September I October 2003 BAM 2003 Next Wave Festiva l
Roy Kortick, ear arch with fountain, 2003
BAM 2003 Next Wave Festival ENCORE is sponsored by:
Contents Sept/Oct 2003 The Marshall Plan 14 Choreographer Susan Marshall returns to BAM with her singular take on Sleeping Beauty By Susan Reiter The World of Warhol 18 In honor of Andy Warhol's 75th birthday, BAMcinematek presents a retrospective of unusual films by and about the artist By Geralyn Huxley Death Becomes Them 29 Next Wave audiences are sure to get stuck on The Hanging Man by Britain's aptly named Improbable Theater By Diane Snyder
The It List 4 Program 22 Upcoming Events 27 Top: Heat, dir. Paul Morrissey. Photo: Photofest. BAM directory 28 Bottom: The Hanging Man. Photo: Keith Pattison Cover Artist
Roy Kortick, born in 1968 in Provi dence, Rl, received a BA in visual arts and literature from Bennington College. He has had recent solo exhibitions at Wetterling Gallery in Stockholm, Marcel Sitcoske in San Francisco, Elizabeth Dee Gallery, Debs & Co (both in NYC), and Gian Enzo Sperone Gallery, Rome. Kortick has participated in group exhibitions in the U.S. and Europe and received fellowships at artist colonies. His next New York exhibition will be at Roy Kortick, w/ winged lion & yurt frame, 2003, fresco, resin, cement, Elizabeth Dee Gallery, fall 2004. He foam, fiberglass, wood, 25" x 25" x 3.5", courtesy of the artist teaches painting at School of Visual Cover: Roy Kortick, ear arch with fountain, 2003, fresco, resin, Arts (NYC) in the cartooning cement, foam, fiberglass, wood, 48" x 48" x 3, courtesy of the artist and illustration department and lives Photos by Dick Westphal. For BAMart information, contact Monika Wunderer and works in Brooklyn and in at 718.636.4101 or [email protected] Shirley, NY. 3 lHE1 rr UST THIS MONTH S HOTIEST BOOKS, DVDs & CDS
TRIPLE PLAY Next Wave Festival fa ns WEILL THING fondly recall composer Kurt Weill's formidable Biblical extravaganza, Steve R eich and video The Eternal Road (Naxos) - which made it artist Beryl Korot's anti to American shores for the first time in its technological triptych, entirety at DAM in 1999- is the fi rst release in Three Tales Naxo's American Jewish Music series, launched (Nonesuch). This unusual piece opens with in conjunction with the Milken Archive. The "Hindenberg" (the blimp, not the general), series will eventually total more than 50 CD s, continues with "Bikini" (the A-bomb test site, but for now, these nearly 75 minutes ofWeill's not the bathing suit) and ends with "Dolly" (the music and dramatic highlights from this epic are sheep, not the singer), charting the decline of a most satisfying start. mankind's blind faith in technological progress. --Km S111ith Both the music and the video design have been much streamlined from "The Cave", the pair's IT'S THEIR TURNS earlier multimedia extravaganza, with the Taking on musical legends resulting message making up in brute power may seem like a fool's what it loses in subtlety. This CD /DVD pack errand, but two petite age, however, comes with an added dose of dynamos prove otherwise. irony: the very advance in technology that the On the recording of the creators question has allowed their work to be current Broadway revival of released in its original form. Gypsy (Broadway Angel), Bernadette Peters --Ken S111ith banishes the ghosts of Merman and Lansbury GETIING INTO THE ACTS with her singular, sometimes ferocious, and Those who think "gay the often very sex]' takes on the monstrous Mama ater" is a recent phenome Rose. And on her newest CD, T h e Boy Next non need only pick up Door (Candid), 35-year-old Stacey Kent uses Forbidden Acts: her sense of swing and distinctive voice to pro Pioneering Gay & vide surprisingly fresh takes on two of Judy Lesbian P lays of the 20th Garland's hallmark songs - the title tune and Century, edited by Ben "The Trolley Song" - as well as a host of Hodges (Applause) to learn favo rites ranging from Porter and Rodgers to otherwise. This well-chosen Taylor and Bachrach. anthology of 10 plays spans more than 75 years, -Brim1 Scott Lipto11 ranging from Sholom Asch's 1918 drama "God of Vengeance" to Leslie and Sewell Stokes' lit GOOD AND PLENTY tle-known 1938 biodrama "Oscar Wilde" There is more to the BAM area than meets than through such landmark plays as "The Boys in eye. Just check out the over 600 listings in the Band", "Bent," "As Is," and "Love! Valour! P lenty: The Ultim ate Guide to Life & Compassion!" Leisure in Clinton H ill and For t Greene - Brian Scoll Lipton (R edmedia), and discover where to eat Cambodian cuisine, get a message or go to reli gious services. -B.S.L. 4
EVERYTHING OLD IS NEW AGAIN By Amy H. Blankenstein If fashion's your passion, head to Sure, we live in a throwaway culture; the evi the East Village, or dence piles up faster than landfills can close in should we say this town. But while the frivolous among us East Vintage. At may have banished last year's must-have puffy Patsy's (23 Aveuue sleeved, ruffie-fronted shirts from our cutting B. 212-505- edge closets, or kicked our !Mac-inspired 8644), an eclectic array of women's clothing workstations to the curb, others are actively from the recent and not-so-recent past shares seeking out the past's forgotten treasures. space with a small offering of the owner's new merchandise. R achel Kueny and Sarah Lichtman, the owners of If unbeknownst to you, your mother donated AstroTurf (290 Smith Street. your 1984 Van Halcn concert T-shirt to the 718-522-6182), prefer to let Salvation Army, don't fret. Chances are good the past speak for itself, espe you will find one just like it -- but with fewer cially if it's fun and well holes-- at Argosy ( 428 East 9th Street. 212-982- designed. The store sells 20th 7918). This oasis of cool old clothes for guys century furniture and also carries a remarkable selection of warm-up objects, with special atten suits, jackets, jeans and cords, and of course, fun tion given to the 40s, 50s, and funky polyester shirts. and 60s. Whether you're searching for sophisti cation with a classic Eames or Herman Miller Next door, Atomic Passion ( 430 East 9th Street. or you prefer a Miami-fabulous wire poodle 212-533-0718) is a riot of color. Christmas drink caddie with matching magazine rack, ornaments and plastic flowers cover the ceilings you've come to the right place. and Mexican ads from the 40s serve as wallpa per. But the most arresting aspect of the store The cleverly named Bopkat ( 18 6 Fifth Avenue. are the walls filled with shoes. From mules and 718-623-1815) is another treasure trove of pumps to disco platforms or thigh-high red mid-20th century collectibles and vintage leather boots, Atomic Passion carries a wide clothing. Lots of fun glassware, trays and other range of sizes. In addition to its impressive shoe home accessories line the shelves of this little collection, the store carries both men's and shop. women's vintage duds.
