sign in sign up
<<
Home , Bertram Ross, Jane Dudley, Lila Acheson Wallace, Mary Hinkson, Pearl Lang

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 1970-71

The Brooklyn Academy of Music

in cooperation with

The Center of Contemporary Dance, Inc.

presents the

Martha Graham Dance Company

By arrangement with Harold Shaw

Bertram Ross Helen McGehee 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

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: 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 Fund, The Ford possiole by grants from the National Endowment for the Arts, Foundation, the 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. , 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 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 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 , 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 ," 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 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, and 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. It was a

SERGE LIDO Letter to the World Appalachian Spring

BARBARA MORGAN us all these years. "Every Soul Is a Circus"

. . . is by far her greatest contribution to theatrical dance." In 1940 she created Letter to the World. F The critics acknowledged it as one of the t.s most important choreographic works of the century. John Martin, one of Miss Graham's ill earliest champions, said in The New York Times at that time:

"Dealing as it does with the legend, if not the life, of Emily Dickinson, and matching

itself against . . . quotations from her magically evocative poetry, it has dared an impossibility and come through triumphant-

ly . . . the composition stands forth as a work of pure genius. "From the moment when one of the two unidentified figures faces the other with Emily Dickinson's own line, "I'm nobody! Who are you?" there is created a curious sense of fantasy in which one automatically believes - there emerges with heart-warm- ing fullness a sense of that bright and vital creature who glows like a living presence through the poems of Emily Dickinson. Miss Graham has frankly ignored the sub- stantiated data of biography for the roman- tic legend but she has created something so real that it will be hard to convince anybody who sees it that any other Emily is possible." In 1943 when she premiered Deaths and Entrances, Edwin Denby wrote in The New York Herald Tribune: "The action concerns three sisters. Mem- ories and fantasies are personified by other dancers, whom they move among and touch, so that reality and imagination are no longer distinct experiences. The Bronte sisters are a kind of model. But the piece is in no sense biographical. One might describe it ANDRE KERTE. as a poem, a sequence of tightly packed and generally violent images following a sub- El Penitente with Eric Hawkins and

In addition to her choreographic accom- plishments and her theatrical innovations, she was the first choreographer to com- mission a musical score. In doing this she freed the choreographer from following a pre-arranged musical structure and gave to dance a new independence and dignity. Louis Horst, who created many compo- sitions for her, served as her artistic and spiritual mentor as well as her most ruthless critic. She recently spoke of their relation- ship to an audience of young dancers at the Connecticut College American Dance Festi- val in New London. Smiling impishly, she said: "Louis was an awful, awful man. Once I showed him a work I was choreo- graphing and he simply tore it to shreds. 'Louis,' I protested, 'you're killing my soul.' 'Then it is better for it to die now,' he replied." ANDRE menu Obviously Miss Graham's soul survived Every Soul Is a Circus with Eric Hawkins the ordeal. In five decades she has choreo- graphed one hundred and forty-five works. She has developed a technique for the train- conscious logic . . . it is certainly a master- ing of dancers that is taught throughout the piece of romantic distortion in choreogra- world. And from her company have come phy and romantic insurgence in emotion." some of the finest dancers of the twentieth 8 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 century, many of whom - Merce Cunning- life through movement. Its only aim is to ham, Eric Hawkins, Anna Sokolow, Paul impart the sensation of living, to energize Taylor, John Butler - have gone on to the spectator into keener awareness of the become master choreographers in their own vigor, of the mystery, the humor, the variety right. In every aspect of dance, her in- and the wonder of life; to send the spectator fluence is felt. away with a fuller sense of his own potenti- alities and the power of realizing them, Yet in looking back, there is seemingly whatever the medium of his activity." nothing in her family background that would encourage a professional interest in the In creating her own form for dance, Miss performing arts. As a matter of fact, her Graham creates a total vision for theater. involvement with dance developed despite Neither art can ever be the same. strong protest from her father. ELLEN W. JACOBS Beginning her artistic career with the Denishawn Dance Company, she made her Tara reema PIC113...ard theatrical debut in 1920 in the title role of Xochtl by Ted Shawn. For four years she toured the continent with the company, do- ing Spanish and Oriental dancing, as well as some vaudeville. Then in 1923 she left Denishawn to become a soloist in the Greenwich Village Follies. Three years later she turned her back on "show business" and began to teach at the Eastman School of Music in Rochester. In that same year she performed her own works in , beginning what was to become a radi- cal turn for dance, "My dancing is just dancing," she has in nano said. "It is not an attempt to interpret life Anchor 6uv in a literary sense. It is the affirmation of """'""'"'"...ff!:77.7.!."'"""'''

