Contact: William Murray 718-636-4129

1111iHIWil THE BLACJ( RIDER

A PACT WITH THE

THREE VISIONARIES COLLABORATE IN AMERICAN PREMIERE AT BAM

ROBERT WILSON, , WILLIAM S. BURROUGHS

NOVEMBER 20 - DECEMBER 1, 1993

The Black Rider, a haunting , cabaret-infused , operatic melodrama created by director , musician Tom Waits , and author William S. Burroughs , each a major figure in his field, has its American premiere as part of the Brooklyn Academy of Music's (BAM) 11th NEXT WA VE Festival, sponsored by Philip Morris Companies Inc . The production runs from November 20 through December 1 at the BAM House which is located at 30 Lafayette Avenue , Brookl yn, N .Y.

The Black Rider's plot is adapted from a collection of folk tales which inspired Carl Maria von Weber's 1821 opera Der Frieschutz . It is the story of a young marksman , Wilhelm, who falls prey to the devil in attempting to win the hand of his beloved Kathchen . David Reiff, in his review of the work's premiere in Hamburg called it "a grand act of cultural appropriation ." In the hands of Wilson, Waits and Burroughs , each in top form , it becomes a cabaret/psychodrama with a decidedly contemporary slant. Unlike Weber 's opera, in this version the devil -­ namely "The Black Rider" -- remains triumphant.

The Black Rider premiered to enthusiastic crowds at the Thalia Theater Hamburg in March 1990, and has gone on to acclaimed performances in Paris , Vienna , Barcelona , and Sao Paulo . The Black Rider score , as interpreted by Tom Waits, was released in early November on Island Records .

The gravelly voice and sardonic wit of Tom Waits are as familiar to pop music fans the world over, as they are to film audiences who have seen Waits in films such as "Down by Law" and "Night on Earth ," in Francis Ford Coppola's "Bram Stoker's Dracula," and most recently in 's "Short Cuts ," working opposite Lily Tomlin. His original score for The Black Rider runs the gamut of musical idioms : waltzes, blues, vaudeville , rock and cabaret, performed live by an ensemble including banjo , bassoon, French horn , pump-0rgan, viola, guitar and a host of other intruments . Wait's lyrics supply a wry commentary on the work's overall theme of corruption , concluding that the world nevertheless remains an amusing place . The Black Rider was Wait's first collaboration with Wilson ; their second project , Alice, was premiered by the Thalia Theater in December 1992.

William S. Burroughs is known for creating a surreal , at times phantasmagoric , world in such classics as Junky, , , and other works . For The Black Rider, Burroughs transforms the original German folk tale material into an apocalyptic farce , replete with forebodings of addiction . Burroughs has been an important influence on a generation of young writers and his writings have been translated in fifteen languages . He is widely recognized for his film and recording work , as well. Over the past few years , Burroughs has been seen in the films "Drugstore Cowboy ," "Twister ," and "Heavy Petting," and director David Cronenber g recently shot a film version of his Naked Lunch . Earlier this year, Burroughs and record producer Hal Willner released their second effort together with "Spare Ass Annie & Other Tales," a hip-hop , sonic journe y with members of "The Disposable Heros ofHiphoprisy." Burroughs is a member of the American Academy and Institute of Arts and Letters and a Commandeur de l'Ordre des Arts et des Lettres of France .

Robert Wilson 's relationship with BAM extends back over a decade and includes BAM production s of such masterpieces as the Glass/Wilson epic Einstein on the Beach, and CIVIL warS. These works and many others have firmly established his reputation as one of theater's most visionary and influential creators . Stylized gestures and striking visual effects characterize Wilson's work , techniques which are powerfully evident in The Black Rider . Described by critics who have seen the production as one of the director's more accessible works , Wilson nevertheless challenges his audience with the following comment: "I hate naturalism. Theater is an artificial form, and the sooner we can accept this, the better."

Robert Wilson's Madame Butterfly will open at the Paris Opera Bastille on November 22nd and in New York , the Paula Cooper Gallery will present Wilson's video "Deafman's Glance" in an installation beginning December 2nd. Next year he will continue workshops at the Alley Theater in Houston for new productions of The Balcony , Gertrude Stein's Saints and Singing , and a one-man Hamlet; a new work for the Munich Kammerspiele , Rad im Gras, based on a fairy tale by the Brothers Grimm;-re-stagings at the Paris Opera Bastille of The Magic Flute and Lohengrin , as well as the Winterreise song-c ycle with Jessy Norman , all in preparation for the 1994-95 season which will include six of his productions in repertory , and perhaps most intriguing, two new for the Teatro Communale of Florence which are adapted from Japanese Noh dramas, with music by Japanese and European composers . Next summer he will once again conduct workshops , rehearsals and other projects in theater , music, dance, film and video, sponsored by the Byrd Hoffman Foundation at Watermill , LI. The Cooper-Hewitt Museum mounts an exhibition of recent Wilson theater designs in June of 1994.

