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Nikolais Dance Theatre "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 $ 10 Contributor $25 Sponsor $100 Donor $15 Supporting Contributor $50 Patron $500 Benefactor 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<t, of hou es in whose windows women pose he not only assigns movements to them. provocatively day and night alike. T hese hP. relate their acti vity to the scenery and women - with their exaggeratedly cxy lighting, v.hereas dancers in other con~­ clothes and mah.eup - seemed. to Nik, to panies may never even see the decor unul adorn the facades of their buildings like final rehearsals. It is a laborious process, "decayed putri." Whe n he returned to a nd many ideas are discarded before a America, he decided to create a dance dance is completed. Nik can show visitors v. hich would somehow reflect the atmos­ to The Space v. hole boxe. of slides pre­ phere of that street. But what was the pared for a project but never used.
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