"The Wool mark is your assurance of a quality tested product made of Pu re Wool" JANUARY, 1972 I BROOKLYN ACADEMY OF MUSIC I 3
Brooklyn Festival of Dance 1971-72
The Brooklyn Academy of Music
presents Murray Louis Dance Company
and Nikolais Dance Theatre
fe aturing
MURRAY LOUIS
with
Richard Ammon, Lisbeth Bagnold, Michael Ballard, Anne Ditson, Les Ditson, Rob Esposito, Bill Groves, Helen Kent, Lynn Levine, Suzanne McDermaid, Gerald Otte, Anne Marie Ridgway, Karen Rimmer, Gladys R oman, Robert Small, James Teeters, Fred Timrn and Marcia Wardell.
The Murray Louis Dance Company features Guest Artists
GLADYS BAILIN and PHYLLIS LAMHUT
Choreography for the Murray Louis Dance Company by Murray Louis.
Choreography, Sound Scores, Costumes and Lighting Designs for the Nikolais Dance Theatre by Alwin Nikolais.
The Brooklyn Academy of Music wishes to acknowledge the support of the National Endowment for the Arts and the New York State Council on the Art . Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recordmg eqUipment is strictly prohibited dunng performances. 4 I BROOKLYN ACADEMY OF MUSIC I JANUARY, 1972
The Brooklyn Academy of Music
The St. Felix Street Corporation Administrative Staff Board or Directors: Seth S. Faison, Chairman Donald M. Dlinken, President Execrahe J ohn V. Lindsay, Honorary Chairman Martl·n P. Carter Harvey Lichtenstein, Executive Director Barbaralee Diamonstein Courtney Callender, Associate Director Mrs. Henry f'pstcin David Midland, General Manager Ho n. A Ui!USt Heckscher Ex-officio Sylvm Rodin, Secretary llichard M. Hexter ' Adele Allen, Secretary Peter C. R. I luang Gilbert Kapl:ln Hon. Sebastian Leo ne, Ex-officio Harvey Lichtcn ~tc in Press and Public Relations Alan J . Patricof David Picker Thomas Kerrigan. Assistant to the Director Richard C. Sachs Ruth Lipton, Associate Press Representative William Tobey J ack Anderson. Program Editor Mildred Levinson, Secretary The St. f7clix Street Corporation is responsible J oseph M osley, Assistant for pro)!ramming at the Brooklyn Academy of Mmic. House Staff M embership Charle~. Hammoc.k. House Manager J ane Biral, Manager Mark T11ley. ASSIStant House Manager J an Hash, Assistant Manager J ane Ward. Production Manager Cora Lynne David. G roup Sales Assistant Evelvn Augu~t. Telephone Receptio nist Pa ul Morse. l\lembersh1p Accountant Charles Drette, Custodian Marilyn Winterberg. Assistant Box Office J ame~ H illarv. Treasurer Rill Griffith: Assistant Financial Robert Blum, Assistant Sharon Rupert. Comptroller Daniel J oseoh Sullivan. Assistant Frances M. Seidenburg, Fmancial Secretary Lynda M. Patrie, Secretary Pearl Light, Assistant StaRe John Cooney, Chief Jo hn Van Buskirk. Master Carpenter Ed11cation Edward Cooney. Assistant Carpenter Donald Beck, Master Electrician Betty Rosendorn, Administrator l ouis Beck, Assistant Electrician Sarah Walder, Assista• nt
We are pleased to extend this invitation to you to become a Friend. Friends of the Brooklyn Academy of 1\lusic arc people who Be/iel'e in the need for quality programs at low box office prices Offer assistance to the educational services provided by the Academy I nform the community of the variety of programs the Academy offers H elp bridge the gap between costs and receipts
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Make checks payable to Friends of the Brooklyn Academy of Music. All contributions are tax deductible. from \1urray Louis' II£'H' 'Penonnac' Louis and Nikolais: Sharing the Stage
by Jack Anderson