The Thalia Theater of Hamburg has gained a reputati on artistically as one of the most important German language theaters , performing a varied reperto ry of comedies, musicals, classical and modern plays The Thalia celebrates its 150th season this year.

The Black Rider will be performed at the BAM Opera House. The gala opening night, November 20, will begin at 7:00 PM, and performances November 22, 23, 24, 26, 27, 30 and December 1 will begin at 8:00 PM. There will be two matinees at 3:00 PM on November 21 and 28. Tickets for BAM's production of The Black Rider range from $20 - $50. Tickets may purchased at the BAM box office (30 Lafayette Avenue, Brooklyn) or by calling TicketMaster at 212-307-4100. For further information, call 718-636- 4100.

The 1993 NEXT WAVE Festival is sponsored by Philip Morris Companies Inc.

The Brookl yn Academy of Music gratefull y acknowledges generous ongoing support for the NEXT WA VE Festival from donors of the following special funds, which have been established as part of The Campaign for BAM : Philip Morris/NEXT WA VE Forward Fund , Founding Sponsor , "Supporting the Spirit of Innovation" ; and the Michael Bancroft Goth Endowed AnnualPerformance Fund. Additional support for The Black Rider has been prov ided by: Goethe House New York/German Cultural Center ; The Foreign Office of the Federal Republic of Germany ; The Bohen Foundation; TicketMaster ; One World Arts Foundation , Inc .; The Chase Manhat tan Bank; The Fan Fox and Leslie R . Samuels Foundation, Inc.; Robert W. Wilson; and Meet The Composer.

International transportation supported by Lufth ansa.

The NEXT WA VE Production Fund has been support ed by: The National Endowment for the Arts ; The Ford Foundation ; John S. and James L. Knight Found ation; The William and Flora Hewlett Foundation ; The Fan Fox and Leslie R. Samuels Foundation, Inc .; The Rockefeller Foundation ; The Bohen Foundation ; The Harkness Foundations for Dance ; The Foreign Office of the Fede ral Republic of German y; The Howard Gilman Foundation ; Lufthansa German Airlines; Morgan Guaranty Trust Co. ; One World Arts Foundation , Inc.; Robert W. Wilson ; Mary Flagler Cary Charitable Trust ; The William and Mary Greve Foundation ; L. Marshall Zeigen ; The Arthur Ross Foundation ; Meet the Composer ; New York City Department of Cultural Affairs; New York State Council on the Arts ; NEXT WA VE Produ cers Council; NEXT WA VE Associates and the Friends of BAM

The BAM facility is owned by the City of New York and its operation is made possible , in part , with public funds provided through the New York City Departm ent of Cultura l Affairs with support from the Brookl yn Delegation of the New York City Council and Brookl yn Boro ugh President Howard Golden .

#### TOM WAITS "THE -BLACK RIDER" NOTES FROM THE RECORDING

When I was first approached by Robert Wilson and the Thalia Theatre of Hamburg to be involved with The Black Rider , I was intrigued , flattered and scared . The time commitment was extensive and the distance I would have to travel back and forth was a problem , but after a meeting at the Roosevelt Hotel in Hollywood , I was convinced this was to be an exciting challenge and the opportunit y to work with Robert Wilsoi:i and William Burroughs was something I couldn 't pass up.

I had seen only one Wilson production , "Einstein on the Beach" at the Brooklyn Academy of Music, and had been pulled into a dream of such impact and beauty , I was unable to fully return to waking for weeks. Wilson's stage images had allowed me to look through windows into a dusting beauty that changed my eyes and my ears permanently . Wilson is an inventor on a journey of discovery into the deepest parts of the forest of the mind and spirit and his process of working is innocent and respectful. His workshops in stage one demand from all involved to enter his world and place as much value on the things you bring to it as the things you leave behind . I was nervous about our compatibility as his process seems so developed and was in a new country as was working in Hamburg , Germany, the Rainey Streets, church bells and the train station . Surprisingly for me our differences became our strength. Each morning I would bring to rehearsal the songs and music I had worked on the night before at Gerd Bessler's Studio .