At Enamoo (109 Finally, bargain hunters and connoisseurs alike Smith Street. 718- are advised to prowl one of the city's numerous 624-0175), blast thrift shops, most of which carry excellent from-the-past selections of clothing, furniture and house offerings range wares. Better still, proceeds from the sale are from the useful, contributed to charities and worthy organiza such as an Art tions. Some standouts include Care Partners Deco vanity, to the iconic, as in the late-60s T hrift Shop (475 Atla11tic Aveuue. 718-852- model Schwinn exercise bike. But some of the 2437), R epeat Performance (220 East 23rd best finds arc those re-purposed by co-owners Street. 212-684-5344) and The Spence-Chapin Lim and Schade: library card catalog drawers Thrift Shop (1430 Third Avenue. 212-737- become cactus planters and fire-engine red 8448). doors find new life as glass-encased tables. :fits :for }jour butt e r :fafJu{ous Lifesty{e
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AVAILABLE AT WWW .SOnYCLASSICAL. COM WWW. YO-Y0111A.C0 111 BORDERS® :i! ond ·SONYCLASSICAI Reg US Pet &Tm Off.Mao Experience New York's intimate home for dance. Akram Khan Company Oct 14-19 Ronald K. Brown\ EVIDENCE Oct 21-26 George Piper Dances Nov 4-9 The Joyce Theater 17 5 Eighth Avenue at 19th Street JOYCECHARGE 212-242-0800 www.joyce.org BAM 2003 Next Wave Festival is sponsored by: Next Wave Festival supporters: The Peter Jay Sharp Foundation Richard B. Fisher & Jeanne Donovan Fisher Altria The SHS Foundation The Shubert Foundation, Inc. The Andrew W. Mellon Foundation Programming in the BAM Howard Gilman Opera House is The Starr Foundation supported and endowed by The Howard Gilman Foundation. Carnegie Corporation of New York Programming in the BAM Harvey Theater is endowed by the JPMorgan Chase Doris Duke Charitable Foundation. Booth Ferris Foundation Endowed funds supporting the Next Wave Festival: Samuel I. Newhouse Foundation Inc. Next Wave Forward Fund The Horace W. Goldsmith Foundation Altria Group, Inc./Founding Sponsor The Ford Foundation "Supporting the Spirit of Innovation" The Ambrose Monell Foundation The Ford Foundation Fund to Support Collaborative Creativity lsak & Rose Weinman Foundation Inc. Among U.S. Artists Francena T. Harrison Foundation Trust The Peter Jay Sharp Fund for Opera and Theater The Robert W. Wilson Foundation Michael Bancroft Goth Endowed Annual Performance Fund New York State Assembly Brooklyn Delegation The Bohen Foundation to Support the Next Wave Harold & Mimi Steinberg Charitable Trust Forward Fund Asia Society The Jerome Robbins Foundation, Inc. The Jerome Robbins Foundation, Inc. The Charles and Valerie Diker Dance Endowment Fund Estate of Martha Zalles The Marion Petschek Smith Fund for Choreographers The Eleanor Naylor Dana Charitable Trust BAM would like to thank the Brooklyn Delegation of the The Irene Diamond Fund, Inc. U.S. House of Representatives, which-under the leadership Anne H. Bass of BAM's district congressman, the Hon. Major R. Owens and in close partnership with the Hon. Edolphus Towns and Rose M. Badgeley Residuary Charitable Trust the Hon. Nydia M. Velazquez-has secured a major Federal The Scherman Foundation, Inc. appropriation for BAM's youth and community initiatives. The Aaron Copland Fund for Music, Inc. Next Wave Dance support: Mid Atlantic Arts Foundation The Harkness Foundation tor Dance BAM thanks Friends of BAM and BAM Cinema Club members Presenting sponsor for Ballet! Frankfurt: for their valuable support. BAMcafe Live sponsored by: Deutsche Bank [Z] (§conEdison Presenting sponsor for Omega, Alladeen, and CinemaS/am: Additional support: Mary Flagler Cary Charitable Trust Bloomberg BAMcinematek: BAM marquee sponsor: Presenting sponsor: STEINER cffibank ST UDI OS www.bam.org sponsor: Leadership support: K"- J~h S. and Diane H. Steinbtrt . RIGA ..a.J' ¢ MAII I JA il ff ii.US T Official hotel for the Next Wave Festival: Major support for the Warhol series: New York Brooklyn Marriott The Andy Warhol Foundation for the Visual Arts Yamaha is the official piano for BAM BAM Rose Cinemas are named in recognition of a major gift Your tax dollars make BAM programs possible through in honor of Jonathan F.P. & Diana Galthorpe Rose, and have funding from: been generously supported by The Peter Jay Sharp New York City Department of Cultural Affairs Foundation, Richard B. Fisher & Jeanne Donovan Fisher, James Ottaway, Jr., Trust for Mutual Understanding, Grand New York State Council on the Arts Marnier Foundation, and Bowne Enterprise Solutions. National Endowment for the Arts The BAM facility is owned by the City of New York and is funded, in part, with public funds provided through the New York City Department of Cultural Affairs with support from Mayor Michael R. Bloomberg; the New York City Council; ~ Council Speaker Gifford Miller; the Brooklyn Delegation of the NYSCA Council; Brooklyn Borough President Marty Markowitz; and Cultural Affairs Commissioner Kate D. Levin. AI tria Kraft Foods Philip Morris International © Altria Group, Inc. 2003 Philip Morris USA \1- STEINER is proud to support BA M Sleeoing Beautv was elsewhere than with the specific storyline The Marshall Plan of the familiar tale. By Susan Reiter "As a starting point, I knew I was making a The two new intriguing companion pieces work that was about separation and rescue. I Sleeping Beauty and Other Stories-that Susan knew I had one figure isolated from the group, Marshall & Company bring to BAM's Harvey and that the piece would be about the difference Theater from October 21 - 25 may have titles and separation," Marshall says. "But I didn't that suggest plot, narrative, and decisive know until after we'd begun that I was making conclusion. But anyone familiar with Marshall's a 'Sleeping Beauty.' We all know people who intense works will rightly anticipate a more are isolated, lost, or invisible, and those of us indirect and multi-faceted approach. who recognize their beauty want to 'save' them. These are the people I had in mind while Marshall, a winner of the coveted MacArthur creating the solo figure." Foundation "genius" grant, creates highly evocative dances that probe into psychological Marshall sees another theme in the work. "I territory, exposing nerve endings and asking think it also deals with miracles, in a certain questions without offering neat answers or sense-with the idea of major change. Bringing definitive resolutions. Often, her dances evoke someone of a different consciousness to another underlying tensions and hint at universal fears consciousness is some kind of miracle. and dilemmas. Her deeply communicative Miracles happen, but they may not take the dance~s. masters of subtlety, come across as form of one kiss. The miracle might be a profoundly human yet anything but ordinary. process that involves a lot more than one person, and one act." In creating Sleeping Beauty, Marshall was not focusing on fairies bearing gifts, castles hidden The two works on the BAM program represent amid a century's growth of brambles, or a highly contrasting compositional approaches. prince's restorative kiss. Her thematic focus As Marshall notes, "Sleeping Beauty is very 14 structured and tight compositionally. It's very really hoping to push the role of the sound visual in a clean, more organized way. There's and the lighting- to where they were more more of a clear through-line, in that you're active choreographic partners. tracing the evolution of the central figure," she says. "For Sleeping Beauty, we were looking for music that would define the two different "But Other Stories is messier; it's not linear. worlds- the central figure's world, and that of It's a collection of absurd and mysterious the larger outside society," adds Marshall. Their fragments. It's as though a camera is moving search led to a score by David Lang- a co in close and looking at details of many different founder of Bang On A Can, who provided the little scenes that may be related, but the music for Marshall's 1998 BAM work, The camera doesn't do you the favor of pulling back Most Dangerous Room in the House- that to provide the overview and easy explanation of seemed ideal for the former, and music by their interrelationship." Annie Gosfield suitable for the latter. "Jane's role is to integrate both David