American modern d ance is an art of the curious alike to flock to that tiny out rugged individua lists. During the past half of-the-way downtown theatre. century, several generations of zealots have In the early J 950s, Louis began chorco struggled to c reate a form of dance exprc~ graphmg pieces of his own, and a" the sion which for choreographic diversity has fame of both choreographers grew, they no parallels anywhere in the world. were invited to tour. But. under the touring conditions which then prevailed for them, But there is a slight catch to all thi'>. M odern dancers are so used to going it economic and production problems made a lone, devising v.. ork exclusively for their it difficult to take two n:pertoirc'> on the ov.. n com panic . that audiences seldom <.,ee road. \1oreover. there were a lot of good Hcnr} Street-tramcd dancers who needed the .:reation of more than one rugged individualist on any single program. Except v.. ork. So the deCISIOn was made to form t\\ o separate compames. for fe tival or other special events v..hen the choreographic tribe gathers £'11 ma1.1c, But what was then split apart is now modern dance performances tend to be one reumted. Not onl; arc the companies choreographer affairs. dancmg on the same Brooklyn programs, Therefore. Brooklyn Academ) 's com they arc combining mto one ensemble for bined engagement bv the Murray I ouis a revival of portiOns of Nikolai'>' Sanctum. Dance Company and the Nikolai Dance As might be expected of old a~'>ociates, Theatre is a rare instance of tv..o dlstm Lou1s and Nikola1s share certain assump gui.., hcd group haring the same hill. The tiOns about dance. But the; also have their odd thing i'>, Loui a nd Nikolai never differences. and they arc quite different as really \\ anted to have eparate compa .1c.., r~rso•alitieS The gray-haired . 'II.Jik" (as he in the first pl a:e The choreographer" ex i~ f..: nov.. n to the da;,cc v.. orld) IS learned. plained \\h) in conversation at The fl,lcc. ..,trc;,··-mmded. a::d urbane: one could the former Presbyterian church in Man imagmc h1m teaching aesthetic-s at a liberal hattan's Garment District v.. hich IS hemg arts~ college. Murray Louis. one of the tran formed into headquarter for the Louis virtuosos of modern dance, seems equally a nd Nikolai groups. as well a for other pcpp\ and volatile off~tagc . And he has arts organizations. There. among boxes. the habit of calling absolutely everybody crate and scaffolding Alwin ikolais -man. woman. child. or pet cat - "doll." pointed out that he and Murray Louis have (The cat. by the v.. a). IS a hlack one named worked together for more than two decade<;, Schmutz- and she is a doll.) their a ociation going back to the da\" when Nikolai was dance director of the Nik and M urray arc fervently devoted Hcnr; Street Settlement ~l ay h ?usc an? to dance as a purely kmet1c phenomenon. Louis appeared in the mult1-med1a e.xren Dance for them i~ an art of motion - not ments which caused the cognoscenti and a <.,urrogate for soc1ology. p'>ychoanalysis,
;<,fr. Andenon. in addition to !Jcin~: t>ro~ram eclllor for the A caclem.1, unte.1 lor Dunn \fw:a~inc. Bullet Revie11, and The DaiiCIIll: TIIIICI • :Y ikolai:, Dance Theatre tn 'Ten(
or literature. The resultant c horeography, chor::ographcrs allow the creative impulse however, i quite dissimilar. Asked to ven to guide them in ways they may not have ture a comparison, Nik replied, " Murray's intended or foreseen. Murray said, "I try passion as a mo1·er influence hi work, not to repe:H myself, so I choreograph one w hereas m y pa ·sion i to be a n integrator dance after another almost in the way a of all the elements of theatre: motion, pendulum swings: I'll do one piece one light, color, shape, and sound.'' way, but I'll deliberately do the next piece in the opposite tyle. Sometimes it's almo t Murray concurred: "Nik choreograph as though the kinds of thing5 I l!on't want from the outside in. You might ay that in one work become precisely what I'm he sits outside a piece. contemplating it as triving for in the next. Once I start a a n integrated .vhole. I c horeograph from piece. I go along with it. Even if I never th!! inside out. For one thing, ince I'm a expected it to tah.e that hape. r let it be dancer myself, l can't a lways evaluate my what it want<; to be." work objectively from the outside. So l have to trust my senses. And the one l Nik, too. hates to prede tine compo ition..,. trust most is my movement sen c.·· and can tell a story about how one dance had a most peculiar origin indeed. Several T o pro<.luce hi~ multi-media spectacle'>. years ago when he was in Hamburg. Nik, N tk mah.e ehboratc advance plans. H e lih.c other touri'>l'> to that North German jot dov. n pages of note and experiments mctropoli . decided to take a look at the with lide projections and scenic effect . city's celebrated red-light district: a ~..trcet Right from his fir t e sions with the ca