I had chosen Greg Cohen to collaborate with me on arrangements and shaping the music, selecting an orchestra , collecting sounds and recording crude tapes the night before . Greg is a multi-instrumentalist who I've had the pleasure of working with on the road and in the studio for fifteen years or more . Gerd Bessler's Music Factory was where most of the ideas for the score were born . Gerd Bessler is an extraordinary musician and sound engineer and his experience and background with the Thalia Theatre were invaluable to the work . It was his inexhaustible energy and commitment to spontaneity and adventure at his Music Factory and together we came up with fresh material each night to bring to rehearsal in the morning . Greg Cohen was a fearless collaborator , and helped me grow musically and had an endless supply of ideas with (long hours, cold coffee , hard rolls and no place to lie down) . Gerd and Greg and I were the core of the music department in the early stages and we fashioned together tapes in this crude fashion, never imagining they would be released , which gave us all an innocence and a freedom to abandon conventional recording techniques and work under the gun to have something finished to bring to Wilson's carnival each morning . Although included in this collection are other recordings of the material done in California four years later, the spirit of recording in this fashion with Greg Cohen and Gerd Bessler in Hamburg was the cornerstone of the feeling of the songs .

more ... Waits, pg. 2 Having Wilson's theatre images to be inspired by for writing and arranging was invaluable to the process and a song writer's dream . The Black Rider Orchestra (The Devil's Rhubato Band) were Hans-Jorn Brandenburg, Volker Hemken, Henning Stoll, Christopher Moinian, Dieter Fischer, Jo Bauer , Frank Wulff and Stefan Schafer. They were all from different backgrounds : some came from a strict classical world, others were discovered playing in the train station and my crude way of working took some getting used to for them and I had to learn a language to communicate with them and still keep the spontaneity alive. They are heard on a few of the songs in this collection . But recording more with them proved to be-difficult with time and distance . They were all heroic in their commitment and contribution and became the pit band I've always dreamed of In California, perhaps four years later, I formed another orchestra built on the same principles as The Devil's Rhubato Band, same instrumentation to replant the seeds from Hamburg . They are featured on many of the songs : "Lucky Day", "Russian Dance", "Shoot the Moon", "Oily Night", "Gospel Train (Orch)", "Flash Pan Hunter", "The Right Bullets" and "Black Box" .

The group that was formed in California were all musicians from San Francisco, although we began working from charts , slowly I began to realize that to effectively continue we needed a more crude approach and soon abandoned much of the score and worked from tapes and intuition . All of the players in the "Rhubato West" group were eager to "Frankenstein" the music into something like a beautiful train wreck. We recorded in a cold shed with bad light and no breaks , in order to inject the music with new life. "Gospel Train (Orchestra)" was recorded after a frustrating day of discipline, the piece was barked out like a garage band with the whole orchestra aping like a train going to Hell, it was a thrilling moment for all of us and even the bassoonist wanted to hear the play back. They all are fearless , willing and eager musicians. Together with The Hamburg Orchestra, the group in California and the original recordings done with Greg Cohen and Gerd Bessler, we were trying to find a music that could dream its way into the forest of Wilson's images and be absurd , terrifying and fragile . Three things I hope come across in this collection of songs .

The actors in The Thalia Theatre production of the Black Rider were of a caliber I had never seen in my experience : fearless , tireless, insane and capable of going to deep profound places under sometimes difficult circumstances ( cold coffee, hard rolls and no place to lay down), they took the songs and brought them to life and the songs brought them to life. I had never worked as a composer who was to remain outside of the - performance and teaching them the songs was an education for me as well as them . They were like old children and amazed me with their willingness and the power of the imagination this collection is me singing but inside each performance are things I learned from their interpretations .

William Burroughs, was a solid as a metal desk and his text was the branch this bundle would swing from . His cut up text and open process of finding a language for this story became a river of words for me to draw from ~in the lyrics for the songs . He brought a wisdom and a voice to the piece that is woven throughout. Somehow this odd collection of people resulted in an exciting piece of theat re that became an enormous success in Hamburg at the Thalia, and has travelled throu ghout the world and is still running today and it was a privilege to be a part of it.

Tom Waits Los Angeles, Sept. 1993 /i!liYilWil Photo Tip!