and Annie's work In both works, Marshall's seven dancers radiate to suggest contrasting yet overlapping worlds." an extra-sensory awareness of each other. Several have been with her as long as a Shaw's soundscape for Other Stories includes decade, while some are quite new- but they her own compositions as well as some by share a physical intelligence and an ability to Liminal. "She's creating sound effects that suggest that something profound is at stake. connect to the movements. I was interested in exploring a way of amplifying the movement 'In our creative process, almost all of the by sounds actually coordinated and cued to movement material is generated by the specific movement," Marshall says. dancers," she says. "A variety of improvisational instructions are set up so that contexts are As new and adventurous as her two premieres established for them to create movement. Then promise to be, Marshall sees them as "both a a lot is thrown out- l'd say 80 percent. But continuation and a departure from my previous "Miracles happen, but they may not take the form of one kiss. The miracle ~ might be a process that involves a lot more than one person, and one act." what we keep gets shaped and further sculpted work. They're much more pure-dance. I've and orchestrated. With Other Stories, I was been experimenting with text over quite a really intent on following the choreographic while. This is the first time I've taken a break process of what happened in the studio and from that, and it feels good. I like the way text coming into it with as little conceptual baggage offers little footholds for an audience, launch as possible." ing-off points for them to project themselves into the work. On the other hand, without text, In addition to set design by Douglas Stein the dance is just so open for whatever the and costumes by Kasia Walicka Maimone, audience brings to it, and I like that." • Marshall's two new works feature sound design by Jane Shaw, whose approach opens up a Susan Reiter is a freelance journalist new direction for the choreographer. "This is specializing in the performing arts. the first time I've ever worked with a sound designer, as opposed to a composer. I was 15 There"s a poi.nt to 1i.fe. And no, i.t"s not the deci.ma1. We understand there's more to life than money. That's why we pro vide you with the tools to help you live your priorities. Citibank is proud t o support the Brooklyn Academy of Music. cffibank Li. ve ri.ch'ly: citibank.com C2003 Citibank. Cit•bank, N.A. Member FDIC. Citibank with /lie Design is a registered service mark and live richly is a service mark of Citicorp. Andy Warhol The World of Warhol By Geralyn Huxley Had he lived, 2003 would have been a milestone year for Andy Warhol-marking both his 75th birthday and his 40th anniver sary as a filmmaker. Even though he's no longer with us, BAM is celebrating the occasion with a three-week film series, "Andy Warhol: I Don't Know What I Am Doing," from October 10-28. With the Andy Wa rhol Museum, BAM will present fifteen of Warhol's films, along with a handful of more contemporary movies about the artist. Some of the film's stars and directors, including Taylor Mead, Vincent Fremont, and Mary Harron will also be on hand for Q&A sessions. When Warhol began making films in 1963, oping and being refined in his early works he was already an accomplished artist. In his such as Kiss (1963) and Blow Job (1964). films, he extended and refined much of the He continued to focus on the individual in his imagery, as well as many of the concepts and later, more complex, films, such as The techniques that he had been using to explore Chelsea Girls (1966), as wel l as in his conti n both popular culture and fine art. He created uing almost-biographical studies of one of his a wide range of film works, including austere favorite performer-subjects, the rich, beautiful, conceptual experiments, simple narratives, and tragic debutante Edie Sedgwick. She met and sublime portraits of individuals. His later, Warhol in New York in 1965 and soon domi more complex, fi lms were dramas featuring nated the underground Pop scene. They made performers from the Factory-his own more than ten films together in the few years Hollywood-inspired superstars. Warhol essen she spent at the Factory. tially halted his personal involvement in 1968, after being shot by Valerie Solanas. A key to understanding Warhol's filmmaking And after he withdrew his films from distribu process has to do not only with his regard for tion in 1972, they soon became legendary. people, but with his desire to capture the experience of existing. As Warhol notes in The most striking revelation of Warhol's films POPism: The Warhol Sixties: "I always wanted is the extent of his fascination with people. As to do a movie of a whole day in Edie's life. with his paintings, most of his fi lms are But then, that was what I wanted to do with essentially portraits, the persistent camera most people. I never liked the idea of picking fixed upon the performative personalities out certain scenes and pieces of time and found in front of it. For Warhol, the fi lmic putting them together, because then it ends qua lities of time and motion afforded a richer up being different from what really happened and more intimate understanding of the -it's just not like life ... What I liked was subject than those of traditional portraiture. chunks of time al l together, every real His interest in portraiture can be seen devel- moment. .. I on ly wanted to find great people and let them be themselves and talk about soon after the exiled older sister of Cuban what they usually talked about and I'd film leader Fidel Castro became famous for her them for a certain length of time and that sensational article in Life magazine entitled, would be the movie." "My Brother is a Tyrant and He Must Go." Many of Warhol's films were inspired by his In the mid-1960s, Andy Warhol, interested in lifelong interest in Hollywood movies, stars, the growing notion of "expanded cinema," and scandals, as well as celebrities of all kinds. became involved with one of most influential His early film, Tarzan and Jane Revisited ... underground bands in pop music history, The Sort Of (1963), was shot in Hollywood and Velvet Underground. Warhol offered to manage features the unlikely Taylor Mead as the jungle them after attending a performance in hero and includes a cameo by an actual movie December 1965 and soon added chanteuse star, Denn is Hopper. Nico, whose son with French star Alain Delon is featured in Ari and Mario (1966). Warhol Warhol's fi rst film portrait of Edie Sedgwick was developed his multi-media shows, Up-Tight titled Poor Uttle Rich Girl (1965), in part and The Exploding Plastic Inevitable, in which because her real life resembled that of the role the band performed their ear-splitting,urban played by Shirley Temple in her 1936 film of style drone music, accompanied by Superstar the same name. Hedy (1965) focused on dancers bathed in colored lights in front of international actress Hedy Lamarr's shoplifting large projections of slides and Warhol's films, episode and her fal l from grace. including The Velvet Underground and Nico (1965). The music of The Velvet Underground In Screen Test# 2 (1965), scriptwriter Ronald can also be heard in the final ten minutes of Tavel plays a producer brutally auditioning The Chelsea Gi r ls. ~ Mario Montez for the role of Esmeralda in a never-intended-to-be-made version of The Geralyn Huxley is the Associate Curator of Film Hunchback of Notre Dame. Tavel wrote the and Video at The Andy Warhol Museum. script for The Ufe of Juanita Castro (1965) October 2003-BAMcinematek 25 Chelsea Girls* Paul Morrissey: An Independent Spirit 26 Basquiat* Oct 2 Women In Revolt* 28 Visions of Warhol w/Factory-Made 3 Flesh Conversations* 4 Trash* * Special event. Check www.bam.org for info 5 Heat* 6 Lonesome Cowboy BAMcafe Live 7 Spike of Bensonhurst On Oct 11, BAMcafe Live will host Uncle 8 Forty Deuce* Moon, one of Manhattan's foremost art bands, 9 Mixed Blood as they reinterpret the Velvet Underground's classic "banana" album. I Don't Know What I'm Doing: Andy Warhol Oct 10 Poor Little Rich Girl with Vinyl Talk About Warhol 11 I Shot Andy Warhol* On Oct 25, BAM will present a symposium in 12 Superstar: The Ufe and Times of Andy Warhol conjunction with the Andy Warhol Museum: "Talk About Warhol (A Diamond Jubilee for 14 Tarzan and Jane Regained... Sort of* Andy: New Perspectives in Honor of Warhol's 16 Screen Test #2 w/ The Ufe of Juanita Castro 75th Birthday)," featuring two panel discus 17 The Velvet Underground and Nico w/Hedy sions with such Warhol experts as actress 18 Pie in the Sky: The Brigid Berlin Story* Jane Holzer; authors Victor Bockris, Wayne 19 Absolut Warhola Koestenbaum, and Dr. Steven Watson; Jonas 21 Mrs. Warhol w/Ari and Mario Mekas, the founder of Anthology Film 22 My Hustler Archives; and Thomas Sokolowski, director of 23 Since w/Couch The Andy Wa rhol Museum in Pittsburgh. 