I v. as never particularly interested in nar choreographer. am I - the man who de rative. but I did involve mvself \\ ith con personalizes his dancer:-..? Well. mav he I cept .'' The repertoire· urvivor from this \\,..., once But I find mv:-..clf in :-..ome of mv period is Calligraph for .\1arryrs, composed ne\\er dance., dealing ~ith strong emotion·._ in 1961 \\hen Murrav felt "obses ed \\ith and direct per'>onal involvement." ten ion and doom. Those were the days of A-bomh testing. and it almost seemed -\It hough the Broold) n repertoire con a though our century were fated to be a tams a repre...,cntati\ e cros-.-section of century of martyrdom." A year later. item-.. he hates reviving: "It\ much worse having to create an opening dance for a than domg somethmg new. When you do program. Murray choreographed I ac ct1. a ne\\ piece. it's like falling in love. But and the joy he took in doing so - in v. hen you're done. the piece '>eems like a working. not v. ith concept . but simply di\Orccd wife. while you plunge into your with bodic-; in motion through time and latest infatuation. It's only when a lot of space - proved so exhilirating that -.ince time has passed that you can be detached then he ha become primaril) involved enough to look hack no.,talgically and v. ith "the aesthetic pleasure in the mani decide that there may have heen good pulation of materials." qualities in those old wive-;, after all. One trouble ah\JY'> \\ith a revival is that vou Nik thinks hi choreoeraphy can be find it hard to recapture the \late of mind di' ided into at lea t three periods. There \ ou v. ere in v. hen \ ou created the dance. wa-; a time of "strict compo\ition:· \\hen Y0u'rc a different ·person now. involved hi.., works were tructured into precis~. \\ Ith different concerns. so it\ difficult to sharp-edged. '~ell-defined section<; - '·1ch '' ork y~urself back." a section. for in<;tancc. a'> the "Boule\ ard" episode from Imago. Thi period v. a '>UC Ne' enheless. Nik and Murray have cecded bv a time of looser. more fluid. managed to work themselves hack to select and. seem-ingly improvisatory forms: Sane their Brooklyn repertoire - an unusually It/In, for example. At present. Nik leeh that large assortment of old works. plus s.:veral in such compo ition as Tl'nt and SCl'nario premieres. Clearly, they find the oppor he is using the human body in a less ab tunity for their companies to appear stract way than he previou ly did. After together a rewardmg occasion And the de cribing the e period of development. companies hope to stay together. at least for a time: a tour of major cities IS he laughed and commented. "You kno\\. planned for next season. T\\O choreo I've gone beyond the theories critics de graphic individualists arc sharing the <.,ame vi ed about my work. and even beyond -.tage. somethmg \\hich. in the modern certain theories I u ed to hold myself o dance \\Orld. is m itself a ruggedly in I'm supposed to be the purely abstract dividual thing to do 8 I BROOKLYN ACADEMY OF M USIC I JANUARY, 1972
Staff for Mr. Louis Technical Director James Van Abbema Assi tant Technical Director Chuck Catania Costume Director Frank Garcia
Staff for ~Ir. Nikolais Assistant Director Ruth Grauert tage Manager George Gracey Technical Assi tant Donald Risi Costume Director Frank Garcia
Managing Director Murray Farr Company Manager Charles Ziff
The Murra) Loui Dance Company, the Nikolais Dance Theatre and the Louis-Nikolais Dance Theatre Lab arc components of the Chimera Foundation for Dance, Inc. Betty Young is the Administrative Director.