Star Studded Opening Night Gala for The Black Rider

WHO: Tom Waits, , Paul Simon, Edie Brickell, Brian Eno,

Lorraine Braco, Edward James Olmos, Anne Bass, Isaac Mizrahi

William S. Burroughs, , Robert Wilson, Jessye Norman

Emerson Fittipaldi, Virginia Wade, Al Unser Jr., Susan Sontag

Michael Fuchs, Bianca Jagger, Peter Martins, Jerome Robbins

Derek Walcott, Annie Leibovitz, Marisa Tomei and 750 others!

WHAT: Brooklyn Academy of Music's 1993 NEXT WAVE Gala celebrating

the American- premiere of The Black Rider by Robert Wilso n,

William S. Burroughs and Tom Waits. Giant images projected on the two-block facade of the main post office in Manhattan by visual artist Leni Schwendinger.

WHEN and WHERE: 7:00 P.M. performance at BAM. 10:00 P.M. gala supper

party at James A. Farley Building (Main Post Office at 33r d Street

and Eighth Avenue in Manhattan). Leni Schwendinger's projections

on the neoclassical facade columns, and stairs of the landmark

post office building will be running from 7:00 to 9:45 and again

as guests arrive approximately 10:00 P.M.

CALL: Robert Boyd/BAM Gala Press (718) 636-4 182 For Immediate Release

Contact : Robert Boyd/ BAM Gala Press (718) 636 -4182

"Come on along with the Black Rider, We'll have a gay old time!"

BAM TO CELEBRATE AMERICAN PREMIERE OF THE BLACK RIDER WITH GALA BASH AT JAMES A. FARLEY BUILDING

VISUAL ARTIST LENI SCHWENDINGER TO TRANSFORM LANDMARK FACADE WITH SITE-SPECIFIC LIGHT PROJECTIONS

PHILIP MORRIS COMPANIES INC. & HACHETTE FILIPACCHI MAGAZINES CO-SPONSOR NOVEMBER 20 EVENT

The Brooklyn Academy Of Music's 1993 NEXT WAVE Gala Benefit will mark the American premiere of the celebrated Robert Wilson/Tom Waits/William Burroughs collaboration The Black Rider on Saturday, November 20, at the James A. Farley Building (post office at 33rd Street & Eighth Avenue in Manhattan). The evening will begin with cocktails at 6:00 P.M. followed by the 7:00 P.M. perform~nce in BAM's Opera House and a fancy dinner with the artists in the lobby of McKim, Mead and White's magnificent two-block edifice, built to complement the original Penn Station. Proceeds from the benefit will support BAM's 1993 NEXT WAVE Festival, sponsored by Philip Morris Companies Inc. The Black Rider, based on an old Bohemian legend, tells the story of a hapless marksman who sells his soul for a handful of magic bullets in order to win the hand of the woman he loves. Working with a text by William S. Burroughs and songs by Tom Waits, director/designer Robert Wilson has crafted an expressionist burlesque hailed in Europe as an electrifying musical-comedy masterpiece. In The New York Times, John Rockwell described the show as "a cross of Cabaret, The Threepenny Opera and The Rocky Horror Show ." The Black Rider will be presented at BAM from November 20 through December 1 as part of the annual NEXT WAVE Festival. Following the premiere, gala patrons will be whisked off to the James A. Farley Building in Manhattan for the party co-sponsored by Philip Morris Companies Inc. and Hachette Filipacchi Magazines. Upon their arrival they will be treated to the debut of Leni Schwendinger ' s new "projection performance." Expanding the American tradition of public art in post offices, Ms. Schwendinger's newest work, Public Dramas/Passionate Correspondents, will transform the neoclassical facade, columns, and stairs of New York City's main post office building with projections inspired by theater, the postal service, and the art of correspondence . This landmark post office will become, for a brief time, a bright canvas in the urban landscape. Ms. Schwendinger's piece will be shown from 7:00 to 9:45 for the general public and again as guests arrive from Brooklyn (approximately 10:30). Ms. Schwendinger has created public art works for the new Denver International Airport. the Institute of Contemporary Art in Philadelphia, and Creative Time in New York City, among others. Corporate chairmen for the gala are William I. Campbell, President and CEO of Philip Morris U.S.A. and David J. Pecker, President, CEO & COO of Hachette Filipacchi Magazines. The Gala Chairman is Paula Cooper. Benefit Committee members include Donald Baechler, Leo Castelli, Jeffrey Deitch, Emerson Fittipaldi , Michael Fuchs, Diane von Furstenberg, Julie Graham, Dennis Hopper, Bianca Jagger, David W. Kubie, Peter Mayer, Jessye Norman, Jerome Robbins, John Scher, Susan Sontag, Philip Taaffe, Paul Tracy, Wendy Turnbull, Al Unser Jr., Virginia Wade, Derek Walcott & Sigrid Nama. For the eleventh year, Philip Morris Companies Inc. is sponsoring the NEXT WAVE Festival at the Brooklyn Academy of Music. This sponsorship highlights the company's 35th anniversary in support of the arts in 1993. Since the inception of Philip Morris' arts program in 1958, the company has supported a broad spectrum of cultural programs that reflect the same spirit of innovation and creativity as demonstrated by its corporate leadership. Philip Morris Companies Inc. has five principal operating companies: Philip Morris U.S.A., Philip Morris International Inc., Kraft General Foods, Inc., Miller Brewing Company and Philip Morris Capital Corporation. Complimentary coach service will be provided from Manhattan to BAM, and from BAM to the Gala Supper. Dress is informal. For information on tickets and tables contact BAM Special Events at (718) 636-4182. Following the gala supper, guests will adjourn to an after-hours party with live entertainment, intoxicating refreshments and other less-cerebral diversions. Location and artists to be announced, call Robert Boyd (718) 636-4182 for details.

