 dimir is constantly in motion, Estragon sitting at his desk-to visualize his play, sticks to his stone. he knew of course why he always left the left-hand page in the regie-book blank. The practice on the stage during The Regie Book the rehearsals led-even if only occasion- In a red hardbound volume of checked ally-to corrections. Without these addi- tearlded jib jet:BU paper, a book has been created about lions (in red) the retie -book would be no 566 Atlantic Ave. another book: a meta-book. Written in longer complete. The classification by (L. Fine, quick pre-theatre dinner * black ink in English in 105 pages, there themes reveals the structure of the pro- Jun few leaps from BAM are detailed directions concerning the duction: although under each heading Tel. 852-1707 whole play. there is an enumeration of all the places Reservations Recommended Pages 2 to 53 contain the scenic where the theme comes up, it cannot be There 's new `lament restaurant in arrangements. The right hand page is regarded as a mere catalogue. For-and i Brooklyn. for which Allah be prated mostly used for a written description, this can be followed through in the dia- JttuOtke., Magee/at while the left hand page is used for sketch- gonal connections-in the blocking and in es or is left blank for corrections or the construction of the dialogues there is Mideast Cuisine With A French Accent additional notes. The divisions follow a structure of repetitions, variations, Fast theatre specials include: fine Moroccan those of parts Al to A6 in the first act, similarities, parallels, of echoes and ac- Couscous, Nine Lamb or Chicken, sump and parts B1 to B5 in the second. Each cumulated references, and these are re- lent Shish Kebob and Veal Cordon Bleu. move, each section, is provided with the alized in the production as concrete relevant cue of the German script, under. structure and form. lined each time. de. oe ...... weewerwea1

About the artists ...