Located at European Office "The Space" Elisabeth Haye and Thomas Erdos 344 West 36th Street 45 Rue Ia Boetie New York, New York 10018 Paris 8e, France Tel.: (212) 279-1698 Tel.: 225-33-41 and 256-05-60 Cable: Chimera, Newyork Cable: Fe tbaal, Paris
Main Office: Atlantic Ave. at Pennsyl vania, Brooklyn, N. Y. II Other offices in Brooklyn, Manhattan, Queens and Nassau County. • ror office Jletlrest you f'hom: (212) 270-6000 CHARTERED 1868
MEMBER FEDERAL DEPOSIT INSURA NCE CORPO RATION JANUARY, 1972 I BROOKLYN ACADEMY OF MUSIC I S
Thursday Evening, January 20, 1972, 8:00 p.m.
Brooklyn Academy of Music
Murray Louis Dance Company
Nikolais Dance Theatre
P erson uae
INTERMI SSION
Continuum
INTERMISSION •
Calligraph for Martyrs
We dedicate these performances to the memory of Ted Shawn. 10 I BROOKLYN ACADEMY OF MUSIC I JANUARY, 1972
PERSONNAE
(1971) · Louis
Music by Free Life Communications
Costumes by Frank Garcia
Performed by:
MURRAY LOUIS, MICHAEL BALLARD,
LES DITSON and ANNE DITSON
or
ROBERT SMALL and MARCIA WARDELL
Personnae was completed during the period of a fellowship from the John Simon Guggenheim Foundation.
INTERMISSION JANUARY, 1972 I BROOKLYN ACADEMY OF MUSIC I 11
CONTINUUM
(1971) - Louis
(New York Premiere)
Music by
Corky Siegel Blues Band and Alwin Nikolais
Costumes by Frank Garcia
Performed by:
MURRAY LOUIS,
MICHAEL BALLARD, LES DITSON,
ANNE DITSON, HELEN KENT,
ROBERT SMALL and MARCIA WARDELL
Continuum was commissioned by a grant from the United States National Endowment for the Arts.
INTERMISSION 12 I BROOKLYN ACADEMY OF MUSIC I JANUARY, 1972
CALLIGRAPH FOR lUARTYRS
(1961) - Louis
Music by Alwin Nikolais
Costumes by Frank Garcia
Lighting by Alwin Nikolais
Performed by:
MURRAY LOUIS, MICHAEL BALLARD,
LES DITSON and ROBERT SMALL JANUARY, 1972 I BROOKLYN ACADEMY OF MUSIC I 13
Murray Louis Dance Company
MURRAY LOUIS. Extensive touring in Theatre smce its inception in I 94R at the North America. Europe a nd India has Henry Street Playhou-.e. She has also had earned Murray Louis accolades wh1ch rank. a long tenure v.ith the Murray Louis Dance him among the great dancer of our time. Company as leadmg dancer. As a member Recipient of a Guggenheim Foundation Fel of the Loui~ and 1'.1kolais companies, M is'> lowship in Dance. Louis was also honored in I amhut ha'> performed all over the world 1969 with a grant from the N ational .E::.ndow on concert stage and television, winning ment for the Arts, commissioning two critical acclaim for her artistry of motion new works, Pro.\imities and Intersection. and her talent'> a'> a comedienne Mi'>'> In 1970, he received his second grant from Lamhut has been equally successful as a the Endowment for Continuum. choreographer. h
Nikolais Dance Theatre
ALWIN NIKOLAIS. Among Nikolais' to coast in the continental United States unique contributions to dance is the con and Canada annually, and has also played tinuous, multimedia, abstract theatre work extended engagements in Puerto Rico and he has evolved. In developing this form he Hawaii. The Nikolais Company participated is giving America a new theatre. For some in Brooklyn Academy's first Festival of 20 years he has been an innovative force, Dance in 1968. in mixing media to create a total theatre. and the result is drama that engages the In the summer of 1971 the Company ensory experiences of the spectator. N iko spent seventeen weeks in Europe. High Jai ' theatre i one of dynamics. where lights included a command performance