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ti O* .4 ABRAHAM ge -II0 XI C Jump to it Don'tknits... jumpsuitwaste a faster, knits, second that's ... allleaner, it's solution now making wear" to ... more the the all fun the thanfashion question. ever. See All them all-in-one "what-am-I-going-to-nowat A&S. BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 3 Brooklyn Festival of Dance 1970-71 The Brooklyn Academy of Music in cooperation with The Martha Graham Center of Contemporary Dance, Inc. presents the Martha Graham Dance Company By arrangement with Harold Shaw Bertram Ross Helen McGehee Mary Hinkson Matt Turney Richard Gain Robert Powell Richard Kuch Patricia Birch Takako Asakawa Phyllis Gutelius Moss Cohen Diane Gray Judith Hogan Judith Leifer Yuriko Kimura Dawn Suzuki David Hatch Walker Lar Roberson and GUEST ARTISTS Jane Dudley Jean Erdman Pearl Lang Conductor: Eugene Lester Associate Conductor: Stanley Sussman Settings: Isamu Noguchi, Arch Lauterer, Philip Stapp Lighting: Jean Rosenthal and William H. Batchelder Rehearsal Director: Patricia Birch Company Co-Director: Bertram Ross Production Manager: William H. Batchelder Costume Supervision: Ursula Reed Produced by LeRoy Leatherman of the Martha Graham Dance Company at the Brooklyn Academy of Music are made The performances the Lila Acheson Wallace Fund, The Ford possiole by grants from the National Endowment for the Arts, Foundation, the New York State Council on the Arts and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized ale of cameras or recording equipment is strictly prohibited during performances. 4 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 The Brooklyn Academy of Music The Brooklyn Academy of Musk is a department of the Brooklyn Institute of Arts and Science, Brooklyn Academy of Music Administrative Staff Management Company, Inc. Harvey Lichtenstein, Director Lewis L. Lloyd, General Manager Board of Directors: Charles Hammock, Asst. General Manager Seth S. Faison, President Jane Yockel, Asst. General Manager Donald M. Blinken Barry Moore, Comptroller Martin P. Carter Thomas Kerrigan, Assistant to the Director Richard NI. Hester Michele Goldman Brustin, Assistant to the Director Peter C. R. Huang Anne Goodrich, Associate Press Representative Gilbert Kaplan Linda Fosburg, Manager of Harvey Lichtenstein Audience and Community Development Mr. and Mrs. Alan J. Patricof Ellen W. Jacobs, Program Editor David Picker Betty Rosendorn, Administrator, School Time Program Richard C. Sachs Sarah Walder, Administrator, Membership Program Mildred Levinson, Administrative Secretary The Academy of Music Adele Allen, Press Secretary Governing Committee Sylvia Rodin, Administrative Assistant Seth S. Faison, Chairman Frances M. Seidenberg, Financial Secretary Edward S. Reid, Vice Chairman Evelyn August, Staff Assistant Hon. Alexander Aldrich Pearl Light, Secretary, School Time Program Bernard S. Barr Dr. William M. Birenbaum House Staff Donald M. Blinken John R. H. Blum Alfredo Salrnaggi, Jr., House Manager Martin Carter Gary Lindsey, Asst. House Manager Thomas A. Donnelly Richard R. Burke, Box Office Treasurer William B. Hews. Bill Griffith, Assistant Treasurer Rev. W. G. Henson Jacobs Lars Jorgenson, Assistant Treasurer Howard H. Jones David Torpey, Assistant Treasurer Gilbert Kaplan John Cooney, Stage Crew Chief Max L. Koeppel John Van Buskirk, Master Carpenter Msgr, Raymond S. Leonard Edward Cooney, Assistant Carpenter Mrs. George Liberman Donald Beck, Master Electrician Harvey Lichtenstein Louis Beck, Assistant Electrician Mrs. Constance J. McQueen Thomas Loughlin, Master of Properties Alan J. Patricof Charles Brette, Custodian James Q. Riordan Richard C. Sachs William Tobey Foundation and Corporate Contributors Abraham and Straus Foundation, Inc. The Altman Foundation American Can Co. Fdn. Anchor Savings Bank Arthur Andersen & Company Bache Corp. Fdn. Bankers Trust Co. John R. B. Blum Fund - through New York Community Trust Robert E. Blum Fund - through New York Community Trust Bowery Savings Bank Brevoort Savings Bank Irving Brodsky & Co. Brooklyn Savings Bank Brooklyn Union Gas Co. Burlington Industries Foundation Caristo Construction Corp. The Celanese Fibers and Marketing Company Chase Manhattan Bank Fdn. Chemical Bank Trust Co. Community Drug Co., Inc. Consolidated Edison Co. of New York, Inc. Consolidated Mutual Insurance Company Continental Can Co., Inc. Crenshaw Corp. The CT Foundation Cultural Fund - through New York Community Trust Dime Savings Bank of Brooklyn Dime Savings Bank of Williamsburgh Dow Jones Foundation Dun & Bradstreet Foundation The Duplun Corp. Eastern Air idler, Inc. East New York Savings Bank First National City Bank Fdn. Flatbush Savings Bank The Ford Foundation David Goodstein Family Foundation The Grace Foundation, Inc. Greater New York Savings Bank Green Point Savings Bank The Itentield Foundation Hirshel & Adler Galleries International Business Machines Corp. International Telephone & Telegraph Irving One Wall Street Foundation, Inc. Johnson & Higgins Kings Lafayette Bank Kirsch Beverages, Inc. H. Knoedler & Co., Inc. Samuel H. Kress Foundation