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BROOKLYN ACADEMY OF MUSIC
Sadler's oya Ballet
A Royal Opera House Company Ne111JJort ~ Lonllard, Inc , US A , 1986 Lights
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Pictured here: Lynne Meadow (top left), The Manhattan Theatre Club's artistic director, and scenes from some distinguished MTC productions: Digby (top center); Crimes of the Heart (fop right); Artichoke (bottom left); Sally and Marsha (bottom right) Carolyn Meadow began making a name Milan Stitt; Ashes by David Rudkin; Ain't for herself at the age of eight. In a fit of Misbehavin', which won three Tony artistic frenzy, the stage-struck little girl Awards after moving to Broadway; Bill lopped off the C-a-r-o and after careful Davis's Mass Appeal, which alSo was suc consideration added an "n," then an "e" cessfully transplanted to Broadway; and to the remaining letters. the Pulitzer Prize-winning Crimes of the For the last 13 years, Lynne Meadow Heart by Beth Henley. Under Meadow's has been making another kind of name for stewardship and that of managing director herself as artistic director of The Manhat Barry Grove, MTC has picked up a The tan Theatre Club. She has been respon atre World Award and a fistful of Obie sible for the New York productions of and Drama Desk awards, and attracted Geography of a Horse Dreamer (1975- performers like Meryl Streep, Glenn 76 season) by a then unhonored, unsung Close, Sam Waterston, James Whitmore, Sam Shepard; The Runner Stumbles by Nancy Marchand and Barnard Hughes. by Joanne Kaufman
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NEW YORK~Qffiott. MARQUIS 1535 Broadway at 45th, New York, New York 10036-4017 Meadow took over MTC when she was a 25-year-old Yale grad
But when the actress manquee Meadow little theatre like ours has trouble carrying. took over the job of running MTC as a 25- It hasn't been this bad, I think, since the year-old graduate of Yale Drama School beginning." The cumulative deficit for with exactly two New York directing cred MTC as of June 30, 1986 is projected at its to her name (one was a production of $150,000-250,000. Ubu Roi at St. Clement's Church starring Money and real estate are not the only a Yale colleague named Henry Winkler), problems. There is also the difficulty of ·•ashes" was not the name of a play. It was planning a season that will fall in line with more the condition of the building where Meadow's vision for MTC and yet satisfy the theatre was billeted. an audience which this season includes "It was a dump," Meadow says of the 5,000 new subscribers. "There is always Club which had been established in 1970 the challenge of finding good work, and by a cadre of businessmen as an alterna you never learn how to do it so that you tive to commercial theatre. "Mass appeal" don't have to think about it," says Mead was not the name of a play but a way of ow. "Each time you start a new produc trying to discharge the $75,000 deficit tion you're entering uncharted territory. MTC had gathered in its first two years of The only thing you know is that you got operation. through the last one. I have doubts every "I think I am naive now, and I think I week, every day, at least every half hour. was really naive then," says Meadow, 38. But you do learn certain things to avoid, "I believe you have to be naive to begin a as a producer you learn to move quickly. venture of any kind. You can't have a I have developed a style of being extreme clue of how impossible it is or else you ly direct and not mincing words, being just wouldn't do it. I think there was a gift blunt but hopefully not undiplomatic, un in being just 25 and full of ignorance and caring or unloving. But I think, in terms optimism and belief. I plunged in as they of the way I deal with the staff and say, rolled up my sleeves and got to work." the directors whom we employ, I say ex During Meadow's first six weeks, she actly what I mean and I don't waste time got 23 productions off the ground; during getting there anymore. That's a great gift her first season, she sponsored 63 events. that the theatre has given me." "Initially, I let almost anyone who seemed "Lynne has very strong ideas of what interesting perform here," she recalls. "My she wants, and she starts telling you very artistic policy at the time was 'why not?' early on," says actress Christine Baranski, I think there's still a little bit of a 'let's try who appeared with Bernadette Peters in it' spirit in me but it's become more re MTC's production of Sally and Marsha fined. I'm more aware of the risks." (1981-82 season), and who starred in this There is no question that the stakes season's It's Only a Play. "She's a very have gotten higher. So has the rent. Last strong director, very much under control. year MTC had to abandon the comfort She knew the role of Marsha was a stretch able, raffish quarters leased from the Bo for me and that I wasn't ideal casting, but hemian Benevolent and Literary Society she was willing to take a chance and she for a theatre at City Center and cheaper kept pushing me to grow." office space on 16th Street. "We're talking about a smart lady. "We are under tremendous financial That's the thing that comes to mind first," pressure. Things are not stable by any says se,t designer John Lee Beatty, whose means," she says. "We're in a real transi productions at MTC include Ashes and tion moving to City Center. Moving our Catsplay and who will be designing this office meant enormous expenses that a spring's Principia Scriptoriae by Richard
6 Nelson, a production that will be di I can meet with my staff and listen and rected by Meadow. "There wouldn't be an say, 'You know, you're right and I was MTC without her. But sometimes her wrong.' I'm strongly opinionated but they brain works overtime. She's still thinking have turned my mind around." even after you've put up the set. Working "One of the gratifications about work with Lynne means a lot of intense meet ing here is that there is a lot of give and ings. There's a withdrawal after working take," says MTC's general manager Vic a show because you're not having a pan toria Bailey. "I can discuss things with icked discussion about the upholstery on Lynne that are in my own domain, but I the footstool." would also feel comfortable in giving my The upholstery on the footstool is not opinions about a script I've read. There always the color Meadow had in mind on isn't a rigid compartmentalization. Every first swatch consideration, nor is a bit of one is encouraged to speak." stage business nor some aspect of MTC Lynne Meadow is determined that policy. "I think I can take a position and MTC's new address, its new proximity to
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Broadway, will have no effect on the sea Sachs, Sally and Marsha and Artichoke, son's offerings. "When we moved from among others. Even Meadow couldn't a 150-seat theatre uptown to a 300-seat handle the rigors of directing a play and theatre in midtown, I decided to pro producing a baby in the same season. gram a season as though we were still on Even so, in the 45 minutes before a re 73rd Street and to continue the work we porter's arrival, the impresario of The had been doing for ten years." Manhattan Theatre Club dashed home If MTC's new home at City Center from a fund-raising meeting with an MTC spawns another Ain't Misbehavin' or an board member, called Ellen Burstyn who other Mass Appeal, it would certainly be would be co-hosting a benefit for The Club, fine with Lynne Meadow, but she insists had a protracted phone conversation with a that commercial productions are only a set designer, completed an application to by-product of The Club, not a goal. "Basi The National Endowment for the Arts, put cally we are here to develop and create the finishing touches on an artistic state and produce new work for the theatre," ment, made arrangements to meet with a she says. "If some of that moves on to director, another set designer and a com Broadway, terrific. If it can go to a re poser whose workshop musical she'll be gional theatre, terrific. If it just runs at directing in the spring, and returned calls MTC for five weeks, that too is what we're from director Brian Murray and Mariel about. To me, some of the most success Hemingway (who appeared last year in ful things we've done have not had a life MTC's production of California Dog beyond Manhattan Theatre Club. Fight). "If commercial productions become our Needless to say, there is little time for goal, then we might as well be commercial Meadow to stop and count her Obie's. producers instead of non-profit pro There are workshops and readings to ducers," she adds. "Often, we'll choose to schedule, scripts to sift through, a second do a play because the playwright looks like performance space to plan for at City Cen he has tremendous potential or has a few ter. "I certainly don't feel remotely com really fabulous scenes in a play. placent," she says. "Every day is some "One of the things we are addressing sort of crisis about how we're going to get ourselves to this year is to make clear to through. I think I feel a sense of confi the audience that this is an institution with dence and love that comes with a home. a past, a present and a future, and that But our existence is so precarious I feel when you come to The Manhattan Theatre that we're constantly standing on the edge Club, it's not about seeing one play, it's of a precipice." about seeing a body of work." It doesn't have to be this way for Lynne Though Meadow hasn't lost the zeal she Meadow. She has been courted by other had as a 25 year old, she no longer main institutions, she has had offers to direct tains an early morning, all through the productions elsewhere. "Up to now I have night, seven days a week schedule. The de been very fulfilled so I haven't been look mands of marriage and motherhood (she ing elsewhere," she says. "I would like to has a one-year-old son) have seen to that. direct more. I'd like to direct a show for "Last year was the first year I didn't direct Broadway. But right now this is home and anything since I came to New York," says there is a tremendous satisfaction in watch Meadow, who during her tenure at MTC ing my own personal growth and the has directed Ashes, The Jail Diary of Albie growth of others around me." 0
8
BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Chief Executive Officer !!!!!!!!!!!!!!!!!!!!!!!!!!!~ By arrangement with Royal Opera House Covent Garden Limited General Director Sir John Tooley presents Sadler's noyaDWells } Ballet
sponsored by ~ BARCLAYS BARCLAYS BANK
The Royal Ballet Founded by Ninette de Valois in 1931 Founder Choreographer Frederick Ashton Founder Music Director Constant Lambert Prima Ballerina Assoluta Margot Fonteyn Director of The Royal Ballet Norman Morrice Principal Choreographer Kenneth MacMillan Director of Sadler's Wells Royal Ballet Peter Wright Music Director Ashley Lawrence February 4-9, 1986
The Sadler's Wells Royal Ballet American Tou r is sponsored by Barclay's Bank. England's largest internattonal bank.
This presentatiOn of Sadler's Wells Royal Ballet is also made po»tble by grants from the Bernard Sunley Chantable Foundation. Brooklyn Umon Gas. Mr. and Mrs. Henri Doll. the New York. Stme Council on the Arts. the New York Ci ty Department of Cultural Affairs. and Mr. Paul U:pcrcq. c · ~ ,z0 s 0 0 ..c Q..
It is a great privilege for our bank, as part of its sponsorship of the Covent Garden Ballet companies, to be support KENSINGTON PALACE ing this visit by Sadler's Wells Royal W.8 Ballet. We wish them every success and I am delighted that Sadler's Wells are sure they will bring great enjoyment Royal Ballet is making its first visit to to all who see their performances. the United States of America. I know that all Americans will greatly enjoy their performances. As President, I send them my best wishes for a successful and enjoyable tour. Sir Timothy Bevan Chairman Barclays Bank PLC The faster the pace the more we're detennined to stay where we are.