dramatic meaning is found in form. He for the Shah and Empres of Iran at the builds drama through molding abstractions Tl.!heran Bienalle, a one month standing of -;ound. time. shJpe. color. light and room-only season at the Theatre de Ia motion. All these elements placed in co Ville (the old. now renovated. Sarah equal interaction on the stage are the Bernhardt Theatre) in Paris. and per script and the actors. The choreography formed for capacity audiences of 7.000 a is non-linear in structure, so that instead night at the Carthage Festival in Tuni ia. of telling a narrative, the dance work In addition to touring the U.S. and Canada makes a poet1cally direct, sentient com this season. the Nikolais Dance Theatre will munication. Instead of asking for literal return to Europe in the fall of 1972. explanation, the dance images invoke a RICHARD AJ\1\10 came to the dance reaction of associative interpretation. quite world from theatre and summer stock. He personal. but perhap freshly p:!rceptive. trained for professional dance at Boston from the spectator. as if he were involved Conservatory and in London and Germanv. in a highly fluid Rorshach te t. Nikolais This i'i his first season v. ith the Nikolais was born m Southington. Connecticut to Company. p:1rent who were German and Russian, and among other childhood pursuits be LISBETH BAGNOLD rec~"ived her B.A. came an expert pianist-organist. As a teen and M.A. in dance from UCLA. She per ager he chanced to see a live performance formed for and studied with numerous by Mary Wigman, the German modern guest choreographers visiting California, dance pioneer and her art turned Nikolais among them Alwin Nikolais and Murray to the career he has pursued ever since, Louis. fir<;t as cl dancer. then as a choreographer. He schooled and worked with every per ROB ESPOSITO was the lead singer for sonage in the emerging American modern several Washington. D.C. rhythm and blues dance until 1948. when he began teaching rock and roll bands before he began dancing and developing hi unique contemporary professionally. After seeing the Nikolais st}'le at the Henry Street Playhouse in New company perform in Wa<;hington. he moved York. to New York to study at the company school. and joined the company thi The development of Nikolais' work has sea on. o:::curred over nearly a quarter of a Ll!il BILL GROVES fled his job as an In tury and the Nikolais Dance Theatre i:. in surance firm actuary. studied dance at the enormous demand. In the past three years Boston Conservatory for three years, alone, four television films - Imago, danced with the Boston Ballet. and formed and have been made Limho, Tent Relay - his own company before joining Nikolais by the Swedish Television Network, CBS, Dance Theatre. the ZDF West German network and the BBC of England. The Company has also LYNN LEVINE, a New Yorker. has appeared throughout Europe, the Middle studied with Murray Louis and Nikolais East and Africa, performing for the major since she was 11. She gave her first per Festivals and Opera Houses, under the formance with the Nikolais Dance Theatre sponson.hip of the United States Depart in Galaxy, 1965. and ha toured natiOnally ment of State. While foreign touring has with the Murray Louis Dance Company. occupied forty weeks over the past three She rejoined the Nikolais Company this years, the Company also performs coast season. JANUARY, 1972 I BROOKLYN ACADEMY OF MUSIC I 15