Michael Egan (Retool made his Broadway Avenue, for which he received international Sam Waterston (Vladimir) was last seen on debut with the Lunts in The Great Sebastian. acclaim. stage in the Manhattan Theatre Club's produc- He spent the next seven years directing in sum- Milo O'Shea has had a number of plays tion of Peter Nichol's play Cher Nous. His mer stock and studying with Uta Hagen. He re- especially written for him for British television, Broadway credits include Halfway Up the turned to acting. Playing the Pope In Luther, including Harold Pinter's Night School, John Tree, Oh Dad, Poor Dad, Indians, Hay Fever, Cromwell in A Man For All Seasons with Charl- OToole's The Moment of Milo, Hugh Leonard's and the Trial of the Catonsville Nine. His many ton Heston in Chicago, Los Angeles and Florida, Me Mammy, which was later turned into a BBC off -Broadway performances Include the Obie and was in the national company of Royal Hunt Television series. It ran for three seasons and winnersn La Tuns. The Red Cross, and Wreck*. of the Sun. He first ventured into musical com- was so successful that it was followed by a new Mr. Waterston has appeared M numerous N.Y. edy playing King Pellinore M Camelot. Mr. Egan series, Tales From the Lacy Age, in which Milo Shakespeare Festival Productions: Hamlet, Tor- spent a season at the Vivian Beaumont playing played a different character each week. More veld in A Doll's House opposite Liv Ullman: a prototype of Falstaff in William Gibson's A recently, he has worked for BBC television in Prince Hal in Henry IV; Prospero in the Tempest; Cry of Players. In regional theatre, he has played The Microbe Hunters drama series. the Duke M John Paquin's production of Meas- Sir Toby Belch in Twelfth Night and Claudius His appearances on American television ure for Measure; and Benedict in Much Ado in Hamlet, and in 1971 coauthored and directed include O.B. VII, And No One Could Save Her, About Nothing which he played on Broadway a one-man play, Frederick Douglass.- An Evening Silent Song (which won the Italia Award), and and M the television special. For Much Ado, he in Mernorium and in Homage to Our Black The Best of Families for PBS television. wo n an Obie Award, and a Drama Desk Award. Nigger Father. In 1972.73, he played Birdboot, Mr. O'Shea is married to the actress Mr. Waterston received much acclaim for his the critic, in Tom Stoppard's The Real Inspec- Kitty Sullivan. performance as Nick in The Great Gatsby and tor Hound, e role which he subsequently played that same year he received an Emmy nomination at the Kennedy Center and on a national tour for his performance as Tom in the television in a production starring Robert Vaughn. After Austin Pendleton (Eetragon) has appeared production of The Glass Menagerie. His other a season at the Cherry Lane Theater in the with the BAM Theatre Company as Tusenbach films include Rancho Deluxe, All American David Memet Obie winning Play, Duck Veda- in The Three Sisters, as Albert Adam in The Girl, and three films which will be released tions. Mr. Egan directed another one-man show Play's The Thing and Marc Antony in Julius shortly, Capricorn One, The Eagle's Wing, and starring Robert Lansing as John L. Lewis Caesar. Last year he devoted his work to plays a new Woody Allen film. which is now playing in Washington, D.C. Mr. by Arthur Miller, playing Adam in Up From Egan recently completed In Search of Douglass, Paradise, the new Miller Stanley Silverman mu- an educational film which he wrote and direc- sical comedy based on the Book of Genesis, R.J. Murray Jr. (a boy) 9 year old R.J. ted and which was given a grant by the National and directing After the Fall at the Williamstown Murray Jr. is making his stage debut in Waiting Endowment for the Arts. Movie-goers have seen Festival, the theatre where he started as both an For Boast. He is certainly no show business him recently in Next Stop, Greenwich Village. actor and as a director and has worked nearly novice, however, as he has been seen in dozens every summer for 20 years. Mr. Pendleton's of television commercials. When not acting, you New York debut was in Oh Dad, Poor Dad. He will probably find R.J. on the lacrosse or hock- has since appeared in among others: Fiddler On ey field or playing ice -hockey. Milo O'Shea (Lucky) Parted his career as a boy actor in his native Dublin, playing such The Roof, The Last Sweet Days of Isaac, The parts as Oliver in Oliver Twist. Emile in Emile Sorrows of Frederick and Mike Nichols' revival Samuel Beckett was born in Dublin in and the Detectives, Ptolemy in Caesar and Cleo- of The Little Foxes. His films include The Front Page, What's Up Doc, Catch 22 and Skidoo. He 1906. He were to Portora Royal School at Pere. At the age of 17 he toured with Louis Enniskillen, County Fermanagh (Oscar Wilde's Dalton, then manager of the Abbey Theatre has directed