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"EXHHlARATING AND IRRESISTIBLE A breathtakingly tender channer. A funny, joyous journey of liberation:' -Molly Haskell, ' GLENDA BEl'.j JACKSON KINGSLEY A~YBV HAROlD PINTER TURTLE DIARY TilE '>AMlll (~HJ l"'<'O CO~IPA.'IY PIU-:st:.'\1; A l 'OniD RIUl'l\lt AKlb1' RR.IT'l\H UO!\ PROOliCllO~ GU:.,'DAjAOi.. C\C:>:'i 81-~ ~C-.'\I.Ff in TI"Rl1.f DIAR'\ '''"''-""Jlbl b) liAR< HD PI' I"Ut B:bcd oo "" RKllAR.I> JOIINSO~ ':?.'!:!:':"".="""': Din."<1<"<1 b) JOHN IRVIN ~.:(A4•, AN RKO CINEMA 5 THEATRE COMING I ciNEMA II SOON 3rd~ at 60th 51 P\.3 6022 Although The Royal Ballet has visited the United States many times since 1949, this is only the second occasion on which its sister company, Sadler's Wells Royal Ballet, has played Sadler's Wells Royal Ballet's in North America. excellent international reputation has That in itself adds another dimen been founded on many years of success sion to this tour for the members of the ful touring overseas, often with British company who are greatly looking for Council support. We are delighted to be ward to performing for you. They spend associated with the company's debut in most of their lives on the road and are the United States, Mexico, Venezuela seasoned travellers, but America holds and Brazil. I am sure this tour will win out special challenges for them. many friends for the company and for These tours can now never be Britain. financially self-supporting and conse quently we are dependent on the help of others to make them viable. In this instance we are greatly indebted to Barclays Bank, the British Council and the American Friends of Covent Garden. Sir John Burgh KCMG CB Director-General British Council Sir John Tooley ~S General Director Royal Opera House Set the stage for a great evening at Liberty Cafe. Before or after the show, show the American Express® Card. South Street Seaport, Pier 17, 406-1111. Regional American cuisine in N.Y.'s famous seaport. ClAmencan Express Travel Relared Serv1ces Company. Inc. 1983 For the Royal Opera House Carl Myers Samira Saidi General Director Roland Price James Seabrook Sir John Tooley Galina Samsova Douglas Vardon Assistant Director Marion Tait Paul Findlay Artists Technical Director Solo artists Andrew Allen Tom Macarthur Leanne Benjamin Amanda Armstrong Susan Crow Sam Armstrong Sadler's Wells Royal Ballet Karen Donovan Jane Hillson Director Clare French Louise Bracey Peter Wright Lili Griffiths Louise .Britain Principal Conductor Vincent Hantam Linda Cupit Bramwell Tovey Jennifer Jackson Julie Francis Allen Conductor Susan Lucas Lucinda Garner Ormsby Wilkins Graham Lustig Mary Goodhew Resident Choreographer Nicholas Millington Graham Hall David Bintley David Morse Katherine Harbottle Michael O'Hare Ayumi Hikasa Principals lain Webb Philippe Hinh Margaret Barbieri Mark Welford Laura Hussey Stephen Beagley Stephen Wicks Paul Jenner David Bintley Chenca Williams Gillian Maclaurin Derek Deane David Yow Philip Mosley Alain Dubreuil Kevin O'Hare June Highwood Coryphees Annette Pain Petter Jacobsson Ann Carol Vincent Redmon Nicola Katrak Bess Dales Jayne Riddle Sherilyn Kennedy Russell Maliphant Nicholas Ringham Sandra Madgwick Mandy-Jayne Richardson Miyako Yoshida Staff for Sadler's Wells Royal Ballet General Manager Press and Marketing Officer Deputy Carpenter Christopher Nourse Jose Phillips Douglas Nicholson Ballet Master Touring Assistant Deputy Electrician Desmond Kelly Clare Temple Cliff Williams Regisseur Travel Manager Assistant Carpenter Ronald Plaisted Frances Blair/Elizabeth Woods Martin Riches Ballet Mistress Freight Manager Assistant Electrician Anita Landa Ian Jeppesen Nick Royle Teacher Technical Manager Wardrobe Mistress Galina Samsova John Seekings Lili Sobieralska Repetiteur Stage Manager Wardrobe Assistants Alain Dubreuil Michael Throne Brian Ferguson Dance Notator Deputy Stage Manager Jacquie Khan Deborah Chapman/Grant Coyle Michael Soffe Janet Kightley Company Pianist Master Carpenter Andrew Thackeray Hilary Bell John Hart Liz Thorrington Staff Conductor/Rehearsal Pianis, Chief Electrician Wig mistress Stephen Lade John Hall Pamela Vine Company Physiotherapist Property Master Britt Tajet-Foxell Graham Weston Music by Aubrey Meyer (specially commissioned score) ·Choreography by David Bintley Designs by Terry Bartlett Lighting by John B. Read Choros, literally 'dance' or 'dances', is the realization of four ancient Greek types of dance. The original music and choreography of these entertainments is little known and.so the ballet consists of a series of free inventions on their themes, forming a work which is timeless in its content and ideol-ogy. I. PARADOS (Parade) 2. SIKINNIS (Dances of the Satyr Play) 3. KORDAX (Dance of Old Comedy) 4. EMMLEIA (Dance of Tragedy) 5. PYRRHIC (Martial Dance) 6. EXODOS (Exit) PETR HKA Ballet in four scenes Music by Igor Stravinsky (1882-1972) Choreography by Mikhail Fokine Produced by John Auld Scenery and costumes by Alexandre Benois Lighting by John B. Read Premiered by the Diaghilev Ballet 13 June 1911 First performance by The Royal Ballet 26 March 1957 First performance of this production by Sadler's Wells Royal Ballet 8 March 1984 Scene 1- some animated dolls; and the illusion has in The Butter Week Fair, St. Petersburg, 1830 truth something miraculous about it. For It is night, with snow covering Admiralty these dolls-Petrushka (a simple-minded Square where the bustling carnival takes Punch figure), a Blackamoor, and a place. St. Isaac's Cathedral is in the back Ballerina-dance with such verve as to ground. The traditional dyed ('grandfather') of suggest that they are living creatures. the fair keeps up a stream of coarse jokes; dancing girls display their skill to the crowd; Scene 11- gingerbread-sellers and others hawk their Petrushka's compartment in the booth wares. An old Showman 2. "'ui .!.! ---~-~~s Marion Tail and Nicholas Millington in Choros. FLOWERS OF THE FOREST Music by Malcolm Arnold (Four Scottish Dances Op. 59) Benjamin Britten (Scottish Ballad Op. 26) Choreography by David Bintley Design by Jan Blake Lighting by John B. Read Four Scottish Dances was a ballet created in 1979 at the request of Vyvyan Lorrayne and was premiered in Israel by principal dancers of The Royal Ballet companies. The ballet was made, with affection, in a deliberately picture postcard style. Britten's Scottish Ballad strikes a more serious, and thus contrasting, note. The collective title Flowers of the Forest comes from a 19th century folk song quoted by Britten in the Scottish Ballad which commemorates the Battle of Flodden (1513) at which King James IV of Scotland and the greater part of the Scottish nobility were killed. David Bintley Music Note guest at the Californian home of Ethel Bartlett Two works by different composers for and Rae Robertson, the British-born piano Flowers of the Forest share the association of duo for whom he had already written two non character implied in their titles: the Four orchestral works, the Introduction and Rondo Scottish Dances by Malcolm Arnold followed alla burlesca and Mazurka elegiaca (Op. 23 by the Scottish Ballad for two pianos and Nos. I and 2). The husband-and-wife duo orchestra by Benjamin Britten. Arnold's gave the first performance of the Ballad with Dances, which suggest a strong folklike the Cincinnati Symphony in 1941, and Britten character are, in fact, wholly his own inven himself, by then back in England, joined tion. They were composed for a BBC Festival Clifford Curzon to introduce it at a wartime of Light Music in 1957, and are in a similar Prom concert in 1943. vein to his previous suites of English Dances The Ballad makes use of several authentic which furnished the basis of Sir Kenneth Scottish folk and other themes, treating them KacMillan's early ballet, Solitaire (1956). The with sophisticated imagination. It takes the so-called 'Scotch snap' rhythm is a prominent broad form of an introduction and allegro, feature of Arnold's fi rst dance, Pesante, and but with the first part having the character of after a perky clarinet tune leads off the a funeral march with a central trio, and about Vivace second dance, a solo bassoon lan twice as long as the second. The pianos first guidly gets in on the act to modify the pace give out the psalm-tune, Dundee, followed by and bend the phrasing to its own purposes. a strathspey with its 'Scotch snap' as the basis The third dance, though marked Allegretto, is for the march, with Tum ye to me brought in a dreamy romantic number with yearning as a counter-subject and Flowers oft he Forest flute and shimmering harp, and a haunting as the theme of the trio-section in a contrast melody that almost writes its own words as it ing major key. changes key on each repetition. After which, After building to a climax, the march briefly and Con brio, the suite reels to an resumes on the earlier themes, then decreases end. in intensity as the pianos prepare a transition Benjamin Britten (who became Lord to the Allegro motto and the tune of a vigor Britten of Aldeburgh a few months before he ous reel. The soloists become more competi died) composed the Scottish Ballad in 1941, tive with the orchestra in extending this into two years after his Young Apollo, for piano successive short variations, with an echo of and strings (from which Bintley derived the Tum ye to me as a melancholy counterpoint, music for his ballet of that title in 1984). The before reaching a still brisker coda and a firm Ballad was written while the composer was a major-key ending. Noel Goodwin Choreographic An and asked Ursula Moreton to be her assistant. De Valois needed time away from the school to work in the theatre and establish contacts to secure a base for her company and it was essen tial to have a trusted lieutenant. (Ursula Moreton remained at de Valois' side until the end of her life.) It was in 1926 that the famous interview with Lilian Baylis took place at the Old Vic. "The Lady," as Miss Baylis was called, liked the young woman who came to her with sensible plans (and was not asking for any capital) and visited the school in Roland Gardens. As a result, she made de Valois an offer of work with her actors and singers at the Vic: "£1 a week, dear, for the teaching; £2 for arranging a shon dance per show ...and £3 if there's more than one dance to do." But there was a carrot. Baylis was planning to rebuild the derelict Sadler's Wells Theatre and offered space in it for an embryo ballet company. De Valois accepted The Lady's