SUZANNE McDERMAI D, a graduate of number of c.ompan1es in N Y ( San UCLA, where ~he later taught, both hanci-,co, and Lo-, Angeles. She JOined the danced and choreographed for the UCI A company th1s season. Dance Company. Nikolais invited her to join his company, and she has performed JAMES TEFTFR<), co-captam of the with it nationally and throughout Europe. NLw Jersey )tate Soccer C hampion.,hip Team, a member of the lightw<.1ght varsity GERALD OTTE cho"e to purc.,ue dance, crew, and \\.Jnner of the • Out<,tanding after graduating from the U. of Colorado Oarsman·· trophy at Dartmouth ( o lege, \\.ith a degree in theatre. becauc.,e dance v. here he majored in math. JOmt.d the "i-, the onl) tn1e contemporar) theatre." He company la-.t -.ea'>on. serves ac., the company dance captam. ANNE M ARI E RIDGWAY. v.ho set FRED TJ\1Pv1. an Engli'>h major gra track record'> in the high jump and broad duate of the U of W1scon.,in at Madison, jump \\hen a '>tudent in cattle, made her and a painter. -.tud1ed dance in order better debut v. ith the Seattle Opera Ballet in 1966. to understand the body and paint it. After She came to . Y. to stud) "'"ith Niholais a stint as an adverti'>ing copy\\.riter. he two yearo, ago. joined the NJi,nlais company. KA R EN RIMMER is from Vancouver, RUTH GRAUFRT. the As'>i'>tant Direc Canada, and is gucsting v. ith the Niholais tor of the Company, has been as.,ociated Company this year under a grant from the with Alwin N1kola1s in a wide range of Chimera Foundation. he has performed capacities for thirty years. even before in Canada v. ith the Simon Fraser Dance Nikolais estabiJ-,hed his compan\ m New W orh'>hop. has pre<,ented her O\\.n choreo Y0rk She holds an M.A. from Columbia graphy at the Henry Street Pia) house and tJm\er'>ll) in Ph1 O'>ophy and kc.ll res on the Cubiculo. and ha performed "'"ith the the man) facets of dance as an art. Her companies of 1imi Garrard and Ph) Ills articles have appear(!d frequently m Lam hut. magazmes. and in the hook. ew JJanU', b) ~ 1arger) Turner. I·ach '>Ummel \f1ss GLADY ROMA . a Nev. Yorher, G1 aucrt d1rects a performing arl'> ~orn tudied dance \\ ith 1urra) Lou1 · and lhO- mune in \-1aine. Iais several ye:m.. then performed v. ith a
the Bridal Specialist .. . Where we've made a tradition of creating perfect weddings. Bridal Salon-second floo r 50 I Fulton Street, Brooklyn , N.Y. -- 16 I BROOKLYN ACADEMY OF MUSIC I JANUARY, 1972
The Cunningham Company 111 'Wafkaround Time'
Merce Cunningham Returns
Mcree Cunningham, one of the great eries of full-evening events in which ex innovators of modern dance, return with cerpts from the repertoire are recombined his company to Brooklyn Academy, Fcbru in a unique manner for a specific theatre ar) 1-13. A constant experimenter, Cunning and never repeated in that preci e form ham ha helped shape a whole generation's anywhere else. concepts of ~hat dance is all about. And The February 9 performance i devoted his Brook.lyn season prom1ses further ex to a complete presentation of Canfield. This perimentation. work, ~ hich takes its title from a game of solitaire, is u ually danced in a short T~o nc~ works will be premiered Febru version, the episodes selected and "shuffled" ary l and February 2. The length of both for that performance like playing cards. will vary in successive performances during Here, however, is a rare opportunity to the tv. o week. sea on - a development of see the work in its entirety. Cunningham's introducing elements of chance