We Can't Do An Arabesque, But Making Homes Beautiful Keeps Us On Our Toes

At Sachs New York, making homes beautiful is an art. Our Interior Designers, all true artists and highly trained professionals, are always happy to help with your decorating problems. Dial MEIrose 5-5300 for instant assistance. Or drop in to any of our stores for a Decorator Consultation, compliments of Sachs New York.

SACHS New York's Number 1 Furniture Specialist In Brooklyn: 559 Fulton St., Marine Park: Flatbush Avenue and Ave.V (Opposite Kings Plaza) and throughout the Metropolitan area NEWI YORK )617a, DOOC3- a BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 9

Monday Evening, October 5, 1970, 8:00 p.m.

Subscription Performance

Brooklyn Academy of Music

The Martha Graham Dance Company

Cave of the Heart

INTERMISSION

Every Soul Is a Circus

INTERMISSION

Letter to the World 10 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

CAVE OF THE HEART

Music by Samuel Barber Set by Isamu Noguchi Lighting by Jean Rosenthal Choreography by Martha Graham

Commissioned by the Alice M. Ditson Fund, Columbia University

In Greek mythology, Medea was the Princess of Colchis and renowned as a sorceress. She fled from her home with the hero, Jason, to Corinth and lived with him there and bore his children. But Jason was ambitious and when he was offered the hand of the Princess of Corinth in marriage he abandoned Medea. Maddened by jealousy, Medea sent the Princess as a wedding gift a poisoned crown which killed her when she put it on. Then Medea destroyed her own children and left Corinth in a chariot drawn by dragons.

"Cave of the Heart" is Martha Graham's dramatization of this myth. The action is focussed directly upon the central theme of the myth: the terrible destructiveness of jealousy and of alliance with the dark powers of humanity as symbolized by magic.

The Characters

Medea Helen McGehee

Jason Richard Gain

The Princess Takako Asakawa

The Chorus Matt Turney

INTERMISSION BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 11

EVERY SOUL IS A CIRCUS A Satire

Music by Paul Nordoff Set by Philip Stapp Lighting by Jean Rosenthal Choreography by Martha Graham

Every soul is a circus, Every mind is a tent, Every heart is a sawdust ring Where the circling race is spent. -Vachel Lindsay

This is not the literal circus of canvas and sawdust ring, but a circus of ridiculous situations and silly behaviors. To be the glamorous star in a "star turn"; to be the apex of a triangle, the adored in a duet - these are a woman's fantasies and in dreaming them she is her own most per- ceptive, shocked and disapproving spectator. The result is addlement.

The Characters and the Action

1. Prologue: Empress of the Arena Patricia Birch 2. The Ring Master Bertram Ross 3. Parade Phyllis Gutelius, Judith Hogan, Diane Gray, Dawn Suzuki, Yuriko Kimura and Robert Powell 4. Training Ring Patricia Birch, Bertram Ross 5. Entrance of the Spectator Judith Leifer 6. The Show Begins: Star Turn Patricia Birch 7. Garland Entry Phyllis Gutelius, Judith Hogan, Diane Gray, Dawn Suzuki, Yuriko Kimura and Robert Powell 8. Arenic World (a) Triangle Patricia Birch, Bertram Ross, Robert Powell 9. "Poses and Plastiques" Phyllis Gutelius, Judith Hogan, Diane Gray, Dawn Suzuki, Yuriko Kimura and Robert Powell 10. Arenic World (b) Duet Patricia Birch, Bertram Ross 11. Aerial Interlude Phyllis Gutelius, Judith Hogan, Diane Gray, Dawn Suzuki, Yuriko Kimura and Robert Powell 12. Finale Entire Company

INTERMISSION 12 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

LETTER TO THE WORLD

Music by Hunter Johnson Set by Arch Lauterer Lighting by Jean Rosenthal Choreography by Martha Graham

"Letter to the World" is a drama about Emily Dickinson as a poet and as a woman of New England. The action takes place in the world she created in her poetry rather than in the day-to-day world of Amherst, Massachusetts, where she lived. The title and the spoken lines are from her poems.