terms and was prepared to wait. She has DAME NINETI'E DE VAWIS, C.H., D.B.E., constantly acknowledged her debt to Lilian Baylis: Founder of The Royal Ballet and Sadler's ~lis "She never wavered or went back on any of the Royal Ballet. Born Edris Stannus at Baltiboys, important plans laid down in theory... Indeed she Belssington, County Wicklow, she has always ruthlessly championed my cause throughout those insisted, with W.B. Yeats for whom she worked, trying four and a half years of waiting for better "I am of Ireland." Irish she is, by birth, association opportunities." and, very much, in temperament but it has been to Trying those years may have been, but they England that she has given her life. It was indeed were not wasted. De Valois was working for the fonunate for us all that on their arrival in London Abbey Theatre, Dublin (with Yeats) and at the her mother should send her to dancing classes, at Festival Theatre, Cambridge (with her cousin first to Mrs. Wordsworth's School, and then, more Terence Gray) as well as at the Vic and she gave seriously, to the Lila Field Academy. Her mother performances at the Royal Coun Theatre to show invented her stage name and turned her into a child the abilities of her students and some of her own prodigy (dancing The Dying Swan, as she claims, choreography. Her talent was recognized by people on the end of every pier in England), but it was de like the music critic, Edwin Evans, and Arthur Valois herself who realized her classical technique Bliss. Thus when the time came to shut down her needed strengthening and went to Woolborough own studio in 1931 and move into Sadler's Wells House in Barnes to work with Edouard Espinosa. she had a nucleus of choreography for the "ballet She became a principal dancer in pantomime and evenings." She had also, of course, been closely in Covent Garden opera seasons and in 1922 associated with the work of the Camargo Society appeared with the company led by Massine and from which, and from the pioneering done by Lopokova. In ttie early 1920s there began a cam Ramben at the Ballet Club, the young Vic-Wells paign, led by Philip Richardson through the pages Ballet was so greatly to profit. of The Dancing 1imes, to establish a British The beginnings at Sadler's Wells were very national ballet and de Valois, with characteristic humble and de Valois was dependent on guest foresight, decided that the only way to learn how a dancers in the early years. She had the good for ballet repertory company should be run was to join tune, however, to secure, right at the stan, one. She went straight for the best and joined, Constant Lamben as musical director; he remained unconditionally, the corps de ballet of Diaghilev's the company's mentor on musical matters until his Ballet Russe. This was in 1923. She left in 1925 death. And in 1935, when she could afford a resi (although she rejoined, briefly, the following year) dent choreographer, she engaged Frederick Ashton. but she had danced and created solo roles in ballets In her books de Valois has paid tribute to the many by Nijinska and Massine, she had learned much people who helped her in the long journey from about company procedure, about choreography, Sadler's Wells, in building the great enterprise that and about the classic, academic dance from her is The Royal Ballet, Sadler's Wells Royal Ballet and studies with Cecchetti and Legal. their school today. Impossible to catalogue them all In 1926 she opened her own school at 6 Roland here, but it is testimony to de Valois' personality Gardens in London, called (at the suggestion of the that so many who worked with her in the early ballet historian Cyril Beaumont) The Academy of 1930s are still with the organization today, serving, as she did, "the company." She saw her company established as the first resident troupe at Covent Garden, win world fame, develop a school that ranks with the finest in the world and, through her brilliantly argued submis sion, earn its Royal Charter which safely unites all its component parts. When the time came to retire as director in 1963, she made sure that the transi tion to Ashton's directorship should be easy. She had given up her traditional last-night-of-the-season speeches, so adored by audiences, many years before; she got all the retirement tributes over and done with six months before she was due to go. She went at a time when her popularity was not at its highest ebb and when Ashton was enjoying his first triumphs as director she said gleefully "I think I timed it rather well." PETER WRIGHT made his debut as a profes "Madam," as she is known to everyone, did not sional dancer with the Ballets Jooss and during the sever her connection with the School until 1971 and 1950s worked with several dance companies, she has never really retired. She still keeps an eye including the Sadler's Wells Theatre Ballet, for on the national ballet company she established in which he created his first ballet A Blue Rose in Thrkey, and when in the autumn of 1977 she was 1957. In 1959 he was appointed Ballet Master to asked to supervise the new production of The the Sadler's Wells Opera and teacher at the Royal Sleeping Beaury, she was working harder than any Ballet School, and in 1961 he went to Stuttgart as one. She still attends innumerable performances; teacher and Ballet Master to the company being she is always available to help and advise; and per formed there by John Cranko. There he chore sonally supervised the most recent revivals of her ographed several ballets including The Mirror balleiS The Rake's Progress and Checkmate for Walkers, Namouna, Designs for Dancers and Quintet, Sadler's Wells Royal Ballet. To her, countless and mounted his first production of Giselle which dancers and choreographers owe debts of incalculable he has subsequently produced for both Royal Ballet gratitude. The six principles of ballet criticism laid companies, the Canadian National Ballet, the down in her first book, Invitation to the Ballet, Dutch National Ballet, the Royal Winnipeg Ballet, have guided writers ever since. and at the Munich, Cologne, Frankfurt and Rio de In addition to her work in building a national Janeiro Opera Houses. His other productions of the ballet, Dame Ninette de Valois has lived a happy classics include The Sleeping Beaury for The Royal parallel life as the wife of Dr. Arthur Connell. Ballet, for Munich, Cologne, for the Dutch When he practised at Sunningdale she was known National Ballet and for Sadler's Wells Royal Ballet, locally simply as the doctor's wife, for she was as Coppelia and Swan Lake for Sadler's Wells Royal efficient and charming in running a household (she Ballet, and The Nutcracker for The Royal Ballet. is an excellent cook), and in dealing with tefephone During the 1960s he also established himself as a messages, as in running her company. On Dr. Connell's successful producer of television ballets and retirement they moved to their present pretty house choreographed various West End musicals and on the river at Barnes, conveniently situated revues. In 1970 he returned to The Royal Ballet as between the two Royal Ballet schools, at White Associate Director and is now Director of Sadler's Lodge in Richmond Park and Talgarth Road, West Wells Royal Ballet. Since his return he has chore London, for her, and with a garden of manageable ographed Arpege, £1 amor brujo and Summertide. size for him. He received the London Standard Ballet Award for Of all the descriptions of Madam's nature, the 1981 for his directorship of the company, the most vivid is that made by her compatriot James encouragement of young talent and his production Monahan, now Director of the Royal Ballet School, of Swan Lake. In 1985 he was awarded the CBE who wrote of her as being "... highly intelligent, (Commander of the British Empire). arbitrary, incalculable, autocratic ... exceptionally kind, absurdly vague, sensible and forthright, fiery BRAMWELL TOVEY, Principal Conductor, was and humorous, and irresistibly persuasive, not by born in Essex in 1953 and graduated from the logic but by force of character and her total Royal Academy of Music and the University of integrity". A quotation from Stanislavsky in one of London. At the age of22 he was appointed Staff her own books sums up her achievement: Conductor of London Festival Ballet and made his ".. .Yesterday an Idea is Mine, today it is yours, and professional debut with Rudolf Nureyev's produc tomorrow it belongs to the whole world .. ~ tions of The Sleeping Beaury and Romeo and Juliet Mary Clnrke Bramwell Tovey ORMSBY WILKINS, Conductor, was born in at the Manchester Opera House, productions he Sydney, Australia, where he studied at the Conser subsequently conducted in Paris and Australia. In vatorium of Music and at Melbourne University 1978 he became Music Director of Scottish Ballet Conservatorium. After winning the keyboard sec with whom he made his Edinburgh Festival debut tion of the Australian Broadcasting Commission's in 1980. His score for Peter Darrell's production of Concerto and Vocal Competition, he joined the Cinderella received much critical acclaim and has Australian Ballet in 1m as principal pianist. In to date had nearly 200 performances and been 1976 he first conducted for the Australian Ballet recorded by lTV. and subsequently conducted all the works in the In 1983 he joined Sadler's Wells Royal Ballet repertoire, including a gala performance of Swan and made his debut at the Royal Opera House in Lake in 1978 in the presence of HRH Princess .,May of that year. In 1984 he succeeded Barry Alexandra of Kent. In 1981 he was invited by Wordsworth as Principal Conductor. In addition to Marina Gielgud to be her pianist for Steps Notes his commitments with Sadler's Wells Royal Ballet and Squeaks in Sydney and New Zealand. He also he undertakes guest engagements both in Britain conducted the Melbourne Symphony Orchestra for and abroad. During 1984-85 his work included several recordings. In 1982 he was appointed Resi Messiah with the Royal Choral Unil in Edinburgh dent Conductor of the Australian Ballet. He left and Tosca with Leonie Rysanek in the title role for Australia at the end of 1983 and came to London, Capab Opera who have invited him to return for · and has worked as pianist and guest conductor with Der Roseni«Jvalier in 1987. During 1985-86 he will Sadler's Wells Royal Ballet and as guest conductor give concerts at the Barbican and Royal Festival with the Royal Swedish Ballet. Halls in London with