24 Kiss w/Biow Job The Campaign for BAM was initiated in 1992 to create Phase Two (! 996-2000) combined operating, endow Brooklyn Academy of Music's first endowment. Phase One ment, institutional development, and building renovation (1992-1995) established a $12 million nucleus which needs into one unified effort and achieved the endowment has provided BAM with a strong financial foundation and goal of $20 million. The continued growth of the endow supports all BAM operations through annual distribution ment is critical to the success and future of BAM. Phase of interest income. Three (2001- 2005) of the Campaign is now underway with a goal of expanding the endowment to the level of $40 million. BAM sincerely thanks the many contributors who have made major gifts to the endowment effort. Endowment $5,000,000 and above $250,000 and above Mr. & Mrs. Arne Vennema The Marion Petschek Smith The Peter Jay Sharp The Bohen Foundation Verizon Communications Fund for Choreographers Foundation William I. Campbell & The lsak and Rose Judge Franklin R. Weissberg Lila Wallace-Reader's Christine Wachter Weinman Foundati on & Judge Marylin G. Digest Endowment Fund The Charles & Valerie in honor of Madame Diamond (CCl for Community, Diker Dance Lilliana Teruzzi Educational, & Public Endowment Fund $10,000 and above Affairs Programs The Horace W. Goldsmith $50,000 and above Alta Mechanical Corp. Foundation Robert & Joan Catell Bloomberg $1,000,000 and above Alex Hillman Family Kathleen & Neil Chrisman Mr. & Mrs. Norman J. Altria Group, Inc./Next Foundation Mr. & Mrs. Henry Buchan Wave Forward Fund Maxwell Family Fund in Christensen Ill Ms. Anne Delaney Doris Duke Charitable Community Funds, Inc. European American Bank Beth Rudin DeWoody Foundation The Andrew W. Mellon HSBC Bank USA Dwight & Ann Ellis Emily H. Fisher Foundation Rita J. & Stanley H. Kaplan Gail Erickson & Christa Rice Richard B. Fisher & Foundation, Inc. Mallory & Elizabeth Factor Jeanne Donovan Fisher $100,000 and above KeySpan Foundation Joan Fields Judith R. & Alan H. Michael Bailkin, Marvin Mr. & Mrs. Edgar A. Lampert Mrs. M. Derene Frazier Fishman Levine, Jesse Masyr, John Lipsky & Mr. John M.Goldsmith The Ford Foundation Fund David Stadtmauer Zsuzsanna S. Karasz Ms. Regina M. Griffin to Support Collaborative The Harkness Foundation Evelyn & Everett Ortner Jane Holzka & Mark Winther Creativity Among for Dance Arthur Ross Foundation Mr. & Mrs. Richard Hulbert U.S. Artists Francena T. Harrison lindsay & Brian Shea William Kistler The Howard Gilman Performance Fund Kelvin & Kathryn Kostohryz Foundation William Randolph Hearst $25,000 and above Albert & Joan Kronick Bruce C. Ratner Endowment for Amanda M. Burden Eric & Amala Levine The Peter Jay Sharp Fund Educati on and Gerard Conn & Carol Yorke Mr. & Mrs. Eugene H. for Opera and Theater H~manities Programs Brendan & Barbara Dugan Luntey The Starr Foundation Independence Community Mr. & Mrs. G. Martin Fell Mr. Jeffrey L. Neuman Bank Forbes, Inc. Jonathan Newcomb $500,000 and above Annie Leibovitz & Studio William & Mary Greve John Michael Powers Jr. Michael Bancroft Goth Leo Burnett, USA Foundation Mr. & Mrs. David Puth Endowed Annual Sarah G. Miller & Mr. & Mrs. Sidney Kantor Susan & Kanti Rai Performance Fund Frank L. Coulson Miriam E. Katowitz & The Silverweed Foundation Mary & Jim Ottaway Jr. The Morgan Stanley Arthur J. Radin Mr. James Sollins in honor of Ruth Community and Rosemarie & Francis J. Liliane & Jose Soriano Blackburne Ottaway Educational Fund Kazeroid Barbara H. Stanton Rockefeller Brothers Fund J.P. Morgan & Co. Charlotte & Stanley Kriegel Nora Ann Wallace Jonathan F. P. & Incorporated Ticket Assistance Fund Terilynn & Jeff Walsh Diana V.C. Rose The Jerome Robbins W.P. McMullan & Charlene Magen Weinstein Foundation, Inc. Rachel McPherson May & Samuel Rudin Robert C. Rosenberg As of August 15, 2003 Family Foundation The Ford Foundation Challenge In May 2000 The Ford Foundation awarded BAM a new May 2005. Most importantly, the matching funds must be $ 1 million grant to support the endowment campaign, to raised from new and/or increased gifts from individuals. establish a cash reserve, and to help fund the commission ing and presentation of new works by American artists. Please help BAM to achieve the matching goal by calling BAM Membership at 718.636.4194 and making a special To earn the $1 million grant from The Ford Foundation, pledge over and above your current giving to BAM. BAM must raise matching funds totaling $3 million by BAM sincerely thanks its many contributors listed below whose notation (E). BAM major individual supporters are noted gifts over the past year are greatly appreciated. This listing (NSJ for Next Society. Members of BAM Patron Councils are primarily recognizes support for BAM's annual operating needs identified as Chairman's Circle (CC) and Producers Council (PC). and also acknowledges endowment contributions with the $500,000 or more Steiner Studios Credit Suisse First Boston CitySearch.com Brooklyn Borough President Verizon Communications The Eleanor Naytor Dana Component Assembly Systems, Marty Markowitz Alberto Vilar (NS) Charitable Trust Inc. Brooklyn Delegation of the The Robert W. Wilson Beth Rudin DeWoody The Aaron Copland Fund for New York City Council Foundation, Inc. The Irene Diamond Fund, Inc. Music, Inc. Richard B. Fisher & Jeanne Edizioni Olivares Ms. Anne Delaney (E) CNS) Donovan Fisher (E) (NS) $50,000 or more Mr. & \>Irs G. Martin Fell DCM Erectors. Inc. The Howard Gilman Edith and Frances Mulhall (E) (NS) Jean and Louis Dreyfus Foundation (El Achilles Memorial Fund Assemblyman Roger Green Foundation, Inc. The Andrew W. Mellon AOL Time Warner Inc. (E) CCC) Charles Hayden Foundation Eastern Exterior Wall Systems Foundation (E) AT&T Heckscher Foundation for Inc. New York City Department of The Bodman Foundation Children Electric Light & Power Inc. Cultural Affa irs Bowne Enterprise Solutions Rita J. and Stanley H. Kaplan Elite Traveler Magazine New York City Department of William I. Campbell & Family Foundation Empire City Iron Works Design and Construction Christine Wachter (E) (NS! Kaufmann, Feiner, Yamin, Mallory & Elizabeth Factor (NS) The Peter Jay Sharp Robert Ste~ ing Clark Foundation Gild in & Robbins Finlay Printing Foundation (E) Con Edison Dan Klores (NS) Mr. David B. Ford (PC) The Starr Foundation (E) Credit Lyonnais Leigh & Charles Merinoff Forest Electric Corp. Office of Juvenile Justice and The Gladys Krieble Delmas Metlife Foundation French Ministry of Foreign Delinquency Prevention, Foundation Sarah G. Miller & Frank L. Affairs through AFAA and Office of Justice Programs, Deutsche Bank Coulson (NS) the Cultural Services of the U.S. Department of Justice Charles & Valerie Diker (NS) Natural Heritage Trust French Embassy in New York The Feinberg Foundation Neuberger Berman Foundation Fujitec New York $100,000 or more Fleet National Bank New YOHarvey lichtenstein
21 Paul Newman (NS) Mr. Len Fink Mr. & Mrs. Theodo!e C. Rogers Control Point Associates. Inc. Not lor Tourists Mr. Ronald Finkelstein
Karen Brooks Hopkins Joseph V. Melillo President Executive Producer
presents The Sound of Ocean U Theatre
Approximate BAM Harvey Theater running time: Oct 7, 9-11,2003 at 7:30pm 1 hour 40 minutes, no Directed and choreographed by liu Ching-ming intermission Music by Wong Chee-mun Set design by liu Chung-hsing Costume design by Yip Kam-tim Lighting design by lin Keh-hua
The Sound of Ocean premiered in Oct 1997
U Theatre's Fa ll '03 USA tour is produced by Lisa Booth Management, Inc., in association with Asia Society.