in New York The Runner Stumbles, Benito Ceuta°. Shelter and Edna O'Brien's school), and to Trinity College, Dublin, from Company, as juvenile lead. This led to a contract which he graduated in 1927 with a B.A. in with the MacLiammoir/Edwards Productions The Gathering. He has acted and directed in theatres across the country including the Ken- French and Italian. From 1928 to 1930 he was and his introduction to the international clas- nedy Center, the Long Wharf, the Hartman The- in Paris at the Ecole Normale Superieure as sics: Chekhov, Ibsen, Synge, Shaw, Marge. atre (where last season he played Tontine). Lecteur d'Anglais, and his first book, Whom Shakespeare, Sheridan, Goldsmith, etc. After scope, a long poem, was printed there in 1930 three years with the Gate Theatre, Milo was ACT, the Cincinnati Playhouse, The Manhattan Theatre Club. and the Academy Festival The- by the Hours Press (this press was directed by offered a part opposite Dame Sybil Thorndyke atre in Chicago where last season he directed Nancy Cunard). The following year he re- in Treasure Hunt, directed by Sir John Gielgud College as in French a multi-prizewinning of Misalliance turned to Trinity lecturer at the Apollo Theatre in London. Over the production with Irene Worth and Lynn Redgrave. Mr. and took his M.A.; at that time his study of years, Mr. O'Shea has appeared in many West was Pendleton has won four acting awards and Proust published by Chatto and Windus. In End productions, including Moliere's School 1932 he resigned his post as lecturer and spent teaches acting at the FIB Studio in New York. For Wives, Synge's The Heart's a Wonder, the next four years in London, France and Ferenc Molnar's The Wolf, and in the musicals Germany, traveling about the continent, and Once Upon Mattress, Glory Be, Hans Ander. writing. The book on Proust was followed by a ran at the London Caladium. collection of short stories, More Pricks than Mr. O'Shea first appeared in New York Kicks. also published by Chatto and Windus, in the Broadway production of Staircase, for which he received a Tony nomination_ He co- continued.. . starred with Angela Lansbury in the musical Dear World. and has appeared with Ruth Gordon and Lynn Redgrave in Mn. Warren's Profession at the Vivian Beaumont Theatre. He most re- (4) cretin appeared in the starring role of Eddie THE ONLY THREE CROWN RESTAURANT (I'D Waters in the hit production of Trevor Griffith's BREUCKELEN Comedians, directed by Mike Nichols, for which IN he received great acclaim, and in Eugene O'- Neill's A Touch of the Poet, opposite Jason ESTABLISHED tress Robards, Jr. and Geraldine Fitzgerald. FINE ITALIAN CUISINE kg tt V VW His film appearances are numerous: as Leopold Bloom in Ulysses. Friar Laurence In Romeo and Juliet, Zero in The Adding Machine, In Myra Waldo's Restaurant Guide for New York On Durand Durand in Barbarella, Mr. McLeavy in Loot, the Doctor in The Angel Lowe. the Five minutes from B.A.M. by car, taxi, #37 bus. Open Rabbi in Hebrew Lesson, the Defense Attorney noon to 12 AM Sun. thru Thurs. Friday & Sat. noon to in Sacco and Vanzetti, and in Theatre of Blood, 3 AM with music for dancing. Free valet parking. This Other Eden, It's Two Foot Six Inch Above the Ground World and The Biggest Dog in the World, among others. MONTE'S VENETIAN ROOM Recently, Mr. O'Shea starred in the 457 CARROLL ST., BROOKLYN (212)624-8984 Ici) European premieres of Neil Simon's two plays Cif/ The Sunshine Boys and The Prisoner of Second ... continued and some poems, Echo's Bones, published by the Europa Press, London. In 1937 he settled definitely in Paris but was still writing in Eng. lish; Routledge printed Murphy, a novel, in 1938. During the war he lived in Paris until 1942 and translated Murphy into French. From PAST PRODUCTIONS OF WAITING FOR GODOT 1942 to 1944 he was in the Mack. (Un- occupied Zone) and there finished his last work in English, Watt, a novel, published by Collec- tion Merlin in 1953. In 1945.46 he worked as a storekeeper and interpreter with the Irish Red CAST YEAR THEATRE DIRECTOR Cross Hospital at St. Lo. When he went back to of Murphy 1953 Theatre Babylon.. Paris Paris in 1947, the French translation (performed in French) was published by Editions Bordas, and since then there have followed four more works in 1953 Schloss-Park Theater, Berlin Karl-Heinz Stroux his adopted language, all published by Les (first German production) Editions de Minuit: the trilogy of novels, L'In- 1955 Hedgerow Theatre Peter Hall Peter Woodthorpe; Molloy (19511, Malone Meurt 119521, London, England Paul Daneman nommable (1953); and the play Waiting for Godot. His trilogy has been translated into Peter Hall Peter Woodthorpe: 1955 Criterion Theatre English and is published in America by Grove Hugh Burden London, England Press. The play, which ran over three hundred 1956 Cocoanut Grove Playhouse Alan Schneider