the London Symphony, TERRY BARI'LETf, Designer, was born in Philharmonia, BBC Concert and London Concert Sussex, and went to school in Sutton before joining Orchestras. ln December 1985 he gave a concert at the Wimbledon School of Art in 1m. attaining a the Barbican Hall with the Orchestra of Sadler's B.A. Hons. degree in theatre design before he left Wells Royal Ballet. In February and March 1986 he in 1976. will conduct Sadler's Wells Royal Ballet's tour of He then took a post graduate course in theatre the USA, Mexico, Brazil and Venezuela before giv design at the Slade School of Fine Arts from 1977 ing several concerts in Canada with the Winnipeg to 1979, and then won an Arts Council Trainee Symphony Orchestra. In January 1985 he made his Theatre Designers' bursary. During this time he North American concert debut with the Canadian worked as assistant to designers whose work National Arts Centre Orchestra and in February included production for the Royal Opera House. and March conducted Sadler's Wells Royal Ballet in Terry Bartlett's own work has included designs New Zealand and India where, with the Bombay for small dance groups; Puntila and Matti (January Chamber Orchestra, supplemented by the com 1982) by Bertholt Brecht in a production by Giles pany's own musicians, he conducted the fi rst per Havei"gal for the Glasgow Citizens' Theatre; Night formance of classical ballet with live music. Last Moves (April 1981), The Swan ofTuonela (Septem season he appeared as a solo pianist with the com ber 1982) and Choros (September 1983) for pany in Elite Syncopations and his own orchestra Sadler's Wells Royal Ballet and Conson Lessons tion of Les Sylphides. 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Reck A Netbereot Mr dt Mrs. Henri Don Ms. Mari:sa Jaoobs Mr. A. ~11ahoctio. Jr 0.. L Your ego may need something showy, but what your skin needs is plain and simple. Your motive for choosing skincare should be your skin. So Moon Drops combines the latest scientific discoveries with nature's most skin-sympathetic substances. Moon Drops. Three simple, effective skincare plans for truly healthy-looking skin. Isn't that what you really want to feed your ego? SURGEON GENERAL'S WARNING: Cigarette Smoke Contains Carbon Monoxide. BAM CHALLENGE FUND MLSS Nettie Ouskis- Mr. John P. Hodgkin Ms. Jean C. Guooi&ne' Mr Robert J. LaJy• The BAM Challenge Fund has Mr. Michael Femro- Mr. Slephen l Hoffman Ms. Mansa H-aan• MlSSMa,am t..eiser-- been established 10 .chteve the Mr. EdV~"ard R. Fiuger~ld• Mr. Stephen 0. Houck Mn. Vaknc: Kae11'1pP Ms. Jean M. l..co"' $1.8 mill tOn goal in matchJn& Mr. Uluis 0. Fontana• Ms. NaWte S. Hurwitz Mr. &: Mrs. Samuel Klein" Dr. J. 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For lnfonnarion on GROUP RATES, call (718) 636-4125. RFSfROOMS: Opera House: Mezzanine level and 5th floor; handicapped- Orchestra level. Carey Playhouse: Mezzanine level; handicapped- Orchestra level. Lepercq Space: Theatre level and 5th floor. PUBLIC TELPHONES: located in the Main lobby, St. Felix St. entrance. wsr & FOUND: (718) 636-4150 THE TAKING OF PHOTOGRAPHS OR THE USE OF RECORDING DEVICES IN THESE THEATERS IS STRICfLY PROHIBITED. The Brooklyn Academy of Music is a Chaner Member of the League of Historic American Theatres. BROOKLYN ACADEMY OF MUSIC, 30 Lafayette Avenue, Brooklyn, New York 11217-1486 General information: (718) 636-4100. BAM SHOWBILL MANAC lNG EDITOR Susan Hood SpiCr ART DIRF£l'OR John Harris DESIGN ASSISTANT M.chele Ann Travas Brooklyn Union Gas SALUTES THE BROOKLYN ACADEMY OF MUSIC The arts enrich our lives and mirror our passage through time. We at Brooklyn Union Gas are proud of our long and close association with the Brooklyn Academy of Music. We believe that business and the arts working together can achieve great things, and that what happens on stage can inspire and motivate all of our lives. The Brooklyn Academy of Music, the oldest performing arts center in America, has had a rich heritage of presenting the very finest in music, dance and theater, and has thereby added enormously to the quality of life in Brooklyn. Through programs such as the NEXT WAVE Festival, BAM has led the way in reflecting our changing times and moods. We salute all of the creative, energetic and dedicated people at BAM and join you the audience in applauding the accomplishments of the Board of Trustees and staff. BOARD OF TRUSIU:S Ooua Allan, Vkc President Wilfredo De Arce, Helen Steele, SUbscnphon Harold Ba iley Hon. Ed Margaret Barbieri Stephen Beagley David Bintley Derek Deane Alain Dubreuil June Highwood Petter Jacobsson Carl Myers Roland Price Galina Samsova Marion Tait MARGARET BARBIERI was born in South Laurence Olivier Award for Dance in 1984. Africa of Italian parents. She joined the Royal He was appointed Resident Choreographer Ballet School in 1963, graduating into the and Principal dancer in 1985. touring company in 1965 and at 21 was DEREK DEANE was born in Cornwall and acclaimed in the role of Giselle at Covent joined the Royal Ballet Upper School at the Garden. This led to roles including the Young age of 17. In 1972 he joined The Royal Ballet Girl in The Two Pigeons and the leading role and was promoted to Soloist in 1977 and to in The Sleeping Beauty, Swan Lake, Romeo Principal in 1978. He has created roles in and Juliet, Coppelia, La Fille mal gardee, Mayerling, Isadora, Four Schumann Pieces, The Lady and the Fool, Les Sylphides, Gloriana, Choral Dances and Valley of Checkmate, Paquita, Raymonda Act 1/1, and Shadows. His other roles include The leading roles in the first performances by the Tempest, Liebeslieder Walzer, Swan Lake, company of Papillon, La Vivandiere, Grosse The Sleeping Beauty, Romeo and Juliet, Fuge and Las Hermanas. She created roles in Giselle, Manon, The Nutcracker, La Bayadere, Knight Errant, Summertide, Metamorphosis, Facade, The Invitation, Jazz Calendar, Elite Flowers of the Forest and Day into Night. Syncopations, The Four Seasons, Gloria, Her television appearances include Coppetia, Scenes de Ballet, Monotones, Voluntaries and Checkmate and a master class with Dame La Fin du Jour. He has created the pas de Alicia Markova. She has made guest appearances deux Impromptu (1982), Villa d'Este (1982), abroad in Giselle, Swan Lake and Cinderella. Chanson (1982) and Fleeting Figures (1984), STEPHEN BEAGLEY was born in Kent and his first one act ballet for The Royal Ballet. joined the Royal Ballet Upper School in 1973. ALAIN DUBREUIL was born in Monte He graduated into The Royal Ballet in 1977, Carlo. He trained at his mother's school was promoted to Coryphee in 1978 and to before coming to England to study at the Arts Soloist in 1979. There he created roles in The Educational School. In 1962 he joined London Fourth Symphony, La Fin du Jour, Mayerling, Festival Ballet, moving to Sadler's Wells Rhapsody, Rituals, Dances ofAlbion and The Royal Ballet in 1973 where he is now Repetiteur Tempest. He also danced leading roles in as well as a Principal dancer. He dances prin Cinderella, La Fille mal gardee, La Bayadere cipal roles in Swan Lake, The Sleeping and The Tempest. He was in the film The Beauty, The Nutcracker, Cinderella, Giselle, Nutcracker with Joan Collins. After leaving Don Quixote, La Fille mal gardee, Raymonda The Royal Ballet in 1983 he played leading Act 1/1, Etudes, Petrushka, Coppelia, Prodigal roles in Cats, Wayne Sleep and Dash, The Son, Las Hermanas, The Invitation, Les Rocky Horror Show, Barnum and in BBC Sylphides, The Taming ofthe Shrew, The TV's The Hot Shoe Show. He joined the Dream, Paquita, Pineapple Poll and The Two Company in 1985 and was promoted to Principal Pigeons. His repertoire also includes La in 1986. His repertoire now includes the prin Boutique fantasque, The Grand Tour, cipal roles in Giselle, The Sleeping Beauty Checkmate, The Swan of Tuenola. His and Coppelia. created roles include Meadow of Proverbs, DAVID BINTLEY was born in Huddersfield Polonia, Intimate Letters, Adagio, Vocalise and joined Sadler's Wells Royal Ballet in 1976. Opus 34, Flowers ofthe Forest. In March 1978 he created his first professional JUNE IDGHWOOD was born in Surrey work for the Company, The Outsider. His where she still lives. She joined the Royal many ballets for both Royal Ballet companies Ballet School in 1966 and graduated into The include Meadow of Proverbs, Night Moves, Royal Ballet in 1969 after dancing Giselle in Polonia, Choros, Consort Lessons (for which the Royal Ballet School's annual performance. he was awarded The Standard Ballet Award in In 1974 she joined the touring company, was 1983), Young Apollo, Flowers of the Forest, promoted to Soloist in 1975 and to Principal The Sons of Horus and the three act The in 1977. Her created roles include Lucia in El Swan of Tuenola. As a dancer his roles Amor Brujo, the Wife in Rashomon and the include Widow Simone and Alain in La Fille Swan in The Swan of Tuenola. Other roles mal gardee, Bottom in The Dream and the include the Black Queen in Checkmate, the title role in Petrushka for which he won the title role in Lulu, the Siren in Prodigal Son, the Gypsy Girl in Th e Two Pigeons, Swanilda to Soloist in 1978 and to Principal in 1980. in Coppelia , Lise in La Fille mal gardee, She has created roles in Day into Night, Myrtha in Giselle, Katherina in The Taming Quartet, Three Pictures and St. Anthony ofth e Shrew, the Wife in The Invitation, the Variations. She also dances the leading roles title role in Pineapple Poll and Carabosse in in Swan Lake, The Sleeping Beauty, Coppelia, The Sleeping Beauty. Giselle, Bianca in The Taming of the Shrew, PETIER JACOBSSON was born in the Red Queen in Checkmate, Rauni in The Stockholm, Sweden and trained at the Royal Swan of Tuenola and roles in Concerto, Night Swedish Ballet School, the Vaganova Moves and Les Sylphides. Academic School of Ballet in Leningrad SANDRA MADGWICK was born near under Konstantin Shatilov and with Stanley Maidenhead but began her dancing lessons in Williams at the School of American Ballet in Solihull before joining the Royal Ballet New York. He joined the Royal Swedish School at age eleven. She graduated from the Ballet in 1982 and in 1983 London Festival school in 1981 after dancing Lise in La Fille Ballet as a Soloist. He has appeared as a mal gardee at the school's annual perfor guest artist at Sadler's Wells Theatre in the mance that year. In 1981 she joined Sadler's grand pas de deux from Don Quixote, with Wells Royal Ballet, in 1984 she was promoted London City Ballet as Prince Siegfried