BAM 2003 Next Wave Festival is sponsored by A/tria Group, Inc.
Next Wave Dance support is provided by The Harkness Foundation for Dance.
Major support is provided by the Council of Cultural Affairs, Taiwan. Artistic consultant Wu Jing-yi
Performers Chen Yung-long Leong Huey-yi Cheng Po-jen Lin Hsiu-chin Cheung Wai-yuen Liu Ching-ming Chiu Chi-hon Tu Chi-chao Huang Chih-lin Tu Yu-fong Huang I Ting Wong Chee-mun Huang Kun-ming • l
Musicians Sun Chin-feng, Tang Wen-haw
Stage manager Chang Wen-ho Technical director Lin Shih-hsin Lighting supervisor Fung Kwok Kee Sound supervisor Lin Meng-yu Dramaturge Lee Li-heng Executive coordinator Yu Fei-ling
Photo: Courtesy U Theatre Pro2ram Note
U Theatre on U Theatre levels within the theater through the per formers' precise movements and music, Why "U"? for which drums and gongs play a central role . "U Theatre has actors but no charac The pronunciation of the letter "U" is ters, rhythm but no plot, singing but no similar to the Chinese word for 'excellence.' dialogue," commented a French theater This same word was used for 'performers' critic in 1998. U Theatre's performances in imperial China. More than 1,000 years combine music (rhythmic drums), dance ago, Zen masters in China wrote that a (movement and gesture), and drama. true artist should balance artistic skill with self-improvement (the "Tao"). Since U U Theatre's home on Laochuan Mountain Theatre's founding in 1988, we have is an hour's drive from Taipei City. Every created performances which delve into morning, the members of U Theatre the inner meaning of self. For U Theatre, make their way here to train and combining Tao and artistic skill is the goal rehearse. At Laochuan Mountain, our of life and of artistic creation. company practices Tai-chi, takes martial arts lessons, practices drum techniques, Music, Dance, Drama, and Our Theater and most important of all, meditates. on the Mountain ... Although holding various religious beliefs, Most modern performance groups concen company members value the benefits of trate on character development and story meditation as much as monks . Through narration. U Theatre takes a different the introspection achieved through medi approach by gradually building up energy tation, U Theatre's members work to find and maintain an inner peace despite have become essential elements of U the chaos and confusion present in the Theatre's performances. outside world. We believe that through performance we can communicate this "Performance is the representation of the inner piece with our audiences. best aspects of life," is the oft-repeated mantra of Liu Ching-ming that has come History and Philosophy to define U Theatre. The attention our Liu Ching-ming established U Theatre in company places on raising the quality of 1988 as an expression of her personal life through theater makes this company desire to reacquaint herself with unique in comparison to other modern Taiwanese and Chinese cultures as well theater groups. as to introduce such traditional cultural elements into modern theatrical perform The 'outward' nature of U Theatre's ance. Before U Theatre, nearly all performances during its first five years modern theatrical efforts in Taiwan took expressing a search for cultural roots, was Western modern theatrical techniques followed by an 'inward' focus, through and approaches as their foundation. which U Theatre's members have worked Liu, framing U Theatre's approach to to achieve inner peace and then project performance within the imperative of this peace into our work. Our aim is to "reacquainting one with oneself," has actively join with its audiences to share made Taiwanese and Chinese cultures this experience. the base ingredients of U Theatre's performances. In 1997, U Theatre celebrated its tenth anniversary with the premiere of The E In our first five years, U Theatre focused Sound of Ocean. For the company, th is on learning from Taiwan folk artists the work is a milestone in ou r efforts to forms and skills of theatrica l performance. achieve strict body discipline and total Liu concu rrently arranged a training freedom of the mind. The Sound of Ocean curriculum to teach va rious methods of is a theatrical piece focused on performers. Western modern theater. U Theatre's early Whi le the audience will recognize in it works were adaptations of Chinese classic elements of music, dance, and drama, the tales from a Taiwanese perspective, energy level of the performances in The combining song and dance together with Sound of Ocean distinguishes it from traditional religious elements. other theater works.