and indeterminacy into choreog T he repertoire also includes such pieces as RainForest, Tread, Second Hand, raphy. Signaf!J, Object::, and Wafkaround Tune Other offenngs similarly reflect Cunning (with a Ja per Johns set baed upon Marcel ham's concern for what one critic has Duchamp\ monumental "The Large G lao;<., ... ) called "the pos ibility of surprise." The ee the brochure on the lobby information Februar) 4 performance is billed a "Event desk for complete programs. Tickets are on No. 26": It will be the latest in a continuing sale now at the box office. ------JANUARY, 1172 I BROOK LYN ACAD EMY OF MUSIC I 17 pecial Bon us Offer For Dance Events Three major dance events - plu!> a concert or a children's theatre performance - are available for $10. For that fee, one becomes an associate member of the Aca demy and receives orchestra or mezzanine tickets for performances by the Murray Louis - Alwin Nikolais companies, Merce Cunningham and Dance Company, and Netherlands Dance Theatre. Even if one is unable to return to see further programs in the current Louis Nikolais season. the offer is still a bargam, for the tickets sent to associate member!> are ordinarily priced at $6.95. And, in addition to the dance events, associate member have their choice of attending one of the following: the Boston Sym phony (Feb. 10), the Vienna Symphony Judith Martin and DouR/a\ Richard.wn (Feb. 27 ), the Minnesota Orchestra (April in 'Hot Feet' 20), or any one of the Saturday presenta tion of the Paper Bag Players (Feb. 12- The Paper Bag Players April 29). Further information is obtainable Com ing ~' ith 'Hot Feet' from the Membership Office, 30 Lafayette The P aper Bag Players, one of America's Ave., Brooklyn, N. Y. 11217. Brochures leading children's theatre groups, performs arc available in the lobby. Hot Feet Saturday afternoons at 3:00 in the Opera House of the Academy, February 12- Philharmonia Plans April 29. The show is a musical potpourri Mozart Marathon conceived. des1gned and directed by Judith Martm, with electronic harpsichord music The Brooklyn Philharmonia offers its by Donald Ashwander. second "Marathon Concert" February 19, when it devote a program to the mu. ic of The title comes from one of the songs Mozart. under the direction of Musical Ad in the revue. Each of the fifteen '>ketches visor and Conductor Lukas Fo . deals with an aspect of life in a big city: crowds. apartment houses. litter. tele Among the featured soloists in the con phones, supermarkets, etc. Tickeb are cert which begins at 6:00p.m. and continues $2.00, $1.00 For group rate information, until 10:30 p.m. are Mallory Walker, call Jane Biral at (212) 783-6700. Susan Belling, Janice Cavalier and the Brookl)'n Philharmonia Choral Society in Boston Symphony excerpts from Idomeneo, Paul Zukofsky and Jesse Levin in the Symphonie Con Announces Concert certante, and the Concord String Quartet Guest soloist Laurence Lesser plays the in chamber music compositions. Hindemith cello concerto at the February 10 concert of the Boston Symphony. Also on the program, conducted by M1chael Tilson Thomas, are Gabrieli's "Canzoni for Brass" and Schumann's First Symphony. Single ticket pnces are $6.95, $6.00, $5.00, $4.00, $3.00. Students, sen·icemen and senior citizens with 10 can purchase remaining tickets the day of performance at $2.00. Dance Collection Benefit A Gala Benefit to help rescue the Dance Collection of the New York Public Library will be held January 24 at 8:30p.m. at the City Center Theater 131 W. 55th St. A score of distinguished ballet and modem dance stars will participate in the program in aid of this distinguished research col lection, which may have to close its doors if $65,000 is not raised. Tickets priced at $100, $50, $20 and $10 are available from Janice Cavalier, featured in 'ldomeneo' Benefit Box Office, Dance CollectiOn Gala, 245 W. 52nd St., N.Y C. 10019. M ake checks payable to Dance Collection, New York Public Library. 