in to Soloist and in 1985 to Principal. Her roles Swan Lake, and in Leningrad as the Prince in include Lise in La Fille mal gardee, the Th e Nutcracker. He has danced with Sadler's Italian Princess and a Courtesan in Swan Wells Royal Ballet since 1985 in the roles of Lake, the Bluebird pas de deux in The Benno in Swan Lake, The Bluebird in The Sleeping Beauty, the title role in Pineapple Sleeping Beauty and as Colas in La Fille Poll and the leading role in Les Rendezvous. mal gardee. She has created roles in David Bintley's NICOLA KATRAK was born in London of Choros and Flowers oft he Forest, MacMillan's an English mother and a father from Pakistan Quartet and Burrow's The Winter Play. and began her ballet lessons in Orpington, CARL MYERS was born in Shepshed, Kent. At eleven she joined the Royal Ballet Leicestershire and joined the Royal Ballet School at White Lodge and in 1975 won the School in 1967. He graduated into the The Royal Academy of Dancing Adeline Genee Royal Ballet a year later, creating the role of Gold Medal. Later that year she danced the the Boy in Lament of the Waves in 1970. In Young Girl in The Two Pigeons at the 1W2 he was promoted to Soloist and trans school's annual performance. She joined ferred to the touring company before joining Sadler's Wells Royal Ballet in 1976 and gained it permanently in 1976 as a Principal. He has valuable experience working with Ballet for danced in all the leading roles in the Company's All. In 1980 she was promoted to Soloist and repertoire including Swan Lake, The Sleeping in 1983 to Principal. Her major roles include Beauty, The Two Pigeons, Papillon, La Fille Titania in The Dream, Lise in La Fille mal mal gardee, Coppelia, Giselle, The Taming of gardee, the Betrayed Girl in The Rake's the Shrew, Pineapple Poll, The Swan ofTuenola, Progress, the Girl in The Invitation, Swanilda Night Moves, Th e Four Temperaments, Les in Coppelia, the Ballerina in Petrushka, the Rendezvous and 5 Tangos, and has created the Young Girl in The Two Pigeons and Princess roles of the Leader in The Winter Play, the Aurora in The Sleeping Beauty. Knight in The Court ofwve and roles in SHERILYN KENNEDY was born in Meadow of Proverbs, Day into Night, Punch Auckland, New Zealand , joining the National and the Street Party, Quartet and Adagio. Ballet School at 16. While in New Zealand ROLAND PRICE was born in Sydney, she created the role of the Snow Maiden Australia and joined the Royal Ballet Upper (choreography by Bernard Hourseau) for the School in 1977. In 1978 he won the Adeline New Zealand Broadcasting Corporation. In Genee Award and danced in Birthday Offering 1973 she entered the Royal Ballet School, and Diversions at the school's annual perfor dancing in Concerto at the school's annual mance. In 1979, after dancing in Sinfonietta at perfo rmance. She graduated into Sadler's the school's performance, he joined Sadler's Wells Royal Ballet in 1974 and was promoted Wells Royal Ballet. ln 1980 he was promoted to soloist and in 1984 to Principal. His roles Throughout her career her repertoire has include the leading roles in Swan lAke, 7he included principal roles in Swan lAke, 7he Sleeping Beauty, Giselle, Coppelia, LA Fille Sleeping Beauty, Giselle, 7he Nutcracker, mal gardee, 7he Tivo Pigeons, Raymonda Act Don Quixote, Cinderella, Romeo and Juliet, lll, Paquita , Les Sylphides, Les Rendezvous, Anna Karenina, LA Sylphide, LA Fille mal 7he Dream, 5 Tangos, LA Vivandiere, the gardee, Papillon, Isadora and many one act Cousin in The Invitation, Friday Night in ballets. Elite Syncopations and Lucentio in The Taming MARION TAIT, London-born, joined the of the Shrew. He has created roles in Royal Ballet School at the age of 15, graduat MacMillan's Quartet and in Bintley's Night ing into the touring company two years later, Moves, Choros and Flowers of the Forest. and was promoted to Principal in 1974. She GAUNA SAMSOVA was born in the USSR has had leading roles created for her by and began her career with the Kiev Ballet BAM Salutes the sponsors of Sadler's Wells Royal Ballet Barclays Bank Bernard Sunley Charitable Foundation Brooklyn Union Gas Mr. & Mrs. Henri Doll The New York State Council on the Arts The New York City Department of Cultural Affairs Mr. Paul Lepercq Solo artists Leanne Benjamin Susan Crow Karen Donovan Clare French ._ Graham Lustig lain Webb Mark Welford Stephen Wicks Chenca Williams David Yow BROOKLYN PHILHARMONIC LUKAS FOSS, Music Director Violin I Bass Trumpet Benjamin Hudson, concertmaster Joseph Bongiorno, principal Philip Ruecktenwald, principal Yuva1 Waldman, assistant concertmaster Joseph Thmosaitis Neil Balm Lenard Rivlin Louis Bruno Carl Sakofsky Sander Strenger Zachary Shnek Diane Bruce Flute Cathy Metz Diva Goodfriend-Koven, principal Trombone Grigory Zaritsky David Wechsler Jonathan Taylor, principal Florence Nelson Theodore Toupin Violin II David Titcomb Ronald Oakland, principal Oboe Marion Guest Henry Schuman, principal Tuba Dale Stuckenbruck Robert Botti Andrew Seligson Eugenie Seid Kroop Leonard Amer Carol Havelka Percussion Maria Parisella Clarinet Richard Fitz, principal David Singer, principal Joseph Passaro Viola Mitchell Weiss James Preiss Ronald Carbone, principal Virgil Blackwell David Frost Mary Helen Ewing Louis Oddo Karl Bargen Bassoon Veronica Salas Frank Morelli, principal Harp Mischa Braitberg Harry Searing Karen Lindquist Bethany Horton Cello Personnel A1anager Richard Sher, principal French Hom Jonathan Taylor David Calhoun Francisco Donaruma, principal Michael Rudiakov Debra Poole Librarian Natasha Rubinstein David Wakefield David Frost Sandra Walker THE BROOKLYN PHILHARMONIC, under the baton of versatile conductor/pianist/composer Lukas Foss, is enjoying its 32nd consecutive season as resident orchestra at BAM. Since his appointment in 1971, Music Director Lukas Foss has drawn from the past and moved the orchestra forward by innovation and musicianship to its present standard of excellence: eighty virtuoso instrumentalists who come together ten weekends a year to perform solid and imaginative programs of the world's finest music, traditional and contemporary. The Brooklyn Philharmonic recently won national recognition with a special ASCAP award for "Creative Orchestral Programming." The Brooklyn Philharmonic's regular season includes "The Command Performance Series" featuring inter nationally known soloists and a repertoire ranging from Baroque to contemporary works, and "Meet the Modems"- now the best-known contemporary music forum in America. As Tim Page wrote in The New York Times, "The Brooklyn Philharmonic Symphony Orchestra, conducted by Lukas Foss, filled the hall with joyful noise." Still upcoming this season in BAM's Opera House are appearances with the Orchestra by violinist Ruggiero Ricci; Mignon Dunn, mezzo-soprano and James McCracken, tenor; and pianist Emanuel Ax. Meet the Modems and Family/Community Concert Series as well as the Orchestra's educational school series and summer parks concerts are of interest to concert-goers. The Brooklyn Philharmonic is also playing for The Central Ballet of China this season. The Orchestra has performed with the Dance Theatre of Harlem both in Brooklyn and in Manhattan. Manon Tait as Princess Aurora and Roland Price as Prince Florimund in the Sadlers The Sleeping Beauty. A IDSTORY OF SADLER'S WELLS ROYAL BALLET Sadler's Wells Royal Ballet, which plays so there were good teachers working here from whom important a part in the work of our national ballet, both Diaghilev and Pavlova would recruit: there has found today, after various manifestations under was a tradition of good dancers but no native com different titles, a true identity which is clearly pany in which they could dance. stated in its name. It is the Royal Ballet Company By the mid-1920s, to be sure, Marie Rambert which is based on Sadler's Wells Theatre in London, had demonstrated through performances by her stu the theatre which made possible the very first steps ..;ents (Frederick Ashton was one) that ballets of of what has become the great Royal Ballet edifice artistic beauty could be made in London, albeit on of today. a small or 'chamber' scale. Parallel with Rambert's To understand the workings of the whole Royal work ran that of Ninette de Valois. Ballet organization it is necessary to look back to It was Ninette de Valois who had the vision, its very origins. It traces its history from the estab early in the 1920s, of how a national ballet could lishment of the first tiny troupe inside Sadler's be achieved. Already a professional dancer of Wells when that theatre was rescued from derelic repute, she had joined the Diaghilev Ballet in 1923 tion, restored and reopened in 1931. in order to learn how a repertory ballet company The ballet world in 1931 was very different should be run. In 1926 she opened her own school from the ballet world of the 1980s. Diaghilev had in London (she had always stressed the vital impor died in 1929 and with him his Ballets Russes. Pavlova tance of a school to feed a company) and won the died in January 1931. Thus the two enterprises confidence of another very remarkable woman. which had been synonymous with ballet in the This was Lilian Baylis, then managing the Old Vic West had both come to an end. In Paris, Copenhagen Theatre in South London, presenting opera and the and in Russia there were state companies which plays of Shakespeare at popular prices. Baylis had could be revitalized to fill this gap but in England a vision and a long-term plan too. She intended to there was nothing-except faith, and an ever rehabilitate Sadler's Wells in Islington to give North growing body of opinion during the 1920s that London the same quality of opera and drama that British Ballet was possible. British dancers had she was providing at her 'people's theatre,' the Old performed for Diaghilev-Lydia Sokolova, Ninette Vic. She promised de Valois that when the Wells de Valois, Anton Dolin and Alicia Markova among opened there would be room for a ballet company them-and Marie Rambert had spent a brief spell as well. with the company immediately before World War I. That, in due course, happened. The Wells was Pavlova had been proud of her 'English Girls' and re-opened. De Valois moved her school into the the year. It was right that the company should theatre, and soon her dancers (to begin with only make the move-it had proved its calibre and its six girls with herself as principal), strengthened by national importance-but de Valois felt a responsi