Bert Lahr, Tom Ewell performances in Paris, has toured all over Miami, Florida Europe, and has been widely performed in the United States. Since Waiting for Godot. Beckett Theatre Alan Schneider Bert Lahr; E.G. Marshall 1956 John Golden has written a umber of stage plays as well as Alvin Epstein, Kurt Kaszner New York radio and TV n plays, including Endgame and 1957 Ethel Barrymore Theatre Herbert Berghof Manes Moreland; Krapp's Last Tape, Eh Joe, Play, Come and Go, Earl Hyman Film, Happy Days, Not I, All That Fall, Acts Without Words, and But the Clouds (for tele- 1960 San Francisco Actors Herbert Blau Eugene Roche; vision). Robert Symonds Workshop-Warner LeRoy Samuel Beckett has gradually come 1960 Charles Playhouse Artistic Director Micky Deems; Nick Favian to be recognized as one of the most important Boston, Mass. Michael Murray Dan Morgan; Lewis Negin writers of the twentieth century. His view of its and of mankind, couched p a style that is a Ettiene Bistro; 1960/61 Theatre de France Aldo Bruzzichelli/ model of lean elegance, has had an influence on Jean Marie Serreau Lucien Raimbourg (performed in French) contemporary literature as powerful as that of 1961 Actors Theatre/TV Produc- Charles Dubin Burgess Joyce, Proust, Kafka, and Pound. In 1969 a tion, Los Angeles Zero 117eledith' on the award of the Nobel Prize Mr. Beckett, Dr. Karl Gierow of Roger Jerome; in Literature to 1962 Nottingham Playhouse Adrian Brine the Swedish Academy said: "In the realms of Simon Carter annihilation, the writing of Samuel Beckett 1964 Royal Court Theatre Anthony Page Alfred Lynch; rises like a miserere from all mankind, its London Nicol Williamson muffled minor key sounding liberation to the and comfort to those in need." Horst Bollmann; oppressed 1965 Schiller Theatre Mr. Beckett still lives in France, in German) Stefan Wiper (performed dividing his time between Paris and a country 1967 Barbazon Plaza Theatre Rene Lesage Jean Bodies; Rene Lesage retreat in the Marne district. Le Treteau of Paris 1967/68 Milwaukee Repertory Eugene Lesser Michael Tucker; Walter D. Asmus (Director) was born in Theatre Charles Kimbrough Luebeck in Northern Germany and was brought 1968 Francis E. Drury Theatre Stuart Vaughan Richard Oberlin; up near Hamburg. He studied German, English Cleveland, Ohio Jonathan Both and Drama at the Universities of Hamburg. Vienna. and Freiburg. 1968 Stratford, Ontario William Hutt Eric Donkin: He started directing with a student Thomas Sept. Powys drama group. In 1972, a friend and he took 1969 Abbey Theatre Sean Cutter Donal McCann; over cana small repertory theatre in the South of London Peter O'Toole Germany near Stuttgart. The plays he directed include Rosencrantz end Guildenstem Are 1971 Sheridan Square Playhouse Alan Schneider Dead, The Caretaker, Next Time I'll Sing To Henderson Forsythe You, Saved, Brecht's Man Equals Man and The Fear and Misery of the Third Reich, 1971 Abbey Theatre Frederick Monnoyer Jerry's Ubu Roi, and Strindberg's Miss Julie. Peter O'Toole In 1974 he joined the Schiller Theatre 1971 Sheridan Square Theatre Warren Pincus; Tom Ewell in Berlin. There he directed the first German New York production of Kennedy's Children as well as the world premieres of two plays by a young 1973 Guthrie Theatre Eugene Lyon Bernard Behrens; German and French playwright. He worked as Gates Minneapolis, Minn. Larry Beckett's associate on the highly acclaimed production of Waiting For Godot at the Schiller Samuel Beckett Horst Bollmann, 1974/75 Schiller Theatre Theatre as well as on the productions of Foot- Berlin, Germany Stefan Winger falls, That Time, and a television production (performed in German) called Shadows which Beckett did at Stuttgart 1975/76 Schiller Theatre Company last year. He also toured with the Godot pro- World Tour duction and did the television adaptation of it. He has done publications for pert 1976 Oxford Playhouse Patrick McGee John cals on Stoppard, Bond, and Beckett as well as London, England Henry Woolf dramaturgical work for the Schiller Theatre. He is now working as a free lance director. His 1977 Actors Theatre (TV) Dana Blear Ralph Waite; Donald Moffat latest was Days as Los Angeles production Happy the Bristol Music Center's Theatre in Copenhagen where he will direct Endgame in August. Besides that, he runs projects at the Hochschule FUr Musk and Theater in Hanover where at present he is pre- Presented for the Berlin Now Festival in German at the Brooklyn Academy of Music in cooperation Paring a joint production of Barbarians by the with Goethe House, New York. English playwright Barry Keefe with the State Theatre of Kassel. Later this year he will work with Beck- eft again at the Schiller Theatre directing Come and Go for a double bill with Play directed by Beckett. He will also direct the world premiere The BAM Theatre Company of two plays of Beckett's from 1960.

