t:1AIVlb111 Brooklyn Academy of Music 1996 Next Wave Festival

Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" The Politics of Quiet

BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Harvey Lichtenstein President & Executive Producer

presents The Politics of Quiet

BAM Carey Playhouse Thursday, October 10, 1996 at 7 pm Friday and Saturday, October 11 and 12 at 8 pm Sunday, October 13 at 3 pm

Running time: Conceived, directed and composed by approximately ninety Choreography Meredith Monk in collaboration with the Ensemble minutes; there will be Associate Director Pablo Vela no intermission. Lighting Design Tony Giovannetti Sound Design David Meschter/Applied Audio Technologies Costume Design Carol Ann Pelletier Visual Design Paul Krajniak Object Design Debby Lee Cohen

Performers (in order of appearance) Thomas Bogdan Stephen Kalm Janis Brenner Katie Geissinger Carlos Arevalo All ison Easter Ching Gonzalez Randall Wong Dina Emerson Theo Bleckmann

Musicians Harry Huff: keyboards, voice Allison Sniffin: keyboards, french horn, violin, bowed psaltry, voice

Children Clifford Lasky Emma Skove-Epes

American companies participating in the Next Wave are sponsored by AT&T.

The Politics of Quiet was co-commissioned by The House Foundation for the Arts, Inc., Lied Center for the Performing Arts, Pittsburgh Dance Council, Three Rivers Arts Festival and Walker Art Center. It is a privilege to work with these exceptional performers and associates, many of whom have distinguished careers of their own. I am deeply grateful for their generosity, patience and dedica­ tion in the process of creating The Politics of Quiet. This work would not have been the same without each artist's individual contribution. -Meredith Monk Photo by Brigitte Lacombe

Production Manager Abbie H. Katz Production Coordinator Amy Santos Dramaturg/Assistant to the Director Maevefiona Butler Musical Director Harry Huff Production Assistants Seth Santoro, Katie Thompson Understudy Louis Meagley Apprentices Mercedes Bahleda, Maurice Richard Opening Chaos David Meschter/Applied Audio Technologies Children's Dance Sequence Dina Emerson Slide Photographer Roy Gumpel Photographer's Assistant Amy Silverman

BAM Lobby Foyer Installation

BAM Carey Playhouse Program

Prayer 1; Meeting Songs; Demon Meditation; Folk Dance

II Ancestors Chorale 1; Obsolete Objects; Ancestors Chorale 2

III Night (Elegy); Prayer 2/ Prayer 3

IV Time Pavanne; Birth of the Stars

Music ©1996 Meredith Monk except Prayer 2/Prayer 3 solos (traditional)

Sponsors The commissioning of The Politics of Quiet was made possible with funding from: Mary Flagler Cary Charitable Trust; Meet The Composer/Reader's Digest Commissioning Program, in partnership with the National Endowment for the Arts and the Lila Wallace-Reader's Digest Fund; National Endowment for the Arts; and New York State Council on the Arts.

AT&T Foundation provided major corporate sponsorship. Additional support was provided by The Aaron Copland Fund for Music, The Gladys Krieble Delmas Foundation, The Harkness Foundations for Dance, Heathcote Art Foundation, The Rockefeller Foundation and The Andy Warhol Foundation for the Visual Arts. Meredith Monk is one of the most versatile, innovative and accom­ plished artists in this country. A pioneer in extended vocal technique, Monk is a vocal archeologist, composing music that digs down to the most fundamental human utterances. Most of the music she writes for the voice uses phonemes instead of text. Because words point to a particular meaning, she prefers word-less vocalizations in which the emotional weight is carried by the singer's naked voice. She has said, "To me, the voice itself is a language that is more eloquent than words. Within it are limitless landscapes, characters, textures, and colors."

Monk composed, directed and choreographed her latest production, The Politics of Quiet, especially for her extraordinary vocal ensemble. Photo by Brigitte Lacombe She has assembled some of the finest and most adventurous performers active in new music and performance.

The Politics of Quiet is a non-narrative work that echoes the structure of an oratorio or service, presenting an evening of music with images and move­ ment. Performed by a cast of ten singer/dancers, two instrumentalists and two children, the piece poses the question, "How do we find a contempla­ tive performance form for this time of speed and fragmentation in the Twentieth Century?"

Music driven, The Politics of Quiet also explores the light and dark side of community and ancestral legacy. In its meditative mood and ritualistic struc­ ture, the piece contemplates the flow of time with wonder.