guests, were able to give whole evenings of ballet. bility to her old audience at Sadler's Wells. Ballets The little troupe commuted at ftrSt between the Vic would still be needed in the opera and the Baylis and the Wells-hence its first well-known title, the tradition of offering good ballet at popular prices Vic-Wells Ballet-but eventually it was decided to could not be betrayed. Consequently, a second house ballet and opera at the Wells and hand the company of thirty dancers was formed, called first Vic over to the drama. the Sadler's Wells Opera Ballet, then the Sadler's So, primarily at Sadler's Wells, the ballet Wells Theatre Ballet to distinguish it from The company grew. The policy was the one upon which, Sadler's Wells Ballet at Covent Garden. From 1946, basically, the work of both Companies of The when this Company gave its first performance at Royal Ballet is still based today. There is a founda the Wells, there has always been a 'second tion of the great classical ballets, setting standards company~ and the word second is used not to for dancers and audiences alike, revivals of impor denote quality but simply to record that it was the tant one-act ballets made by master choreographers second to be formed. during this century, and a continuous, and vitally At the Wells the young company soon proved important, injection of new ballets by native its vitality and its usefulness to the rest of the choreographers. organization. It was an ideal testing ground for The first classic stagings could be undertaken young dancers-Nadia Nerina, Elaine Fifield, because of the presence in the company of Alicia Svetlana Beriosova and David Blair among them Markova, a ballerina of exceptional gifts, recog and it was also an ideal place to give young nized by Diaghilev. She was partnered by Anton choreographers their first chances before exposing Dolin (who also starred in de Valois' Masque for them to the wider spaces of Covent Garden. The Dancing, Job) and also by Robert Helpmann who first of these young choreographers to make his arrived from Australia in 1933. When Markova and name at the Wells was the South African John Dolin formed their own company in 1935, de Valois Cranlm, whose Pineapple Poll in 1951 was a smash who had, perforce, been providing much of the hit that holds its place in the repertory today. Kenneth new choreography herself-notably The Rake's MacMillan's Danses Concertantes of 1955 was his Progress of 1935-decided to engage a resident first professionally commissioned work and saw choreographer. The obvious choice was Ashton, the beginning of an illustrious career. Also working who had already worked for the company. From with the company as resident choreographer was the beginning of her enterprise de Valois had had the former Rambert dancer and choreographer the inestimable musical guidance of Constant Lambert, Andree Howard, an experienced artist of great sen her conductor. The team of de Valois, Lambert sitivity. Other works were made for the SWTB by and Ashton, wonderfully complementary in gifts Ashton and by Balanchine. Gradually the classics and personalities, was to make the company great. took their rightful place-Swan lAke Act /1, No immediate successor to Markova was Coppe{ia and a version of Casse Noisette by named but from the ranks there emerged the young Ashton in the form of a divertissement using only Margot Fonteyn to inherit the ballerina roles and the Snowflake scene and the last act. inspire Ashton to create. Other artists of distinction The company danced at the Wells, toured the were Pamela May, Mary Honer, June Brae, Julia regions and in 1951 went on a gruelling but very Farron, Harold 1\Jmer and Michael Somes. successful tour of the United States. Then came the war. Sadler's Wells was bombed The Sadler's Wells Theatre Ballet was, of and the company began to tour widely. The name course, under the supervision of de Valois (as its Vic-Wells was dropped and changed to The Sadler's successors have worked closely with her succes Wells Ballet. The London base was the New Theatre sors) but it was first directed by Ursula Moreton (now the Albery) but it was throughout the regions who had been de Valois' closest aide since 1926. As that the company won a new and truly national Ursula Moreton gave more and more time to the public. Fonteyn and Helpmann were the undoubted School, Peggy van Praagh, the company's ballet stars but Beryl Grey and Moira Shearer were mistress, took effective charge of the company, its already dancing important roles. dancers and its fledgling choreographers. She re With the war's end came an invitation to The signed in 1955, eventually to become Artistic Sadler's Wells Ballet to become the resident ballet Director of the Australian Ballet, and was suc company at the Royal Opera House, Covent Garden, ceeded by John Field. which was being rescued from wartime service as a Field's brief from de Valois was to 'do some dance hall to become a permanent lyric theatre thing about the classics'. The Covent Garden com presenting ballet and opera in London throughout pany was getting too big to do e,Jtensive touring in this country and consequently it fell to the SWTB Sadler's Wells Theatre. There they were offered to take the full length classics out of London and studio space (including a fine third studio built as a also to show some of the Covent Garden repertory memorial to John Cranko) and all the rehearsal and in the regions. The company was enlarged to some other facilities of the theatre. In return, they con sixty dancers and made a good start, but in 1956 tracted to give regular London seasons at the Wells. disaster almost struck. For various economic rea The name changed to its present, explicit form, sons the company lost its base at Sadler's Wells. Sadler's Wells Royal Ballet. David Webster immediately took them under the With Peter Wright at its head (working in close Covent Carden wing. It was a 'gentleman's agree collaboration with Norman Morrice, Director of ment' as there was no document binding the activi The Royal Ballet since 1m, when Kenneth MacMillan ties of the companies and the School together. But had resigned in order to give his time solely to de Valois, farsighted as ever, had drafted the sub choreography) the company again was gradually mission for a Royal Charter and in November 1956 enlarged and most of the full length classics were it was granted. The Sadler's Wells Ballet became restored: Giselle, Coppelia and Swan Lake in Peter The Royal Ballet and the SWTB (no longer con Wright's stagings and, most recently, The Sleeping nected with the Wells) became known as The Touring Beauty with designs by Philip Prowse. La Fille mal Section of The Royal Ballet. gantee and The Two Pigeons returned to the reper The Touring Section quickly found a new iden tory together with many other favorite ballets by tity and entered a fruitful period of presenting full· Ashton, MacMillan and Cranko together with length classics, new ballets by Kenneth MacMillan revivals of ballets by such masters as Mikhail (who found inspiration in the young Lynn Seymour) Fokine, I..eonide Massine and George Balanchine. and Frederick Ashton (who made The 7Wo Pigeons Peter Wright has, moreover, strongly advocated for Seymour and Christopher Gable), as well as the encouragement of young choreography. David revivals and acquisitions from the Covent Garden Bintley made his first work for the company, The repertory-most happily Ashton's La Fille mal Outsider, in 1978- it had its premiere in Birmingham garctee. Principal dancers from Covent Garden where the company now thinks of the Hippodrome would go out, from time to time, to dance with the as its second home-and by 1983 had made a suffi company but it was developing its own stars who cient number of new ballets to earn the title of were the darlings of the regions: Seymour, Gable, Company Choreographer, in 1985 becoming Resident Doreen Wells, David Wall, Elizabeth Anderton, Choreographer. Sadler's Wells Royal Ballet has also Brenda Last, Alfreda Thorogood, Shirley Grahame, shown new ballets by Michael Corder and by Jonathan Patricia Ruanne and Paul Clarke among them. Burrows, who has introduced a welcome element Overseas touring as well as regional touring of English folk dance into his choreography. was an important activity and the company grew Again, the public has found its favorites, its strong enough to sustain Covent Garden seasons on stars. Marian Tait, Margaret Barbieri, Alain its own with the bolstering of guest artists. Dubreuil and Carl Myers head the roster. In Galina However, fmancial considerations again reared Samsova and Desmond Kelly the company has sen their head. In 1970 when Ashton retired as Director ior artists who also serve as teachers and coaches, of The Royal Ballet (de Valois had retired in 1%3) thus making a double contribution. David Bintley there was another re-organization. Kenneth also makes a double contribution, as choreog MacMillan and John Field were appointed Direc rapher and as an incomparable mime artist, tors of The Royal Ballet (Field subsequently leav unrivalled since Helpmann. And every year Peter ing to take over the ballet company at La Scala, Wright takes in just as much young talent from the Milan) and the Touring Royal Ballet was reduced in school as he is able. Dancers like Nicola Katrak, size, called The New Group, and, with Peter Sandra Madgwick, Karen Donovan and Leanne Wright at the helm, set out with a stated policy of Benjamin were given chances with SWRB when taking hand-picked dancers of soloist calibre or only a. few months out of school. higher into the regions in works of smaller scale, Wright has succeeded in uniting his team of most of them specially commissioned from such dancers and teachers into a very cohesive troupe. international names as Glen Tetley, Joe Layton and Constant touring is hard work (the company gave Hans van Manen. But it didn't work. The public no fewer than 235 performances at home and rejected the adventurous policy and it was soon abroad during 1982-83), but it brings the reward of realized that Covent Garden ballets with small a strong company spirit. The 'second company' has casts-Symphonic ~riations the supreme had its ups and downs (like all companies) but the example-did not necessarily look good on small 'ups' have always been characterized, as they are stages. today, by warmth and projection and vitality. Sus So there was re-organization yet again. By 1976 tained, of course, by