Frank Bayer (Production Stage Manager) worked with Mr. Dunlop last season for the BAM Theatre Company's first season of productions and for Joseph. Mr. Bayer has also worked with Mr. Dunlop as production stage Director of the Company Frank Dunlop manager for Sherlock Holmes and Habeas Corpus on Broadway, and this season's produc Administrative Director Berenice Weiler tion of Joseph and The Play's The Thing. In addition, he has worked at the Actors Work- shop of San Francisco and the Repertory The- For Waiting For Godot atre of Lincoln Center. General Manager Berenice Weiler Production Stage Manager Frank Bayer Barbara-Mae Phillips (Stage Manager) has Stage stage managed on Broadway for the revival of Manager Barbara-Mae Phillips A Streetcar Named Desire, All Over Town, Sher- Hair Stylist Karol Coeyman lock Holmes, and was Production Stage Mana- Asst. to General Manager Vivien Niwes ger for the BAM Theatre Company production Asst. to Mr. Dunlop Gillian Marshall of Julius Caesar. Previously she worked at the Repertory Theatre of Lincoln Center. Production Asst. William Campbell

Frank Dunlop (Director of the Company) Credits was born in Leeds, brought up in Leicester- shire, and took an Honors Degree in English at Scenery by Metro Scenery Studios, Inc. and Nolan Scenery Studios, Inc.; Costumes by Brooks-Van University College, London. He then studied at Horn, Inc.: Wig by Bob Kelly,: Lorgnette by Murray Hill Opticians. the Shakespeare Institute (where he is now one of the two Honorary Fellows) and at the Old Vic School, London, with Michael St. Denis. Mr. Dunlop was Associate Director and Administra- BAM tive Director of the British National Theatre Theatre Company Donors and directed five plays at the Old Vic: Brecht's Edward II, Maugham's Home and Beauty, John Sputling's MacCrune's Guevara, Webster's The White Devil, and Carl Zuck rnayer's The Captain of Kopenick, adapted by John Morton. er. In London's West End, he directed two Shaw plays, Too True to be Good and Getting Mar- ried, as well as Son of Oblornov. For the Edit The BAM Theatre Company gratefully ac- Contributors burgh Festival, he directed The Winter's Tale and A Midsummer Night's Dream. Among his knowledges the faith and backing of the ($1,000 - 2,499) productions abroad, Mr. Dunlop has directed following who helped support its Inaugral Anthony Anastasio Foundation, Inc. Pentacle.. Anthony and and Cleopatra, season: Harold Diamond & Company Pericles for the Belgian National Theatre. In 1969, Mr. Dunlop founded the Young Vic. Benefactors Henry L. Goldberg Foundation His productions Lucille Lortel there have included Scapino, ($5,000 and more) The Taming of the Shrew, The Comedy of Er- Associate Contributors rors. Genet's The Maids and Deathwatch, Much Alex Hillman Family Foundation Ado About Nothing, Macbeth and Anthony Helena Rubinstein Foundation, Inc. MOO - 999) and Cleopatra. His American Broadway credits Ame Vennerna Sydelle Berman Include Scapino, Sherlock Holmes and Habeas Harvey & Beverly Karp Foundation, Inc. Corpus Last year, as Director of the BAM Patrons Leo Model Theatre Company, Mr. Dunlop directed The ($2,500 - 4,999) New York Idea and Pre rarer Sisters, and this William Morris Agency, Inc. year. The Devil's Disciple, The Play's The Thing, Janice H. Levin Harold L. Schiff and Julius Caesar. Transart Productions, Inc. William C. Whitney Foundation Berenice Weiler (Administrative Director) has worked in all media. She was Managing Pro- ducer of the American Shakespeare Theatre for thirteen years and in 1976.77 was producer of the Srnithyille Theatre in Smithville, New Jer- sey. for the American Broadcasting Companies, Inc, She has also served as Associate Producer of such varied shows for television as Our Amen lean Heritage and 196 Sid Caesar Shows. Ms. Weiler served M the same capacity for the BAM Romanticism lives! That image of what Damon Runyon's "Big Apple" was Theatre Company's initial season and was Gen- and what Brooklyn Heights should be The best views of Lower Manhattan eral Manager for Joseph and the Amazing Tech- from our Promenade with its Dionysian seduction to stroll leisurely. One restaurant, nicolor °rearmost The Devil's Disciple, The Henry's reflects all Play's The Thing, and Julius Caesar. End, that A wonderful place to share with friends.F reshsoups, entrees sandwiches,anddesserts created to sooth and satisfy the wounded palate. Becoming famous as