18 I BROOKLYN ACADEMY OF MUSIC I JANUARY, 1972 DIRECTORY OF FACILITIES AND SEHVICES
Academy Dance Center Exprc:. llu c~ - M a nhattan to ll.\M Classes for a~cs 6-15 in ballet ! modern Direct bu es for mO'rt evening C\'Cnh leave d ance. Plca ~c call 783-6700, Ext. 33. S.W. corners unlc~s otherwise n oted. N o reservations ncces'>ary. Return: 15 minutes llar after performance. I arc: $1.50 round trip, A bar ~er ving liquor and soft drinks is $ J.OO return (if available). Schedule for located in the Academy's M ain Lobby. 8:00 curtain. 811\es /ca1·e one-half hour Sen icc i :1\ ailable one hour prior to cur earlier for 7:30 curtain. tain a nd du1 ing intermi . ions. Ea,.t Side I exington ,\ve. & 86th St. - 6:5-1- p.m. Ho'- Offin· Lc:-.ington t\' c. & 72nd St.-6: 58 p.m. 1 idet booth in bin Lobby Lexington Ave. & 60t h St.-7:02 p.m. Telephone: 7R3-2-D..J. Lexington Ave. & -!2nd St.-7:07 p.m. Second Ave. & 1-Ith St.-7:17p.m. ll ours: Second A\e. & E. 5th ~l.-7:20 p.m. l\londay through Saturday Academy of J\lu~ic arri,al-7:-1-0 p.m. 10 a.m. to 9 p.m. " ('"'' Sunuay pc1 fo1mance days ~id<' Broad\\:\\ & Roth St.-6:52 p.m. 1 p.m. IO 9 p Ill. llroad\\:1\ & 72nd St.-6:56p.m. B \1 a~ & 5Rth St. ( .\V. C orncr)-7 :00 p.m. Ched, Boom 7th i\\c. & -!-2nd ~t.-7 :05 p.m. Located in the l\ lain Lobby next to the bar 7th t\ vc. & l-I-th St. ( .\V. Cor.)-7: 13 p.m. W . 8th St. & \ venue of Americas lhinl.ing Fountain (S.F. Corner)-7: 18 p.m. Located in the rc'rtrooms in both the Opera Acadcm) of !u.,ic arri\ al-7 :-1-0 p.m. 1 lou-..e
The Brookl~· n Academy building is owned by the City of 1\ew York a nd fund:. for its maintc n a n('C arc admini:.tcr cd by the Parks, R ecreation and C ultural .\ffairs .\dminis tration, John V. Lindsay, Mayor; August Hecksher, Admini:.trator. DINE BY GASLIGHT Monday and Tuesday evenings. It's pleasant, nostalgic. Don't m1ss 1t.
Wtnner of 18 annual HOLIDAY GAGE AND TOILlLNER Maga z111e Awa rds BROOKLYN'S LANDMARK RESTAURANT
ES T ~·~to-.:. 372 FULTON ST., BROOKLYN • 2 Blocks from Boro Hall • TR1angle 5 5181 1879 OPEN 11:30 AM TO 9 PM, SAT. t ll9:30 • Closed Sundays
We Can't Can-Can, But You Don't See Our Customers Kicking Either!
Ha\ tng l\\O left feet doesn' t keep us from taktng <;tep~ to inc;ure e\ ery cu'-lomer's total sattsfactton '' ith e\er\ Sachs New York purchac;e Steps l1ke our un1que 30-day money back guarantee of \alue. Step'> like our lifetime serv1ce guarantee. Or steps l1ke our compltmentar) decorator ~er\ 1ce to help stop m1stakec; before the) happen Who's kicking? Sachs '\.e'' York 1s ~e\\ York's '\.o 1 Furn1ture Spectaltst.
SACHS New York's Number 1 Furniture Specialist In Brooklyn: 559 Fulton )t • So. Brooklyn: 5th Ave. & 14th St. Marine Park : Flatbush A\ enue and A\e. \ Opposite Kings Plaza) and throughout the \-~etropolitan area
MICHEL'S RESTAURANT Estabiuhed 1910 Founded and Operated by The MICHeL Family Complete Bc:nquet r acilities 346 FLATBUSH AVENUE BROOKLYN. N. Y. Free Parking NEvins 8-4552