In 1993, Liu invited drum master Wong U Theatre's members have honed their Chee-mun to instruct U Theatre's mem artistic and spiritual skills on their bers in music, especially in the perform mountain workshop over many years now. ance of traditional Chinese percussion. We lead simple lives, and this is reflected Wong's deeply-held conviction that "to in our work. While it is unclear whether learn to play the drum, one must first performers in old China followed similar learn to meditate," inspired the adoption creative processes and forms of simple of meditation, and later Chinese martia l living, the members of U Theatre are arts, into the central core of the U resol ute in our commitment to conti nue Theatre's training. These two elements facing their lives with honesty and the pursuit of inner peace. About The Sound of Ocean deep into it, beyond the point where the unknown and unrevealed begins. by Liu Ching-ming, Fou nder and Artistic Director, U Theatre It _is sa id that the goddess of compassion, ~ Kuan-Yin, when she bega n working on The Sound of Ocean is an experience that the perfection of her mind, practiced med soothes and shares. It is a work about itation by the sea. Every day she listened water. As U Theatre is situated on a to the ocean rolling in and ebbing away. mountain, far away from the sea, what Thus purified of all illusions by the steady relevance does water really have to the roar of the ocean, she reached supreme group? The phrase serves as a metaphor enlightenment. Is this the reason why a for the actors' sensitivity. But what does definition of The Sound of Ocean is so that mean? "The Sound of Ocean consists elusive? Is it, perhaps not the creation of of vibrations united in harmony." Such U Theatre? The Sound of Ocean encom is the definition given by the Master passes five segments: Collapse, Flowing Drummer Wong Chee-Mun. The Sound Water, Breakers, Listening to the Ocean of Ocean tells of the water of life, which Heart, and The Sound of Ocean. Flowing nourishes our sou ls. Individual drops Water, Listening to the Ocean Heart, and gather together to form a stream; streams The Sound of Ocean are the backbone of join forces to create a river, wh ich even this work. The other two sections produce tually empties into the ocean. They sink a strong contrast to these three. The sense of calmness in Flowing Water is by a mighty temple bell, which emitted amplified by its placement after the pow real "sound waves, ocean waves, purify erful performance of Collapse. To talk ing waves." Wong continues, "When I about The Sound of Ocean, one begins started practicing meditation, I often with Flowing Water. woke up during the night, feeling that my conscience had reached the border of After six years of performing, U Theatre death and that life remained indeterminate. added drumming to its repertoire in What is life? When death arrives, there is 1993. Wong Chee-mun had just come apparently no more life, but does not back from a trip to India where he had something remain which death cannot meditated for six months at the location erase?" Listening to the Ocean Heart is where Buddha reached enlightenment. to experience a cautious and serene After many sessions of contemplation, acceptance of death. some of which lasted a whole day, Wong's thoughts became serene. Then he The performance ends with The Sound of told the troupe: "I will first teach you Ocean, the essence of the piece. Only meditation, and then we will play the three instruments are used. Their different drums." tones clash with one another and in turn, hold themselves together. The big drum After two years of teaching, he created steadily bounces back; the furious gong Flowing Water, a steady stream of keeps ringing while a large musical bowl repetitive rhythmic sequences reflecting resounds regularly. Three instruments, the continuous flow of water. The changes three sounds: the first one strongly con in volume remind us of the adaptability of trasted and in relief; the second sudden water wh ich "flows downhill, willingly and cyclica l; the third horizontal and complying with the slope." The drumming even. remains unbroken despite the intermittent strokes. However, the intervals do not The Sound of Ocean expresses both the emanate silence, but rather are filled with reawakening life and the eternal peace of a primordial sound- 'om'-which, in death. 1! is a sharing from the actors with Buddhist cosmology, is the sound which the audience-a sharing of life, every fills the universe. The Buddhist Master moment of it, and a sharing of the Vimalakirti responded to the persistent present. questions of his disciples by maintaining silence and, thus awakened from their ignorance, they exclaimed: "The master's silence is like muffled thunder."
A further two years were necessary to complete The Sound of Ocean . Wong Chee-mun explained that he was inspired Liu Ching-ming (Founder and Artistic martial arts at age ten. Wong has Director; U Theatre), born in 1956, rose developed and practiced these skills in to become one of Taiwan's top stage both specialties for more than 20 years. actresses by the early 1980s. After Following his university graduation, Wong earning a Masters of Arts from New York toured Europe, the Americas, and Africa University in 1983, in 1984 she was for several years as a member of a dance invited to participate in a year-long work troupe. After spending time studying shop by Polish director Jerzy Grotowski at meditation in the 1990s in India and his renowned theater school. Absorbing Tibet, he joined U Theatre in 1993 at the Grotowski's teachings, Liu learned to request of U Theatre's founder, Liu Ching "instill a quest for deeper relevance at the Ming. Wong's approach to U Theatre's heart of all of my artistic endeavors." Liu training regimen, which requires students founded U Theatre in 1988, soon after first to learn meditation before taking up returning to Taiwan. U Theatre developed percussion, has radically changed the its own approach to the performing arts character of U Theatre and mapped a by studying and distilling the artistic forms path for the group on which to grow and embodied in Taiwanese religious and folk mature. The Sound of Ocean represents rituals. To this foundation were soon the culmination of seven years of work by added elements of Tai-chi and dance Wong and is the current centerpiece of U techniques. In retrospect, Liu now sees Theatre's performances. the evolution of U Theatre as a personal journey through which she gained a fresh Lisa Booth Management, Inc. (Producer) understanding of herself. The process of initiates, produces, and manages perform evolution for U Theatre has continued ing arts projects world-wide. Specializing and, since 1993, the group has incorpo in contemporary theater, dance, and rated drum-metered meditation and performance, activities include touring martial art forms. For U Theatre, art American artists globally, producing North manifests itself as "an articulation of the American tours by foreign artists, general quality of existence." managing performance seasons, and developing special projects and events. The full focus of Liu's efforts is now on Since 1984, LBMI projects have taken expanding the expressive potential of the place in more than 300 cities in 45 states drum. In support of this, she is helping and 20 countries. Recent international U Theatre's artists to elevate their own companies which have toured the U.S. artistic consciousnesses and to experiment are Les Colporteurs (France); Teatro Hugo with myriad combinations of music, & lnes (Peru/Bosnia); Ratan Thiyam's theater, and dance. Chorus Repertory Theatre (with the Asia Society); Children of Uganda; and Dance, Wong Chee-mun (Drum Master), born The Spirit of Cambodia (with the Asia Malaysia in 1965, began taking percussion Society and the New England Foundation lessons at the age of six and started for the Arts). American artists on tour formal training under a master of Chinese include Doug Varone and Dancers, Shen Who's Who
Wei Dance Arts, Robert Post, Halau 0 educational organization, the Society Kekuhi , and Ping Chong. Upcoming provides a forum for building awareness projects include K Kvarnstrom & Co. of the more than 30 countries broadly (Sweden) and Movement (R)evolution: defined as the Asia-Pacific region-the New African Dance. LBMI created and area from Japan to Iran, and from Central general managed the On Tour program of Asia to New Zealand , Australia and the the Henson International Festival of Pacific Islands. Through art exhibitions, Puppet Theater ( 1996-2000). performances, films, lectures, seminars and conferences, publications and Asia Society (Associate Producer) is assistance to the media, and materials America's leading institution dedicated and programs for students and teachers, to fostering understanding of Asia and the Asia Society presents the uniqueness communication between Americans and and diversity of Asia to the American the peoples of Asia and the Pacific. people. A national non-profit, non-partisan
2003 USA Tour For additional information about U Theatre, contact: Producer Deirdre Valente & Lisa Booth: Lisa Booth Management, Inc. Lisa Booth Management, Inc. Company Manager Patricia Kirby 145 West 45th St. #602 Freight Clark Transfer, Air Power Chicago New York, NY 10036 Travel Peacock Travel Tel: 212.921.2114 Insurance Marsh USA Inc. Fax: 212.921.2504 [email protected] This tour was produced in association with the Asia Society: Rachel Cooper, U Theatre Director of Performing Arts and Public 81, No. 72 Sec. 4 Shinglung Road Programs. Wehsnan Area Taipei 116 Taiwan Special Thanks: Pei Liu, Director and www. utheatre.org. tw June Huang, Production Manager: Taipei Tel: 886.2.2938.8188 Cultural Center, New York; Peggy Powers, utheatre@tpts8. seed. net. tw La Frances Hui, Peter Tierney, Jr. Thomas Struth, Sao Francisco de Xavier, Brazil 2001 , 2003, C-Print, 24' x 30' Buy ar , From BAM Photography Portfolio II support BAM!