### ------= ------Facts about the Jemu A. Farley Building

• Located at 421 Eighth Avenue, between 31st. and 33rd. Streets, the James A. Farley Building Is one of the most recognizable edifices in Manhattan. It was opened on Labor Day in September 1914 as the "Pennsylvania Tenninal."

• The Post Office and Federal Building at City Hall Park served as the General Post Office until July 1, 1918, when the name of the building was changed to "City Hall Station." On that same day the name of the "Pennsylvania Terminal" was changed to "General Post Office!'

* An addition to the General Post Office • the West Building - was opened in December of 1935. The newer structure stands directly behind the General Post Office and runs to Ninth Avenue. Both buildings together cover an area of 1,561, 600 square feet, and 25,305,000 cubic feet.

• The building retained the General Post Office moniker until May 24, 1982 when, by direction of the United States Congress. It was renamed in honor of James A. Farley. a native of New York State and the 53rd Postmaster General of the United States .

* The famous inscription above the 280-foot frieze on the front facade of the building - "Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed roundsM - is a translation of a phrase from the ancient Greek historian, Herodotus. The translation of the phrase, as well as the idea for the inscription, came from the building's architect, William Mitchell Kendall of the renown architectural firm of McKim, Mead, & White. Kendall stated that the phrase appears in Book 8. paragraph 98 of Herodotus• works where the historian describes the expedition of the Greeks against the Persians during the reign of Cyrus, about 500 B.C. The Persians had a system of mounted postal couriers in operation, and this sentence shows the fidelity with which their work was done. Although the quotation is not the offlclal motto of the Postal Service , its association through the years with one of the nation's most recognizable postal faclltties has brought it a tremendous amount of recognition, and it does, in spirit, aptly represent the mission of the United States Posta l Service.

• Besides housing the processing, delivery, and retail sales employees who service the customers of the James A. Farley Station , the building is home to New York's District Manager/Postmaster, and many administrative employees of the New York Post Office.

~ R00 Kl YN AC A DtM y Or M ~~IC 311 Lafavettt' .-\l't'llllt', Brooklyn,\ew York 11 ~ l i"-1-loli71~.6:lli.-l l 11 F..\\ 7 lb.bj7J 1! I frlt'X~% .!9:i.8.-\\llR;C able..\cadmu~il' .~nerica'sOldest Periorming -~·tsCenlt>r FOR IMMEDIATE RELEASE CONTACT: Bill Murray/Brooklyn Academy of Music 718-636-4190 Ellen Zeisler/The Zeisler Group 212-807-6480

THE BLACK RIDER

THREE VISIONARIES COLLABORATE IN AMERICAN PREMIERE ROBERT WILSON, TOM WAITS, WILLIAM S.BURROUGHS November 20 - December 1 at BAM Opera House