The Characters One Who Pearl Lang One Who Speaks Jean Erdman Lover Bertram Ross Ancestress Jane Dudley March Richard Gain Fairy Queen Phyllis Gutelius Young Girl Takako Asakawa Two Children Judith Hogan, Yuriko Kimura and Diane Gray, Dawn Suzuki, Moss Cohen, Lar Roberson, David Hatch Walker

The Action 1. Because I see New England ly "Life is a spell" Pearl Lang, Jean Erdman, Bertram Ross Party Takako Asakawa, Richard Gain and Company 2. The Postpone less Creature The Ancestress Jane Dudley "Gay, ghastly holiday" Jane Dudley, Jean Erdman, Bertram Ross, Pearl Lang and Company 3. The Little Tippler "Dear March, come in" Pearl Lang, Richard Gain The Fairy Queen Phyllis Gutelius, Judith Hogan, Yuriko Kimura, Jean Erdman Young Love Takako Asakawa, Richard Gain, Diane Gray, Dawn Suzuki 4. Leaf at love turned back Jean Erdman, Jane Dudley, Bertram Ross 5. This is my letter to the world Pearl Lang and Company BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 13

tr t

40.

1°. 1

;_t:" Mb\

PFIZER: people who care

Being a Big Brother to a lonely boy ... working with the men- tally retarded ... counseling young people on drug abuse ... coaching Little Leaguers . . . are just a few of the personal activities of Pfizer people throughout the globe.

Concern for others also is a Company commitment. A Pfizer volunteer program enables employees to contribute their time and talent in the areas of youth programs, education and em- ployment. Pfizer also sponsors many training programs and work-study projects, and provides scholarship aid for minority groups, deserving medical students and children of employees.

Serving medicine, industry, agriculture and the home Pfizer 14 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970

The Martha Graham Dance Company MARTHA GRAHAM, from early in her including the New York City Ballet in career, has had recognition from perceptive Balanchine's Figures in the Carpet. This audiences and from leaders in the art world. season she appears for the first time in In recent years she has received honorary two reknown Graham roles in El Penitente degrees from eight colleges and universities, and Deaths and Entrances. including Harvard and Brandeis. Her gener- al influence on all the arts was pointed MATT TURNEY, who received her aca- up by the Aspen Award in the Humanities, demic and first dance training at the Uni- the Martha an international award comparable in im- versity of Wisconsin, studied at portance to the Nobel Prize, and by the Graham Center before joining the com- a wide more recent award from the American In- pany. She has performed range of stitute of Arts and Letters. Her other major roles - both lyric and dramatic - awards include prizes from the Lotus Club in the Graham repertoire and returns this (Award of Merit), Pasadena Playhouse season in Miss Graham's role in Phaedra. (Achievement in the Theatre), City Club PEARL LANG, who is now director of the of New York (Distinguished New Yorker), Pearl Lang Dance Company, had been a Advertising Women of New York (Lively soloist with the Martha Graham Dance Arts Award) and Brandeis University Company for many years. Twice the recip- (Creative Arts Award). Most recently she ient of Guggenheim Fellowships, she has, received the award of the Society for the since 1952, choreographed over thirty-five Family of Man and the National Institute dances both for her own company and of Arts and Letters. Her collaboration with companies here and abroad, including the contemporary composers brought her the Boston Ballet Company, Netherlands Na- Laurel Leaf of the Composers Alliance for tional Ballet and the Batsheva Company of her services to music. Israel. For the current season she appears as a guest artist with the Graham company BERTRAM ROSS is the leading male in Letter to the World, a dance in which dancer of the Martha Graham Dance Com- she had played many different roles in pany as well as its co-director. An accom- previous mountings of the work. She now plished pianist and artist, it was through plays the role of Emily Dickinson, which is, painting that he became so interested in along with Clytemestra, Miss Graham's movement that he began to take dance most famous role. classes. Soon he was performing lead roles in the Graham repertory. His choreography JANE DUDLEY, who returns as a pleat is reknown for its depth, originality and artist with the company this season, had theatricality. Oases, first presented at the been a member of the Graham company YMHA this spring, is the first dance work from 1935 to 1946. From 1942 to 1952 other than Miss Graham's ever to be com- she was a member of the Dudley-Maslow- missioned by the Martha Graham Center. Bales-Dance Trio. She served as president of The New Dance Group for the next fif- HELEN McGEHEE, who will appear this teen years. From 1968 to 1969 she was ar- season for the first time in Miss Graham's tistic director for the Batsheva Dance Com- original role of the bride in Appalachian pany in Israel. Spring, has performed many important roles in Miss Graham's works. In recent years JEAN ERDMAN, who returns this season she toured Greece as guest artist with the as a guest artist with the Graham company, Chorodrame Hellenique and has formed her made her debut as a dancer with the Martha own dance company which gives yearly per- Graham Dance Company in 1938. She is formances in New York and tours between well-known for her own choreography in- Graham seasons. cluding The Coach with the Six Insides and for her staging of many plays. She has MARY HINKSON is one of the great stars been artist-in-residence at many universities of contemporary dance. She has appeared and headed the dance departments at Co- as a soloist with all major dance companies, lumbia Teachers College and Bard College. BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 19