The Home of the Chocolate Decadmte henry's end 44 henry street, brooklyn, ny 212 f134.1776 Pay only $3.10 a month. Get $10,000 worth of peace of mind. That's the family protection you can get with 5-year Renewable Term Insurance at age 30. And I other amounts at other ages are comparably low in cost. That's Savings Bank Life tL Insurance. If you live or work in _/7 New York State, you can get it at TheWilliamsburgh Savings Bank. Other types of policies and plans for special family needs are also available. We'll be glad to tell you all about them- without any obligation. Just ask for the insurance adviser at any of our offices.

The Williamsburgh Savings Bank Incorporated 1851

OTHER BROOKLYN OFFICES: Bensonhurst Office: CENTRAL OFFICE: 1 Hanson Place at Flatbush Avenue 86th Street and 23rd Avenue Williamsburgh Office: 175 Broadway at Briggs Avenue Starrett City Office Pennsylvania Ave. at Twin Pines Drive WALL STREET OFFICE: 74 Wall Street at Pearl REGO PARK OFFICE: 95-01 63rd Drive at Saunders Street FLUSHING OFFICE:136-65 Roosevelt Avenue FOREST HILLS OFFICE: 107-15 Continental Avenue YORKVILLE OFFICE: 345 East 86th Street LEVITTOWN OFFICE: Hempstead Turnpike and Center Lane FRANKLIN SQUARE OFFICE: 682 Dogwood Avenue SUFFOLK OFFICE: Walt Whitman Shopping Center, Route 110, Huntington Station The Brooklyn Academy of Music, Inc.