The Black Rider, a "gothic" pop melodrama created by director Robert Wilson, musician Tom Waits, and author William S. Burroughs, each a major figure in his field, has its American premiere as part of BAM's NEXT WAVE Festival, sponsored by Philip Morris Companies Inc. The production runs from November 20 through December 1 at the BAM Opera House. The Black Rider premiered to wildly cheering crowds in Hamburg, and has gone on to acclaimed performances in Paris, Vienna, Barcelona, and Sao Paulo. The Black Rider recording will soon be released on Island Records. Its plot is adapted from a collection of folk tales which inspired Carl Maria von Weber's opera Der Freischutz. It is the story of a young marksman, Wilhelm, who falls prey to the devil in attempting to win the hand of his beloved Katchen. David Reiff, in his review of the work's premiere in Hamburg called it "a grand act of cultural appropriation." In the hands of Wilson, Waits and Burroughs, each in top form, it becomes a cabaret/psychodrama with a decidedly contemporary slant. Unlike Weber's opera, in this version the devil -- namely "The Black Rider" -- remains triumphant.

- more - BAM/ NEXT WAVE/ THE BLACK RIDER PAGE 2

Robert Wilson's relationship with BAM extends back over a decade and includes BAM productions of such masterpieces as the Glass/Wilson epic Einstein on the Beach, and the CIVIL wars. These works and many others have firmly established his reputation as one of theater's most visionary and influential creators. Stylized gesture and striking visual effects characterize Wilson's work, techniques which are powerfully evident in The Black Rider. Described by critics who have seen the production as one of the director's more accessible works, Wilson nevertheless challenges his audience with the following comment: "I hate naturalism. Theater is an artificial form, and the sooner we can accept this, the better." The gravelly voice and sardonic wit of Tom Waits are as familiar to pop music fans the world over, as they are to film audiences who have seen Waits in Jim Jarmusch's films. His original score for The Black Rider runs the gamut of musical idioms: waltzes, blues, vaudeville, rock and cabaret, performed a live ensemble including banjo, bassoon, French horn, pump organ, viola, guitar and a host of other instruments. Waits's lyrics supply a wry commentary on the work's overall theme of corruption, concluding that the world nevertheless remains an amusing place. William S. Burroughs is known for creating a surreal, at times phantasmagoric world in such classics as The Naked Lunch; he has been an important influence on a generation of young wri t ers. Burroughs transforms the original material into an apocalyptic farce, replete with forebodings of addiction. The Black Rider will be performed at the BAM Opera House. The gala opening night, November 20 will begin at 7:00 PM, and performances on November 22, 23, 24, 26, 27, 30 and December 1 will begin at 8:00 PM. There will be two matinees at 3:00 PM on November 21 and 28. Tickets for BAM's production of The Black Rider range from $20 - $50. Tickets may be purchased at the BAM box office (30 Lafayette Avenue, Brooklyn) or by calling TICKETMASTER at 212-307-4100. For further information, call 718- 636-4100.

- more - BAM I NEXT WAVE I THE BLACK RIDER PAGE 3

The NEXT WAVE Festival is sponsored by Philip Morris Inc. The Brooklyn Academy of Music gratefully acknowledges generous ongoing support for the NEXT WA VE Festival from donors of the following special funds, which have been established as part of the campaign for BAM: Philip Morris/ NEXT WAVE Forward Fund, Founding Sponsor, "Supporting the Spirit of Innovation": and the Michael Bancroft Goth Endowed Annual Performance Fund. 1993 NEXT WAVE Festival Supporters: The National Endowment for the Arts; The Ford Foundation; John S. and James L. Knight Foundation; The William and Flora Hewlett Foundation; The Rockefeller Foundation; The Howard Gilman Foundation; Morgan Guaranty Trust Co.; The William and Mary Greve Foundation, Inc.; L. Marshall Zeigen; The Arthur Ross Foundation; New York State Council on the Arts; NEXT WAVE Producers Council; NEXT WAVE Associates; and the Friends of BAM. The productions of Light Shall Lift Them; Njinga, The Queen King, Orphee, and The Cave were made possible by a major grant from Lila Wallace-Reader's Digest Opera for a New America, a project of OPERA America. The NEXT WAVE Producers Council and the NEXT WAVE Associates provide annual private patronage for BAM's NEXT WAVE Festival and also sponsor exhibitions and special events for the Festival throughout the year. BAM's audience development initiates have been supportive, in part, by a grant from Chemical Bank. The BAM facility is owned by the City of New York and its operation is made possible, in part, with public funds provided through the New York City Department of Cultural Affairs with support from the Brooklyn Delegation of the New York City Council and the Brooklyn Borough President Howard Golden.

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