ROBERT POWELL graduated from the TAKAKO ASAKAWA studied dance in New York High School of Performing Arts. Tokyo before coming to the United States. In addition to dancing with the Graham She joined the Graham company in 1962, company, he has performed on television a year after her arrival in America. This and been a featured dancer with almost all season in Brooklyn and on the company's of the major American dance companies. forthcoming U. S. tour, she will share the Most recently he appeared with the London starring role in Every Soul Is a Circus. Contemporary Dance Theatre. PHYLLIS GUTELIUS began her studies PATRICIA BIRCH comes back to the Gra- with Martha Graham in 1960 and became a ham Company after a long absence to per- company member two years later. On form Miss Graham's famed satiric role in Broadway she performed in The Little Every Soul Is a Circus. In the interim, in House of Uncle Thomas and in The King addition to being the company's rehearsal and I. This season she will appear with director, she has been pursuing a new the company, performing Miss Graham's career, staging and choreographing such role in El Penitente, as well as starring as productions as You're a Good Man, Charley one of the Three Sisters in Deaths and Brown and the current hit, The Me Nobody Entrances. Knows. EUGENE LESTER, composer and con- RICHARD GAIN appeared with the Gra- ductor, is music director of the Graham ham company in 1962 and 1963, returning company, which he has served in a variety now to dance in many of the revivals. He of capacities since 1948. In addition to con- has performed in Jerome Robbins' : ducting and composing, he has taught and U.S.A. and has played lead roles in the performed on a large number of instruments City Center Joffrey Ballet, the Cullberg including the violin, piano, organ, cello, Ballet of Sweden and American Ballet harpsichord and carillon. He has also com- Theatre. posed for, organized and conducted choirs and choruses. RICHARD KUCH was a member of the Graham company for eight years. He has returned now after a seven year absence, during which he danced with the Cullberg Among the youngest members of the com- Ballet of Sweden and performed with many pany now being assigned important roles major American dance companies. He has are Moss Cohen, Diane Gray, Judith Leifer, also choreographed for several dance com- Dawn Suzuki, Yuriko Kimura, David Hatch panies in the United States and Canada. Walker and Lar Roberson.

For the Martha Graham Dance Company

Press Representative for Martha Graham Isadora Bennett Assistant to Producer Larry Hecker Stage Manager lane Clegg Assistant Stage Manager Howard Crampton-Smith Production Secretary Norma Fassnacht Miss Graham and the Company gratefully acknowledge the assistance of Pearl Lang, Jane Dudley, Jean Erdman and Bertram Ross in the revival of Letter to the World. Exclusive Management Shaw Concerts, Inc., 233 W. 49th St., New York, N. Y. 10019. (212) 581-4654. Cable address: Shawconcer. For the Academy of Music Lighting by Four Star Lighting 16 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 It's Happening