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Nov 4-8 at 7:30pm; Nov 9 at 3pm BAM Harvey Theater BAMdialogue with Improbable Theatre on Nov 5, 6pm Omega Enrique Morente Lagartija Nick BAM Howard Gilman Opera House Nov 5, 7 & 8 at 7:30pm Moon Water. Photo,Teng Hui-en Rain Brooklyn Academy of Music and Asia Society Rosas present Choreography by Anne Teresa De Keersmaeker Music by Steve Reich Moon Water Performed by Ictus Cloud Gate Dance Theatre of Taiwan BAM Howard Gilman Opera House Choreographed by Lin Hwai-Min Nov 12 at 7pm (2003 Next Wave Gala) BAM Howard Gilman Opera House Nov 13-15 at 7:30pm Nov 18, 20-22 at 7:30pm BAMdialogue with Lin Hwai-Min on Nov 20, 6pm
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28 only hang and watch as events unfold onstage, Death Becomes in between-in classic Improbable style-the occasional improv game and musical number. Them Worldwide, dying ceases as Braff becomes an icon, receiving visits from his patron, his wife by Diane Snyder and Death herself.
The artistic directors of Britain's Improbable Like much of the experimental work that Theatre know how to make adversity advanta Crouch, Simpson, and Phelim McDermott have geous. Their latest production, The Hanging been creating since they founded the company Man, which plays BAM's Harvey Theater from in 1996, The Hanging Man is not a production November 4-9, started to take shape when that plays it safe. The same can be said of their designer Julian Crouch was fired from a televi previous works, including the Obie-winning 70 sion job. He was struck by the idea of a man Hill Lane and the dark who dangles from a noose but doesn't die. comic musical Shockheaded Peter, on which McDermott and Crouch collaborated. Although "It was the image of someone who's stuck," not technically an Improbable show, it estab explains fellow artistic director Lee Simpson. lished the pair's reputation in both America and "No one's more stuck than someone who's internationally; when it played New York in hanging by the neck and can't die. And all 1999, it garnered substantial critical acclaim people feel like that sometimes--completely and three Drama Desk nominations. stuck." Now they're trying to both live up to and But architect Edward Braff, the protagonist of debunk expectations from that production, a "The Hanging Man," is literally stuck. Hanging lesson they learned in England where The in his unfinished Gothic cathedral, he is so Hanging Man debuted this spring. "Members rigid and inflexible that his bones won't snap. of the audience have said, 'Well, it's not Death refuses to take him away, angry that he Shockheaded Peter, and we've said, 'No, it's tried to die without her assistance. So Braff can not. It's got a different title and everything,"' Simpson remarks wryly. "But you can't enjoy a The Han2in2 Man
generous reception to your work and then cringe when the flip side is that people have a certain expectation."
Crouch, McDermott, and Simpson searched for a story they could adapt when they began working on their new show. But when the quest turned unsuccessful, Simpson wrote an original story-or at least pa rt of one. "In clas sic Improbable style, I got about a third of the way through and didn't finish it," he declares.
So, as with Improbable's past productions, The Hanging Man was created communally, and grew and changed during rehearsa ls with the six-person cast. The show self-references this method in a scene that mentions how Braff welcomed chance into the building of his first cathedral. "There's a phrase that people use, 'leave nothing to chance,"' Simpson observes, "but we leave everything to chance and hope that serendipitous things will happen."
That often produces unexpected results, like the charades game that emerged during an has commissioned the Improbable to do a improvisation about death. A performer pan- stage adaptation of Theatre of Blood, the 1973 tomimes a way to die-shark attack, kitchen horror film about an actor (played by Vincent fire, errant javelin th row- as the others try to Price) who goes on a murderous rampage guess what it is. "It seemed like a lot of fun, against his critics, usi ng Shakespea re as so we just decided to put it into the show," inspiration. Simpson says casually, as· if this way of work- Simpson realizes that their random trial-and- "There's a phrase that people use, 'leave nothing to chance,' but we leave everything to chance and hope that serendipitous things will happen."
ing were universal. The segment is newly error style of working might not fly at such a improvised each night, and at times enthusias lofty theatrica l institution as the National, but tic audience members have competed with the that's a ehance they'll take. "We seem to be cast to try to decipher the answer. inexorably drawn towards areas of uncertainty and not being prepared," he proclaims. "That This time around, however, neither McDermott seems to be where we find ourselves operating nor Simpson are on stage-a choice that at our optimum." ~ Simpson says reflects both artistic and practical concerns: "We are as prosperous as our shows, A BAMdialogue with the Improbable Theatre so we have to keep producing work, which can creative team will be held on November 5 at be difficult'if you're touring." 6pm.
They've been creating both as a company and Diane Synder is an arts journalist living in as individuals. Crouch worked on the much Brooklyn. Her work has recently appeared in ballyhooed London prod uction of Jerry The Wall Street Journal and American Theater. Springer-The Opera, and. the National Theatre
30 PERFORMED LIVE BY ICTUS 6PM COCKTAILS 7PM PERFORMANCE, BAM HOWARD GILMAN OP ERA HOUSE 8:15PM POST-PERFORMANCE DINNER Me & Ro
Proceeds to benefit BAM and The Belgian-American Make plans to join us at the 2003 Next Wave Gala, as we Chamber of Commerce. celebrate the season with Anne Teresa De Keersmaeker's Rain. A minimalist dance piece with a flagrantly emotional heart, Rain is set to Steve Reich's harmonic tour-de-force, Producers Council Co-Chairs: Music for 18 Musicians, and is performed live on stage by Robin Renzi, Me & Ro Brussels-based percussion ensemble, Ictus. This evening Stuart Matthewman, is not to be missed! Sade and Sweetback For reservations or for more information, please call Photo: Herman SOrgeloos BAM Patron Services at 718.636.4182. The Odeon