The Brooklyn Academy is owned by the City Three thousand three hundred donors Franklin H. Moore of New York. The Brooklyn Academy of Music who responded to our Helen Hayes Alice Holbrook Platt gratefully acknowledges the support of the National Endowment for the Arts, the New Emergency Flood Appeal RCA York State Council on the Arts, and the Depart- Lila Acheson Wallace Fund No. 2 Reader's Digest Foundation ment of Cultural Affairs of the City of New Rockmeadow Foundation, Inc. York in addition the Board of Trustees wishes Richard Rodgers to thank the following corporations, found.. tions and private individuals who, through their Starr Foundation leadership and support, help to make these pro- Patrons William Matheus Sullivan Musical grams possible. ($2,500-4,999) Foundation, Inc. Time, Inc. American Telephone & Telegraph Co. Times Square Stores Corporation Pacesetters Chemical Bank Fred C. Trump Foundation ($10,000 and morel Charles.E. Culpepper Foundation, Inc. Union Carbide Corporation Dime Savings Bank J. Weinstein Foundation, Inc. Achelis Foundation Exxon Corporation Mr. & Mrs. Robert W. Wilson Foundation Bod man Foundation Francis Goelet City of New York Janice H. Levin Robert Sterling Clark Foundation, Inc. Manufacturers Hanover Trust Company Associate Contributors Jerome Foundation, Inc. Mulber Fund ($500-999) J.M. Kaplan Fund, Inc. Joseph M. Patterson Charitable Andrew W. Mellon Foundation Foundation Accurate Building Inspectors Henry & Lucy Moses Fund, Inc. Pfizer Inc. American Savings Bank National Endowment for the Arts Prospect Hill Foundation, Inc. American Stock Exchange New York Community Trust Congressman Fred Richmond Bank Leumi New York State Council on the Arts Michael Tuch Foundation, Inc. Barclays Bank International Ltd. Edward John Noble Foundation Walco National Corporation Brooklyn Savings Bank Rockefeller Brothers Fund, Inc. Williamsburgh Savings Bank Camperdown Elm Rockefeller Foundation Capezio Foundation Helena Rubinstein Foundation, Inc. Cullen & Dykman Contributors Emma A. Sheafer Charitable Trust Dime Savings Bank of Williamsburgh ($1,000- 2,499) Schlumberger Horizons, Inc. Thomas H. Dixon Foundation, Inc. Downe Foundation Shubert Benjamin & Elizabeth Abrams Organization Inc. Doris C. Freedman Robert Stigwood Foundation, Inc. Foundation, Inc. Mr. & Mrs. Harold L. Fisher Surdna Anthony Anastasio Foundation, Inc. Theatre Development Fund Inc. Michael V. Forrestal Anchor Savings Bank Ame Vennema Gage & Tollner Avon Products Foundation, Inc. Warner Communications, Inc. Helen Hayes Bowery Savings Bank William Josephson & Joan Bieder Brooklyn Center Development Corp. Junior League of Brooklyn, Inc. Martin Chelnik Harvey & Beverly Karp Foundation, Inc. Bottling Co. of N.Y., Inc. Coca.Cola MacMillan Foundation Constans Culver Foundation I. Stanley Kriegel Marie Christophe de Mend Benefactors James S. Marcus Foundation Harold Diamond & Company ($5,000-9,999) Martins Doll Foundation, Inc. Metropolitan Savings Bank Abraham & Straus East New York Savings Bank Leo Model American Express Foundation Gilman Foundation, Inc. Rentar Development Corporation BAM Sponsors Henry L. Goldberg Foundation Republic National Bank Bankers Trust Company W.R. Grace & Company Lewis Rudin Brooklyn Union Gas Company Greater New York Savings Bank Harold L. Schiff CBS Inc. Greenpoint Savings Bank Seatrain Lines, Inc. Chase Manhattan Bank IBM Corporation Mr. & Mrs. Daniel Seymour Citibank International Paper Company Foundation Constantine Sidamon.Eristoff Consolidated Edison Co. of New York, Inc. Irving One Wall Street Foundation, Inc. Patrick Smith Arthur D. Emil Johnson & Higgins William Tobey Friends of BAM Joseph H. Hirshhorn Robert Vadheim Independence Savings Bank Phyllis Lichtenstein Electric Fund Alex Hillman Family Foundation Lincoln Savings Bank Western Mobil Foundation, Inc. Samuel H. Lindenbaum Morgan Guaranty Trust Company Lucille Lortel National Opera Institute R. H. Macy & Company, Inc. Needmor Fund Russell Maguire Foundation, Inc. New York Telephone Company Maya Corporation New York Times Co. Foundation, Inc. Merrill Lynch Pierce Fenner & Smith Inc. Metropolitan Life Insurance Company it The Brooklyn Academy of Music a non profit organization eamperdown Elm Board of Directors Hon. Edward I. Koch and Hon. Howard Golden, Honorary Chairmen/Kenneth S. Rosen,Chairman/Dan Seymour and Anthony Scotto, Vice.Chairmen/Harvey Lichtenstein, President/Harry W. Albright, Jr./ Enjoy fine food & Henry Bing, Jr/Harold L. Fisher/Leonard Garment/I. Stanley Kriegel/Samuel Lindenbaurn/Eugene H. LunteytW. Barnabas McHenry/Donald E. Moore/Evelyn Ortner/Cynthia Peltz/Williarn Tobey/Directors drink in a delightful ex-officio. Hon. Henry Geldzahler/Howard Lewis atmosphere Officers Harvey Lichtenstein President and Chief Executive Officer Judith E. Dayk in Executive Vice President and General Manager Brunch, Sun 11:30-4 Sharon Rupert Vice President and Treasurer Dinner, Tue-Sat Charles E. Ziff Vice President for Promotion Henry A. Young, Jr. Vice President for Planning 5 to midnight. Sun 4-11 Closed Mondays Administrative Office Staff Toby Mailman, Ruth Goldblatt, Susan Spiegel. Sam Sweet, Shirley Jones Reservations Suggested Finance Steve Dennis, John Howland Pearl Light