The process of making the piece began with Monk's interests in Willa Cather's writings on the Nineteenth Century, Buddhist thought, and the development and consequences of technology. But The Politics of Quiet has evolved into a series of poetic transparencies that present a contemporary community who eschew character and situation to reveal the individual unadorned human being.

When she began work on this piece, Monk considered how rapidly changing technology is impacting our lives. In the "Time Pavanne" section ofthe piece, she turned to an ecological metaphor, a primordial technology that has kept pace with the future. Bee colonies and hives offered a prototype community, they work with a complex technology that has transcended time; and bee's wax is used as a preservative. Children don bee-keeping costumes and boiling bee's wax is used to preserve and enshrine contemporary objects that may soon become relics of our own time.

The Politics of Quiet recognizes the power of community and spirit of coop­ eration. In Monk's own words, "The Politics of Quiet is about slowing down enough to experience the moment; it's about shadow and light coexisting. Ultimately, it's about listening." Meredith Monk is a composer, singer, filmmaker, by Meredith Monk & Vocal Ensemble entitled choreographer and director. Since graduating from . Sarah Lawrence College in 1964, she has forged a singular vision of performance, seamlessly In 1991 : an opera in three parts was crossing the traditional barriers between mediums, co-commissioned by The Grand Opera, creating more than 100 works. A fourth genera­ Hancher Auditorium, Walker Art Center and The tion singer in her family, she is a pioneer in what American Music Theater Festival. It toured is now called extended vocal technique and domestically, and in Europe, culminating with interdisciplinary performance. the New York premiere at the Brooklyn Academy of Music in 1992. The two disk recording is Monk has received numerous awards, including available on the ECM label. the prestigious MacArthur Foundation Fellowship, the Samuel H. Scripps American Dance Festival Ms. Monk has been a pioneer in site-specific Award, two Guggenheim Fellowships, three Obies performance, creating Juice (1969) for the for theater, a Bessie for Susta ined Creative Guggenheim Museum and Minor Latham Achievement, the National Music Theater Award Playhouse, Needle-Brain Lloyd and the Systems in opera, a Brandeis Creative Arts Award, the Kid: A Live Movie (1970) for the American Dance Venice Biennale First Prize in Music Theater, Festival at Connecticut College, and American sixteen ASCAP Awards for musical Composition, Archeology # 1: Roosevelt Island (1994). the Dance Magazine Award, the Rockefeller Fellowship for Distinguished Choreography and Monk has experimented with film in her works First Prize for Performance Programming from since the mid 1960s, ranging from 16 Millimeter The Corporation for Public Broadcasting. Earrings (1966) to her critically acclaimed solo Volcano Songs (1994). She has explored the In 1968, she formed The House, a company medium more fully in a series of award winning dedicated to the interdisciplinary approach to films including Ellis Island (1981), which won the performance. In 1978, she founded Meredith CINE Golden Eagle Award, and her first feature, Monk and Vocal Ensemble to perform her unique Book Of Days (1988), which was aired on PBS, vocal compositions. She has also mounted her released theatrically, and selected for the Whitney work with outside companies such as The White Museum of American Art's 1981 Biennial. Oak Dance Project, The SchaubOhne Ensemble, Pacific Mozart Ensemble and the San Francisco During a career that spans 30 years, she has been Sym phony Choi r. acclaimed by audiences and critics as a major creative force in the performing arts. "When the Since 1965, Monk has worked as a composer, time comes, perhaps a hundred years from now, exploring the potential of the human voice. She to tally up achievements in the performing arts began working with her own instrument, trying during the last third of the present century, one to discover the myriad characters, landscapes, name that seems sure to loom large is that of colors and textures within her three octave range, Meredith Monk. In originality, in scope, in depth, and then formed Meredith Monk and Vocal there are few to rival her." (Alan M. Kriegsman, Ensemble to play with more complex musical Washington Post). possibilities. She has made more than a dozen recordings, most of which are with ECM New Series. (ECM New Series) and : The Vanguard Tapes (Wergo) were both honored with the German Critics Prize for Best Records of 1981 and 1986. Catalyst Records recently released Musica Sacra's new compact disk Monk and the Abbess: The Music of Meredith Monk and Hildegard von Bingen. In early 1997, ECM will release a new