L. A. W. Fund The Samuel & Ethel Lefrak Foundation, Inc. Lepercq Foundation Lincoln Savings Bank Magnusin Products Corp. Manufacturers Hanover Trust Co. Marine Electric Corp. Marine Midland Grace Trust Co. of N. Y. William Marx Foundation The Matz Foundation J. W. Mays, Inc. Abraham Mazer Family Fund Joseph & Cell Mazer Fdn., Inc. Merrill, Lynch, Pierce, Fenner & Smith, Inc. Mobil Foundation, Inc. Morgan Guaranty Trust Co. of New York Nathan's Famous, Inc. National Bank of No. America New York Daily News New York Foundation, Inc. New York State Council on the Arts New York Telephone Co. Ogilvy & Mather, Inc. Pfizer Foundation, Inc. Milton & Lillian Pollack Foundation, Inc. Leon & Harriet Pomerance Fdn., Inc. Charles Punia Foundation Readers Digest Foundation Rockefeller Bros. Fund, Inc. The Rockefeller Foundation S & H Foundation, Inc. F & M Schaefer Brewing Seamen's Bank for Savings Seatrain Shipbuilding Corp. Florence & Carl Selden Foundation, Inc. The Shoreham Hotel South Brooklyn Savings Bank J. P. Stevens & Co., Inc. Foundation John F. Thompson Foundation Trans World Airlines Fred C. Trump Foundation Joy & Samuel Ungerleider Foundation United Air Lines Foundation United Mutual Savings Bank United States Steel Foundation, Inc. United States Trust Co., Fdn. van Ameringen Foundation, Inc. Wildenstein & Co.. Inc. Williamsburgh Savings Bank A. B. Y. Fund - through New York Community Trust Zeitz Foundation The George & Margarita Delacorte Fdn. We are pleased to extend this invitation to you to become a Friend. Friends of the Brooklyn Academy of Music are people who Believe in the need for quality programs at low box office prices Oiler assistance to the educational services provided by the Academy Inform the community of the variety of programs the Academy offers Help bridge the gap between costs and receipts 525 Sponsor $10 Supporting $50 Patron $100 Donor $500 Benefactor -4. 1 Martha Graham: son for the Theatre 41 Each successive appearance of Martha Graham makes more emphatic the con- clusion that she is a unique figure in the I I American dance. It is easy to understand how one might dislike her work intensely; it is considerably easier to understand how one might like it with equal in- tensity and be stimulated and disturbed by it. The only unimaginable reaction would be indifference. John Martin ' 1 The New York Times, March, 1929 Martha Graham in Letter to the World, courtesy of Dance Collection, The New York Public Library F you would like to date it, modern movements that were stark and bound to dance was born on April 18, 1926 in New the gravitational pulls of the earth. Her York City, with the choreographic debut of rhythms are strident, and her decor, mini- Martha Graham at the 48th Street Theatre. mal. She has been criticized for ugliness and "I never wanted to destroy ballet," Miss . deliberate distortion. Graham once innocently remarked. "I only "To me what I am doing is natural. It r went my own way." In going her own way fits me as my skin fits me. feel it is the Miss Graham revolutionized the form of I natural beat of life today. Modern danc- dance, creating for it a new dimension that ing requires the spectator's participation subsequently pointed the way for genera- - the greatest theater sense the audience can tions of followers. She was not trying to muster. They must allow themselves to be be radical, her genius made it necessary. reached by economy, simplicity, necessity of The nature of her dance ideas forced her line rather than by intricacy of detail or to reject the conventional values of ballet. story values. But if you want to be soothed, She replaced lightness and elevation with entertained and lulled into a false sense of 6 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 security, the modern dance is not for you," period of astounding productivity. She pre- she said in 1936. miered Every Soul Is a Circus in 1939, thereby inspiring Walter Terry to write in Though a choreographer, her artistic The New York Herald Tribune: "Martha vision is not limited to human movement Graham turned out to be the Beatrice Lillie on stage; she sees dance as a total theater of the dance and she's been hiding it from event. She seeks to integrate sound, light, t.L costume, decor and sets, often designing the lighting, costumes and sets herself. In this she has collaborated with this century's great artists - Noguchi and Calder for sets, Jean Rosenthal for lighting, Edythe Gilford for costumes, Aaron Copland and Louis Horst for music - using their individual bril- liance to realize her ideas. After seeing El Penitente in 1940, Stark Young commented in the New Republic: "Miss Graham in my opinion is the most important lesson for our theatre that we now have . In the three persons of the Penitente play there is such a sounding out of violent ecstasy, crude and orgiastic, musi- cal and dark, as is not to be found else- where in our theatre." El Penitente is among the five full-length dance-dramas-each recognized as a monu- mental achievement-created by Miss Gra- ham between 1939 and 1943.
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