847 Union Street Promotion Louis Sica Director of Press Relations Off 7th Avenue in Gerald M. Aiello Advertising Manager Park Slope Joy Waller Graphics Designer John Howl. Press Representative Virginia Sanders Group Sal. Representative (212) 638-0860 Marti Hawawini, Paul Vega, Geneva Alvarez, Alice Ashmead, Ken Shuldman, Ted Killmer Planning Martha McGowan BECA Coordinator Sheila Greiner Contributions Coordinator Condo Dime!. E Amelia Rogers. Andrea Walton rr Production Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM Sal Rasa Assistant Production Manager Lisa Baumgarten Production Assistant BROOKLYN Martin Green Crew Chief Walter Rivera Wardrobe Supervisor Bernard Gilmartin, Naamin Griffin, John Fuller. Howard Larson, Patrick McDonald. Leonardo Raphael. HAS IT ALL! Donald Riordan, Cy Similly, Jr.. Emcee Southerland CALL US FOR Theatre Management FREE ASSISTANCE John J. Miller Theatre Manager WELL HELP YOU LOCATE IT Leonard Natrnan Assistant Theatre Manager NEW YORK YELLOW PAGES. INC. Building Management Stan Mongin Building Manager Ronald Spiegel Parking Facilities Supervisor Leonard Abbruscato, Frank Alaimo. Sloven Calamucci, James Carter, Juno, Cooper, Lazzaro Curato, Nicholas Curato. cityphone Ray Dnrso, Donald Farr, Frank Eavata, Rosalie Ferrell. Peter . Charles Gilli, Grind Ronald Grant. John Imperial, Bernard Lawrence, Gregory Lombardi, Norman MacArthur, 675.0900 Jospeh Mane, Martin Miranda, Tony Ola. Walter Robinson. Robert Wells Box Office Call After 10 A.M. Weekdays Daniel J. Sullivan Box Office Treasurer Sane. Baksh. Michael Glassman Beverly Hand Children's Program Great Betty Rosendorn Children's Program Manager Group Rae Lesser, Hessie McCollum, Sarah Welder Foodstuffs Discounts Ralph Lupoli, Caterers The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are Attractive discounts are avail- administered by the Department of Cultural Affairs, Henry Geldzahler, Commissioner, able for groups of 20 or more. Edward I. Koch, Mayor. Directory of Facilities and Services For information, call our Box Office Hours: Monday: Noon to BlDDpm/ Tuesday through Saturday' Noon to 9;00pm/ Sunday: Group Sales Representative, Performance Times only. Lon and Found: Telephone 636-4100 Virginia Sanders, at (212) Lounges and Bedrooms: Opera House Ladies: Orchestra and Balcony levels; Men: Mezzanine and Balcony revels. 636-4126. Playhouse Ladies: Orchestra level; Men: Mezzanine level. Leveret! Space Ladies: Theatre level; Men: Theatre level. Public Telephones: Main Lobby, Ashland Place Entrance For information about discount group rates on tickets, or to find out about advertising in SAM theatre programs, call our Sales Department at (212) 6364126. The taking BAM of photographs or the use of wording devices in this theatre is strictly forbidden. Brooklyn Academy of Music 30 Lafayette Avenue, Brooklyn, New York 11217 (212) 6364100 Brooklyn. It's a nice place to visit... and a great place to live.

Sheepshead Bay when the boats are coming in. The fabulous productions at the Academy of Music. The Children's Museum. The Botanical Garden when the mums are in bloom. The Aquarium. The Brooklyn Museum. The beach at Coney Island... the list of things that make Brooklyn special goes on and on. Kings Plaza - Brooklyn's only enclosed shopping mall - is proud to be part of our borough. Brooklyn. It's a nice place to visit... and a great place to live.

BROOKLYN'S ONLY ENCLOSED MALL Flatbush Avenue & Avenue U Belt Parkway Exit 11 N Free indoor parking in our multi-level garage SHOPPING HOURS: MON-SAT, 10 AM - 9:30 PM; SUNDAY, NOON -5 PM

, we- -^nvismamirm--'-

.1 MAGIC YN-XYYV-. Tt1F Ossvert.rc .a., 't t

II tiSAtk4 0. t

t 144%

0-14* r

'WM* "

vANY. 1 f

YOUR MONEY GROWS

. LIKE VAGIC AT THE

DIMETHE DIME SAVINGS BANK Of NEW YORK

MANHATTAN DOWNTOWN BROOKLYN BENSONHURST FLAT.. CONEY ISLAND KINGS PLAZA VALLEY STREAM MASSAPEODA HUNTINGTON STATION