wise and experienced direction. the company again acquired a London base at Mary Clarke LLWhen I call Gail Kittenplan the star. Gail Kittenplan is my Personal Fashion Advisor at Lord & Taylor. I don't go anywhere without consul ting her or someone on her very special staff for fashion expertise and taste or to come up with something fabulous I can't find anywhere else. Gail Kittenp l an would love to make you a star. Just call her at (212)--- 391-3519 )) for your appointment. hare a Special continued S Evening ALEXANDRE BENOIS, the Russian painter and designer, was born in St. Petersburg in 18'70 and with died in Paris in 1960, where he had lived since • 1905. He was one of Diaghilev's closest friends and ~ ° Kathleen Battle in 1909 they fonned the Ballet Russes of which Benois was artistic director until 19ll. His first *~ * Harry Belafonte designs were for the Maryinsky Theatre, St. • .._ Maria Ewing Petersburg, where he created Sylvia, Cupid's Revenge and Le Pavilion d:4rmide which Diaghilev later revived for the Ballet Russes. For Diaghilev 0 Catherine Malfitano he also designed Les Sy/phides and Petrushka (as Sherrill Milnes seen in The Royal Ballet's productions) Giselle and Le Chant de Rossignol; for Ida Rubinstein Le Bien James Morris • Aimee and Les Noces de Psyche et l:4mour; for de Harold Prince o Basil Graduation Ball, The Nutcracker and ~ Raymonda; for de Cuevas Le Moulin enchantee; Neil Shicoff and for London Festival Ballet Graduation Ball and The Nutcracker (his last major work for the ballet). Richard Stilwell He worte Reminiscences of the Russian Ballet (1941) and Memoirs (1960). His son Nicola Benois ~ Tatiana Troy anos. was chief designer of La Scala Milan and his niece Nadia Benois designed Dark Elegies and Lady into The 1986 National Music Theater Awards ~for Ballet Rambert and, in 1939 The Sleeping Dame Joan Sutherland. Honorary Chairman Beauty for Sadler's Wells Royal Ballet. A GALA TRIBUTE TO GEORGE LONDON JAN BLAKE, Designer, completed a two year for the benefit of the London Fund for Singers post-graduate course at the Slade School in 1981 Ann Getty. Chairman. Patrons' Committee and was awarded an Arts Council of Great Britain scholarship to work at the Queen's Theatre, Nice Tully Hall. Lincoln Center Plaza Homchurch and at Ballet Rambert for a year. Thursday, March 20, 1986. 7:30 17.m. Subsequently she designed Look Back in Anger for 11resented by the Hornchurch, Dirty Linen and Donkey's ~ars for National institute for Music Theater the Northcott Theatre, Exeter and Birds of Passage .._o Harold Prince. Chairman for the Hampstead Theatre Club. She has also de signed four pieces for Janet Smith and Dancers Share a special evening as Harry (Until the Ttde Turns, Electra, Rum and Coca Cola, Signs Under Another Sun), Mr. Britten's Sofa Belafonte, Sherrill Milnes. and Tatiana Troyanos host one of the music theater for Micha Bergese in Oslo and Pickup for Mantis highlights of the year ... with perfor at the Dance Umbrella at the Riverside Studio, London in 1983. Flowers of the Forest is her first mances by guest artists Kathleen Battle. work for David Bintley and for Sadler's Wells Maria Ewing. Catherine Malfitano. James Morris. Neil Shicoff. and Richard Stil Royal Ballet. well. Join in a sparkling evening of music honoring George London. internation ally acclaimed opera artist, champion of young American talent. and Founding Celebr~t~ Director of NIMT ... salute the recipi ents of NIMT's 1986 National Music Arts Theater Awards ... and share the ex citement of welcoming the winners of the 1986 London Grants-the music theater stars of tomorrow. For ticket information. call the Alice Tully Hall Box Office (362-1911) or Cen ter Charge (87 4-6770). If you don't, calli 800 342-0200. Manufacturers Hanover has just lowered the rates on all its credit cards. So call us; we'll take your application request over the phone. It's that easy to own a Visa or MasterCard with one of the lowest rates in the country. Our new low rate is good on all Manufacturers Hanover credit cards. So if you have one of our cards, congratulations.lf you don't, give us a call. MANUFACTURERS HANOVER The Financial Source: Worldwide. Member ED.I.C. THEATRE St;ENES Some of the outstanding productions currently playing Off·B'way. Top left: Charles Busch, Theresa Marlowe, Kenneth Elliott and Andy Halliday in Sleeping Beauty or Coma, the curtain raiser for Vampire Lesbians of Sodom at the Provincetown Play house. Top right: Diz White and Alan Sherman in El Grande de Coca-Cola at the Village Gate. Bottom: The cast of The Golden Land at the Second A venue. 26 DietQuizH5 Which has less calories and alcohol: 1. D 5 oz. white wine? 2. D 5 oz. Bacardi rum and OJ? (I oz. Bacardi. 4 oz. orange juice) -- ~ BACAR g;'~ . . "'- 101DAl ...... S AW.41RD£ D TO ...... 'f;. "Cil•f t'H( A 5-oz. serving of white wine Surprise! Based on data from BACARDI,.rum. contains 121 calories on average the same source, a drink made Made in Puerto Rico. according to U.S. Dept. of Agri of I oz. 80-proof Bacardi rum Enjoy it culture data. And its alcohol and 4 oz. orange juice also has in moderation. content is about 12 '12%. about 121 calories. But its alcohol content is only 8%. And its taste is sensational. So with Bacardi and OJ, you've got a winner. BEHOLD THE QUEEN Lucille Lortel may be the most prolific producer of our time In her long career as a producer Lucille Lortel has presented close to 400 plays. Is she ahead or behind, has she made or lost money? "I never thought of that," she says in a quiet, reflective way. "I never counted. I have no children, I've lost my whole family and my life would be impos sible without the theatre." Producing and theatregoing leave little time for anything else. At a recent party at Anna Strasberg's, a man asked Lucille, "Why won't you go to the opera with me? I keep asking and you turn me down." "I can't go to opera," she said sharply, "I have to go to the theatre." She may see more theatre than anyone else in town. "I go to the theatre every night," she says, "there's always something new to Asner, Jerry Orbach and Jo Sullivan, and see. Mostly, I go with men; I have a lot ran seven years. "I think it got critics in of escorts, darling, I like to lean on a man. terested in Off-Broadway," she says. If there's dancing after an opening, I go Gertrude Stein and a Companion, which with Donald Saddler. When I'm invited to opened last month at the Lucille Lortel, Joe Papp's shows, Franklyn Lenthall is my with Jan Miner and Marian Seldes, was escort. There's Drew Eliot, Willoughby discovered by her in England. "I'm the Newton, Robert Buzzell. All of them are sole producer of it," she says. "On Broad charming and gallant escorts." way I co-produced As Is and Blood Knot, Dark-haired, with well-defined features and I'm going to produce Cheapside, an -"She's the Statue of Liberty of the the Australian play, at the Roundabout. That's atre," an admirer has said-she lives, at four plays this year." She presented eight tended by staff, in a splendid Fifth A venue last summer at the White Bam. co-op with an end-to-end view of Central She no longer reads scripts. "My eye Park. Her late husband, Louis Schweitzer, sight won't let me. Playwrights and actors made a fortune in cigarette paper and plas come to the apartment and read them to tics. She was an actress when they mar me." She describes the joy of producing: ried. "When you put on a play that's never been "Lou didn't want me to act," she says. done before, all you have is a script at the "But I thought I'd go nuts if I didn't do start. Then you see it come alive." something, so I started the White Barn By estimate, she's given employment to Theatre at Westport while he was in Eu 1,800 actors and 200 directors. Last sum rope in 1947. He bought the Theatre de mer, at twice 40, she hosted a theatre tour Lys (now the Lucille Lortel) as an anni of London and Paris, and lectured on the versary present for me." Her first produc Queen Elizabeth II. "I don't stop, darling," tion there, The Threepenny Opera in 1955, she says. "I just keep going, and I have all had a cast including Lotte Lenya, Edward this excitement." by Rebecca Morehouse 29 ON A PJRSONAl BJAS by Bernice Peck PLAYBILL's theme song this time around year, good style ... Some wiggeries are is Lo. e and Money. Which encourages me out with exotic hairpieces in searing jazzy to voice an observation about the infre colors, many designed to show faked dark quent pairing of the two. Combined, they roots. Anybody here remember going to can be a genuine beauty-maker. Yup. I the hairdresser to correct dark roots saw it happen when a dear friend lucked and a rotten permanent's nasty frizz-in into the total, unfaltering love of a nice, stead of to get them, hmmmm? (Must be thoroughly rich guy. all of five years ago. Well, go with the She'd always been goodlooking. But flow.) now she is A Raving Beauty. Wrapped in a glow that dazzles when she moves into TALK HAIR and Cher comes to mind pron a roomful of us regular folks. (Pardon to. She's done it all. From her early my mush, but her other friends, too, are clotheshorse days with Sonny (and those vocal about this "radiance" that, for years knee-length jetty streamers) to now, now, is hers.) when she's an actual actress of some ac I do believe it comes from getting such claim. The trademark long hair's gone, extra-large portions of both love AND shorn spikily short and, as she says, "It's money-all in the same picnic basket. Un been black, blonde and red-all in one beatable combination in this instance. So, year." same to you, kiddo, if you're still looking. BUT IF You want to see a riveting new HAIR has never seemed quite so fascinating manner of floating mane, it's that yard to me as recently. Not, anyway, since a yes, 3 feet-of bright gold stuff billowing show of that name opened on B'way in in loopy curves down and around other 1968. Gee whiz, the variety now! The bountiful curves of nightlife's newest cutie. colorings, textures, drama, freedom, im She's a young designer, name, Dianne agination-no holds barred. And L'Oreal, Brill, and the Palladium and Area are like who started the mania for hair-mousse, ly places. What an eyeful! Hard to miss, continues with a new trio (of mousse, since she is better than 6 feet on her dagger spray and gel) that make a woman the heels. All of her is in curves, often en real boss about quick changes and holding closed (simply but closely) in fringed abilities. Try their new "Studio" line and leather to show up any that otherwise get a sense of Power. might get away. Madonna, eat your heart out. CHAP I KNOW, though, complains that his lady "wears one of those damn bushy MERELY ONE of countless celebrity gift styles where if you lose a contact lens in exchanges people are chatting about (from it, pfffft, it's gone forever." He is being the big-book, "Only The Best") is the paint surly about the deliberately tangled tex ing Henry Fonda did to please Katharine ture that's anything but new, yet seems to Hepburn. It shows three of his battered be coming on stronger than ever. Espe historic hats, one of them having belonged cially if achieved in the whammo, shoul to her beloved friend Spencer Tracy. der-wide proportions that are such fun to R eally special. The whole book's a rich sit behind in the theatre. treat of loving gifts. Some are spectacu larly costly. Others, mainly tender, im SPIKES, TOO, continue in their upward and aginative and simply perfect for the right outward jabs. Last year, still freaky; this person. 