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For menu and special events, visit our website at www.long-tan.com Take out and delivery 5 :30-Midni gh t t:718.622.8444 - ___j You know fall is truly upon us when vors including the popular Lager, Pilsner and Oktoberfest beers begin showing up in bars and Ale varieties, plus the relatively new full-bodied restaurants. Although the holiday's origin dates Oktoberfest, "true to the original German back nearly 200 years, to a wedding between sryle." Brush up on brewing tips during one of Prince Ludwig of Bavaria and Princess Therese their Saturday tours, or better yet hold your of Saxony-Hildburghausen 111 Munich, next work meeting in their Tasting Room. Germany, Oktoberfest has become an American With any luck, October's weather should still be tradition. Not to mention a great excuse to conducive to sitting outdoors. The 93-year-old down a pint or two of an old favorite or new Bohemian Hall &. Beer Garden (29-1 9 2-Ith creations. Avenue. 718-274-4925) in Astoria is the last Heartland llrewery (93 So11th Street. 646-572- remaining beer garden in a city that once fea 2337; 127 West 43rd Street. 646-366-0235; 1285 tured 800 more. Ave1111e of the Amerims. 212-582-8244; 35 U11ion A much newer outdoor spot, the ironically Square West. 2 12-645-3400) ushers 111 Oktoberfcst with their popular Smiling named Gowanus Yacht C lub (323 Smith Street. Pumpkin Ale made of honey-roasted pumpkins 718-246-1321) is where llrooklynites flock for with a touch of ginger, clove, cinnamon and two-dollar bottles of MGD and Prcsidentes. nutmeg. R ounding out their seasonal selection Another al fresco favorite is Cloister Cafe (238 is their Special Oktoberfest Lager and the East 9th Street. 212-777-9128).This EastVillage stronger, rich Bavarian Black Lager, along with eatery specializes in French and Ita lian food, but five classic beers and some truly superb food. the real reason to visit is for their amazing out At Croxley Ales (28 Avewte B. 212-253-6140), door garden and selection of Brooklyn drafts. brew fanciers can sample more than 100 beers When opting for a night in, seck out Dowel from around the world - with 30 of them on Qualiry Products (91 Ave1meA. 212-979-6045). draft - not to mention such unusual "beer You might not recognize the name, but anyone cocktails" as the Black Widow (Guinness with who has ever walked by Indian Row has seen blackberry liquer) or a Shandy (lager with a the words "400 Kinds of llccr" painted in red topping of7-Up). letters on the outside wall. Inside you'll find just Beer connoisseurs wanting to learn about our about every kind of beer imaginable, from pints "hometown beer," brewed using a pre of Rogue's Dead Guy Ales for $5 .50 to six Prohibition recipe, should visit the Brooklyn packs of Negro Modclo and hard-to-find small Brewery (79 N. 11th Street. 718-486-7422). er brewers of Oktobcrfcst. This popular spot offers more than a dozen fla- bar -club -lounge Open 7 Nights a Week Roofdeck Cocktailing! 35 east 13th @university place 212-979-6677 www.bar13.com
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Italian Fare and Warm Service "Best Affordable View of New York" ~ Spectacular View of Manhattan Skyline & Brooklyn Bridge (ii ::2 ai E ~"' ~ TRAVELING RIGHT roasted peppers to fried ricotta cheese balls. Topped with a splash of spicy seaweed, the deli As Noel Coward so succinctly put it in his cious seafood salad may not be your standard musical Sail A111ay: "Why do the wrong people Italian fare, but it makes a delightful counter travel while the right people stay at home?" point to Cucina's more traditional red-sauce Maybe it's because the right people don't need laden dishes. With a variety of pastas to select co travel to taste the best of international cui from, such as the delicious braised veal ravioli, sine. be grateful that half-orders arc available. That leaves room for such mouth-watering entrees as As much as I long ...,_ ____....,...... ___ the grilled New Zealand lamb chops, not to to go down mention the house's spectacular desserts. Argentine way, I'd Chocolate lovers will have a hard time passing rather just hop up the chocolate bomb, but true dessert con over co Hacienda noisseurs will cherish the peach crostada de Argentina (339 topped with lavender gelato. East 75th Street. -Ada111 B. Mathias 212-427-5300), settle into a throne-like chair around one of the restaurant's imposing oak tables, and skip the 11-hour plane ride. True, the grass-fed shell steak and filet mignon here is actually from Australia (due to U.S. restrictions), but they're chewy and flavorful; and their ten derer American counterparts are equally deli cious. The Hacienda salad of baby arugula, At another Fifth Avenue favorite, Long Tan grape tomatoes and shaved parmcsan makes for ( 196 Fifth Ave1111e. 718-622-844), the decor is a sprightly starter, while a variety of sausages, sleek, sexy, and modern with a spare Asian sen ranging from chorizo to morcilla (blood sibility - a perfect reflection of the restaurant's sausage) will satisfY heartier souls. The house's easily approachable fusion menu. Tantalizing lighter-than-air gnocchi arc addictive - order dishes such as shrimp and Iychee spring rolls, a them as starter, entree or side dish- while lean and spicy grilled kangaroo salad with red humita, a tasty melange of baked corn, tomato curry vinaigrette, and the knockout red curry and onion, makes a spectacular accompaniment of duck and baby corn bring the menu's to your steak. Southeast Asian flavors front and center. -Brimt Scott Lipto11 Barbecued pork loin with chili grilled corn and gingered coleslaw evokes stronger American associations than Thai, but is delicious nonethe When exploring the culinary delights of Park less. Whether you're sitting down for a meal or Slope's newest Restaurant Row- Fifth Avenue merely meeting friends for drinks, Long Tan's -- don't overlook one of its classic eateries, inventive and inventively named cocktails are a Cucina (256 Fifth Ave1111e, 718-230-0711). This must. Try the Ginger Kamikaze or Moscow 15-year-old area favorite offers upscale Italian Mule.You'll be back before long. cuisine in a warm, inviting atmosphere. - A111y H. Bla11kellsteill Regulars start with the antipasto della Cucina, a plateful of appetizing teasers ranging from 40 RESTAURANTS JUNI OR'S A landmark restaurant since 1950. Junior's cheesecake voted #I by .'\few York Magazi11e. 386 Flatbush Ave. 718-852-5257. -NY Times CUCINA RESTAURANT Come and enjoy trattoria-style Tuscan cuisine in newly decorated dining rooms. Valet parking six nights. Open late on weekends. 256 5th Ave. 718-230-071 I. ALMA A Mexican restaurant which the New York Times gushed "it would be hard to find better Mexican in New York ". C hef Gary Jacobson, formerly of Zarcla, serves a vibrant medley of contemporary and classical cuisine. 187 Columbia St. 718-643-5400. BUTTA CUP LOUNGE " With lava lamps and a DJ spinning jams six nights a week, this late night lounge's menu tastes even better. Eclectic menu soul food, mussels, coconut crusted salmon, Jamaican pepper steak, paella." citysearcluom. 271 Adelphi St. 718-522- 4484. A TABLE Fort Greene bistro, providing "simple, authentic" fare in a "charming" "fannhouse"-like setting; though a "cut above" the area." Z HALCYON "This supcrfunky coffee shop offers a garden, art ga ll ery, theme nights." Za,_~at. 227 Smith St. 718-260-9299. nntistakably Brooklyn! SCOPELLO A taste of today's Italian islands. "Sleek and modern with a distinct Sicilian accent. Comfortable banquettes, a spacious bar, and uncom mon offerings" applauds New York Magazine. All this, and a welcoming, easy vibc, too. Come eat. 63 Laf.1yette Ave. 718-852-1100. MARCO POLO RISTORANTE "Carroll Gardens lt<11ian that meets "high standards" with its "classic" rnenu, "in1prcs~ive 11 service and "con1fortable roorn". ZaJ!at. 345 Court St. 718-852-5015. LONG TAN RESTAURANT AND BAR "Hip young things" keep this "sleek" Park Slope Thai •an~:~~i~ Since 195() ... "buzzing" while chefs wok out a "spirited" menu in the ... Home of tbc \\orld's ~incst C~~cl "great open kitchen" it proves one can be "trendy" "at 'ro IMIL CRlUt OtlolSECIIIQ, CIILI. lUll HIU 1 «>0 9IUNIOII ~ 6061) Brooklyn prices" -Zagat 2003. 196 5th Ave. 718-622- 01'{," ~'-"'CCIIY TllliRSOI\)' 6·)01\M t~JO,y"' !RCAY.V.lWDI\Y TO :!AM 8444. www.long-tan.com. OftN 7 DA~ Fa: IIIWWASJ; WNCI\, DINNU< ll SHACKS \'iSil Our Gr.a•d C'-: 3 BLOCKS NORTH OF BAM