American Ballet Jeff Duncan and Dance Company Premieres Theater Workshop

On October 16 and 17 Dance Theater Four Dances Workshop Director Jeff Duncan and mem- bers of D.T.W. will make their first ap- Four premieres - three by and one by Bruce Marks - will highlight rea the two-week engagement from October 21 to November I of Eliot Feld's American Ballet Company at the Brooklyn Academy. In its American debut in Brooklyn last year, the then nine month old company received considerable critical acclaim and won an enthusiastic following of admirers. For the coming season the company will present thirteen ballets, including Cortege Burlesque, Harbinger, Intermezzo, The Maids, Meadowlark and Early Songs. In addition, Feld will present three new works, A Poem Forgotten, (music by Wallingford- Riegger), Cortege Parisiene (music by Cha- brier), and The Consort (Elizabethan music of Dowland-Morley.Newsdidder-Johnson),

e_

v. SLAiii, 1 Jell Duncan's Winesburg Portraits

pearances at the Brooklyn Academy of Music. Dance Theater Workshop, which was founded by Mr. Duncan in 1964, is a unique organization created to encourage innovation and experimentation by talented choreographers. Friday and Saturday eve- ning's performances will feature works chor- eographed by Mr. Duncan. The October 16 program will include the premiere of The Glade, as well as Res- a. Mb onances and Winesburg Portraits, a dance inspired by Sherwood Anderson's novel Winesburg, Ohio, and danced to a taped Eliot Feld in At Midnight collage of American folk music. The Glade, Vinculum, Diminishing Land- Bruce Mark's new work, as yet untitled, scape, and Statement will highlight Satur- uses music by Francais. day evening's performance. Tickets for the Brooklyn season are on Tickets are on sale now at the Academy sale at the Academy box office and at box office. The price of tickets is $3.00 A & S, Bloomingdale's and Ticketron. and 54.50. BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 17 in Brooklyn

Brooklyn Dance Cafe Academy Festival Subscriptions Bows in Brooklyn Audiences in Brooklyn are people who love dance and come often to the Academy. This Season Special subscription rates help reduce the expense. It is now possible to dine at the Academy This year the Brooklyn Festival of Dance -at the Café Academy, located in the offers an especially exciting schedule of Main Lobby. events beginning with the Martha Graham Dance Company and followed by the two Making its debut this season, the Café week engagement from October 21 to No- offers appetizers, sandwiches, cold entrées, vember I of Eliot Feld's American Ballet desserts and beverages, including such ex- Company. From November 3 to November otic foods as avocado stuffed with shrimp 15 Merce Cunningham and Dance Company salad, fancy french pastry, baklava, brandied 't cheese cake and a melange of fruits and cot- tage cheese. The prices are low. Managing the Cafe are Mr. and Mrs. Joe Franchi, a newly married couple (this September), who began their restaurant 7 careers at the Academy three years ago when they were both students at Pratt In- stitute. At that time, the Academy asked Pratt's Department of Restaurant Manage- ment to suggest a catering service for a cocktail party. Joe Franchi, then President 10 of the Gormet Club at Pratt, and Mary Lee, now Mrs. Franchi, took the job. Having since incorporated themselves into Haute Cuisine, Inc., they have catered at least one hundred and sixty special occa- sions, sometimes serving up to two thou- sand people at one time. They always use students or former students from Pratt to help them. L Last November they organized three par- ties in three days for the Academy. The Laura Prom,' and Jorge Donn in Maurice first evening they catered a reception cele- Bejart's Mrs., Pour Le Temps Present brating the opening of LeRoi Jones' Slave- ship. Soul food was served. The next night for the opening of the appear at the Academy, and Maurice it was a reception will American Dance Theater. Bejart's Ballet of the Twentieth Century spent in the Opera Greek food was prepared. The couple will make its American debut a private party January 25 to February 7. It the third evening catering House from Grotowski. One hundred guests is all in Brooklyn. for Jerzy were served a complete ten course Chinese Subscriptions are still available - until dinner. October 9 - for the special three-perform- ance series which includes the Feld com- Their newest venture, Café Academy, pany, Merce Cunningham, and Bejart. In will be open ninety minutes before curtain addition to several premieres by each of the time for evening performances on week choreographers, subscribers will see a cross days. On Saturday and Sunday the Café section of the repertoire of each company. will be open from 4:30 p.m. until curtain service. Prices for subscriptions range from $4.50 time. There will also be intermission to $16.50. Subscription folders that provide specific information about dates and prices are available in the Main Lobby.