0 30 General Motors spotlights excellence in the arts. Those who have invested the time, the energy, the talent and the determination it takes to achieve excellence deserve a chance to shine. Such commitment merits applause, and General Motors is proud to be able to provide the audience. To honor career-long excellence, GM sponsors the annual CBS telecast of The Kennedy Center Honors, the nation's greatest prize for a life given to the performing arts. To encourage excellence in musical performance, GM co-sponsors the Seventeen Magazine/General Motors National Concerto Competition. It is the only national competition exclusively for high-school-age musicians. So that excellence may receive a wider hearing, GM sponsors weekly radio broadcasts of the Detroit Symphony Orchestra over a national network of classical music stations. We are also underwriting the Spring 1986 PBS telecast of Luciano Pavarotti's performance of Verdi's Requiem. The General Motors commitment to excellence. It is reflected ~~ in the products we manufacture. And in the programs we sponsor that bring artistic excellence to light. MAliK Of EXCEUENCE Chevrolet o Pontiac o Oldsmobile o Buick o Cadillac o GMC 'Ihlck QUOTES FROM THE PLAYWRIGHTS COINING PHRASES by Harry Haun (a) "Listen, I've been writing stories for gest differences between people is between eleven years. Boy meets girl. Boy loses those that have had pleasure in love and girl. Boy gets girl." those that haven't." (b) "Or-girl meets boy. Girl loses -Chance Wayne explaining what sep boy. Girl gets boy. Love will find a way. arates people in Tennessee Williams's Love never loses. Put your money on Sweet Bird of Youth. love." • • • -Hack screenwriters (a) Benson and "He has grown greedier with the years. (b) Law tooting their horns in Bella and The first time he wanted my money. This Samuel Spewack's Boy Meets Girl. time he wants my love, too. Well, he came • • • to the wrong house--and he came twice• "Funny, y'know? After all the highways I shall see he shall never come a third and the trains, and the appointments, and time." the years, you end up worth more dead -Catherine Sloper plotting vengeance than alive." on her fortune-seeking suitor in Ruth -Willy Loman nearing the end of the Goetz and Augustus Goetz's The Heiress. line-with his insurance paid up-in Ar • • • thur Miller's Death of a Salesman. "You know, I don't believe Clare has come • • • right out and told me he loves me since "You can be young without money but we've been married. Course, I know he you can't be old without it." does because I keep reminding him of it. -Maggie the Cat telling her hubby why You have to keep reminding them, Cora." he should get interested in his inheritance -Vinnie Day revealing a marital secret money in Tennessee Williams's Cat on a in Howard Lindsay and Russel Crouse's Hot Tin Roof. Life With Father. • • • • • • "You know, the big difference between "Alais! In my time I've known con· people is not between the rich and the tessas, milkmaids, courtesans and novices, poor, the good and evil, because the big- whores, gypsies, jades and little bO'fS, but PATISSERIE KUGELHOPF ONION SOUP LE HAMBURGER FIRSTNIGHTERS BEAUJOLAIS HIZZONER BLUEJEANS PATEDUCHEF 24HOURS CHOUCROUTE i:};b(~i@;Si$1 DR. RUTH 100 East 53rd Street 751-4840 32 nowhere in God's Western world have I I couldn't-well, you get the picture. It found anyone to love but you.'' was no big deal--and we laughed about -King Henry II declaring himself to it. Then about half an hour later, just as his mistress, Alais Capet, in James Gold I was dropping off to sleep she said, 'It's man's The Lion in Winter. funny when I married a CPA, I always • • • thought it would be his eyes that would "You're a fine one, wanting to leave me go first.'" when the night I promised I'd give you --George telling his mistress, Doris, has just begun, our night that'll be different about the unkindest cut of all in Bernard from all the others, with a dawn that won't Slade's Same Time, Next Year. creep over dirty window panes but will • • • wake in the sky like a promise of God's "Oh, I wish she hadn't brought up the peace in the soul's dark sadness. Will you Alps, Lucy. It always reminds me of that listen to me, Jim? I must be a poet. Who nasty moment I had the day Gustav made would have guessed it? Sure, love is a won me climb to the top of them . . .. Anyhow, derful mad inspiration." there we were. And suddenly it struck me -Josie Hogan cradling in her arms that Gustav had pushed me. I slid halfway her besotted suitor for the evening, James down the mountain before I realized that Tyrone, Jr., in Eugene O'Neill's A Moon Gustav didn't love me any more. But Love for the Misbegotten. takes care of its own, Lucy. I slid right • • • into the arms of my fourth husband, the (a) "Mr. Vandergelder is a very rich man, Count.'' Mr. Kemper, and Ermengarde is his only -The Countess recalling the end of one relative.'' marriage and the beginning of another in (b) "But I am not interested in Mr. Clare Boothe's The Women. Vandergelder's money. I have enough to support a wife and family.'' • • • (a) "Enough? How much is enough (a) "Harry, love changes everything. Love when one is thinking about children and is the most important thing in the world. the future? The future is the most expen There's nothing like it. Nothing. Do you sive luxury in the world, Mr. Kemper." know I'm more in love today than on the (a) Dolly Levi lining up a customer, day I got married?" (b) Ambrose Kemper, in Thornton Wil (b) "No kidding." der's The Matchmaker. (a) "That's right, but my wife-she • • • won't give me a divorce.'' "We'd come home from a party and we'd (a) Milt Manville confessing a little had a few drinks and we started to make extracurricular activity to his friend, (b) love. Well, nothing happened-for me- Harry Berlin, in Murray Schisgal's Luv. DOYOUKNOW THE VALUE OF YOUR JEWELRY? INDEPENDENT PROFESSIONAL APPRAISERS OF GEMS 6: JEWELRY r----,------< 391 AVE OF THE AMERICAS (Greenwich Village at 8th St.) OPEN 'TIL 2 AM ~t~ PRESENT YOUR TICKET STUB FOR A FREE GLASS OF WINE WITH DINNER I ~Li INTERNATIONAL GEMMOLOGIC;AL- INFORMATION, INC. A ,.,lfuJ,.rvf/l•tp,.IKHtJ(,....-,~ l•st•lo.Jr />1( '80 FIFTH AVENUE, NEW YORK, N.Y. 10036 (212) 198-1700 the building in which they're appearing. Was this structure always a theatre? MAIL CALL -Carolyn T. Bates Hamden, Ct. Letters from Our Readers The Westside Arts Theatre, which houses Dear Editor: I enjoyed Pina Bausch's three theatre spaces, was once the Second Arien at BAM and loved the jazz music German Baptist Church, built in 1855. In the late 1960's, the building was converted that was played at the beginning and the to the Sanctuary, a swinging disco. In end. Can you tell me whose music that 1973, it became the Westside Arts Center. was? -Jo-Ann Menchetti • • • New Haven, Ct. Dear Editor: A friend of mine said he According to the BAM publicity depart saw a funny play called Times Square ment, "Stormy Weather" by Harold Arlen Angel at the Provincetown Theatre in and Ted Koehler is played at the beginning Greenwich Village. Isn't Vampire Les and end of Arlen. bians of Sodom still playing there? -Stan Browder • • • Fort Lee, NJ. Dear Editor: I read that Kevin Kline is going to play Hamlet for Joseph Papp. Yes. During the Christmas holidays, Times This brought to mind an insane production Square Angel, described as "a hard-boiled of Hamlet I once saw Off-Broadway in Chris~mas fantasy" starring and written which the company announced that they by Charles Busch, began playing in reper had no actress to play Ophelia. With that, tory with Vampire Lesbians of Sodom. a woman rose from the audience, did • • • Ophelia's mad scene and won the part. Dear Editor: Can you tell me who ap What was this show? peared in the long-running Off-Broadway -Chuck Dluhy show, Brecht On Brecht, at the Theatre Fredericksburg, Va. de Lys in the 1960's? That was Charles Ludlam's Hamlet, which -Lenka Pasekoff he called Stage Blood. It opened at the Dalton, N.Y. Evergreen Theatre in 1974, and it starred The cast included Lotte Lenya, Dane Mr. Ludlam as Hamlet in a leather suit Clark, Anne Jackson, Viveca Lindfors, and a Carol Channing wig. George Voskovec and Michael Wagner. • • • Dear Editor: I saw the delightful Penn Have a question about the theatre? Write to & Teller the other night at the Westside PLAYBU.L, Dept. D.P. 71 Vanderbilt Avenue, Arts Theatre and was very interested in Suite 320, New York, N.Y. 10169 FEBRUARY 1986 Joan Alleman, edltor-lnn. Inc. Company. Inc. PolyiCChnic lnstituce of NY Amory Houghron III Department Stores. Inc. The Coach Farm Cooper Union Prat11nstilule Henry Oeldlahler AT&T College-Thwn Corsonna Corponrion R. R. Oonnelley Milly and Amold Glimcher Bankel'1 Tru~ Company Columbia Pictures Coorier·Lik Real Eltate Board Eric Goode Brooklyn Union Gas Industries, Inc. Craftex Creations, Inc. of New York Jill and Christopher Goode Company Dime Savinp Bank Cravath . Swaine and Moort Rentar ~lopmem Corporation Ellen and Robert Grimes Con Edison of New York Crossland Savings Bank Robby Len Fashk>ns Elyse and Stanley Grins&ein New York Telephone East New York ~inp Bank Crowncraft lncorporaltd Robel1 Bruce. Inc. Montsc: Guillen Miller Gallery Philip Morris lnc:cHpOra~ Elmro-NCIYl Producttons Culbro Corporation Robert Jo and krry Haggerty Remy Martm Amenque Europecr11ft Imports The~ Compony The: Roosa School of MUJic Fuj•ko and Toshio Hara Schlumbef'ICr FoundatiOn FlsherCorpomk>n The o.eyru. CO