recording Carlos Arevalo is a native of Panama City. He Janis Brenner, dancer/ choreographer/singer/ made his professional debut in 1981 at the teacher, is Artistic Director of Janis Brenner & Festival International du Theatre in Nancy, France Dancers in NY. Recent awards: Leach Fellowship with Blondell Cummings. He has performed in for Outstanding Achievement in the Performing operas, solo recitals, film and dance/theater pieces Arts, 1996 Lester Horton Award for Choreography at Dance Theater Workshop, Jacob's Pillow, The in Los Angeles. Works commissioned/restaged on Kitchen, Federal Hall, LaMama, Merkin Hall, dance companies in Europe, Asia and throughout INTAR and the Whitney Museum. His participa­ the US. Conducts workshops in technique, impro­ tion in ATLAS: an opera in three parts represented visation, composition, repertory and vocal work. his first appearances with Meredith Monk's With Meredith Monk and Vocal Ensemble since ensemble. 1990 and recorded with her on ECM. She has worked with Michael Moschen (Co-Choreographer: Theo Bleckmann is a vocalist and composer BAM Next Wave Festival, PBS Great Performances), performing in jazz and contemporary music. He Murray Louis Dance Company, Annabelle Gamson has worked with musicians and composers such Company. Projects: Rudolph Nureyev, Placido as Meredith Monk, , Domingo, Dave Brubeck Quartet, Joseph Papp and Elliot Sharp and was a junior champion in ice and Alwin Nikolais. dancing in Germany. He has collaborated, toured and recorded with composer/pianist Kirk Nurock Debby Lee Cohen has worked with Meredith Monk (CDs: Theo and Kirk, Looking Glass River) and since 1984 and designed the scenery and props is a member of bassist Mark Dresser's ensemble for shows including Volcano Songs, , Force Green (CD: Force Green) and leads his own ATLAS: an opera in three parts, and Acts from group, Slow Motion. His composition "Chorale #1 Under and Above. She has designed scenery for for Eight Voices" received an ASCAP/ Gershwin other artists including David Rousseve and Ping Award. He has been a member of Meredith Chong. From 1987-1994 she designed the giant Monk's Vocal Ensemble since 1994, performing puppets for the lead section of New York's numerous works including Facing North, Three Village Halloween Parade. She directs commercial Heavens and Hells and American Archeology and independent animation. She is a recipient of #1: Roosevelt Island. Upcoming projects include a NEA Inter-Arts Grant, a NY Foundation for the a recording with guitarist , a produc­ Arts Fellowship Award in film, an Art Matters tion for the European ARTE TV and a collaboration Fellowship Award in set design, and a New York with performance artist Lynn Book at the Museum State Council on the Arts Film Production Award. for Contemporary Art in . He will teach She was commissioned by the French festival vocal improvisation at NYU this fall. Quartier d'Ete to design a children's parade for the Jardin des Tuileries this past summer. Thomas Bogdan has received critical acclaim for performances ranging from opera to cabaret. He Allison Easter is a dancer and singer. She has first performed with Meredith Monk in ATLAS: worked with Meredith Monk since the 1985 an opera in three parts. Ms. Monk wrote "New revival of Quarry, appearing in The Travelogue York Requiem" for him and he has performed it Series, Book of Days, The Ringing Place, ATLAS: in New York and throughout Eastern Europe. He an opera in three parts, Three Heavens and Hells has participated in the premieres of more than 50 and Vessel. She can be heard in recent recordings new works. Crossing musical boundaries, his of ATLAS and Volcano Songs. She spent two years eclectic cabaret shows have delighted critics and as performer and rehearsal director for STOMP. audiences alike and his L'Amour Bleu, a musical Dancing with Susan Marshall and Company, masque on gay themes, was produced by the All ison was featu red in the Vii/age Voice article Danspace Project at St. Mark's Church, NYC for "1994's Breathtaking Performances." Running in three seasons in a row. His recording credits the Family, which she created with her mother, include the recently released Cantata by Stravinsky Mary Easter, was recently presented by the with Robert Craft conducting. He teaches voice Walker Art Center. Allison holds a BA from Sarah at Bennington College, VI. Lawrence College. Dina Emerson has performed, toured and record­ sion. To Meredith, his utmost gratitude for all he ed with Meredith Monk since 1990. Dina is a has learned about that particular state of grace­ vocalist, actor and movement specialist who cre­ of singing from the gut and dancing from the heart, ates and performs work in all media. She has and vice versa. worked with such artists as John Kelly, Tom O'Horgan, Tan Dun, Muna Tseng, Ken Butler, Harry Huff has collaborated with such performing Gary Lucas and David Soldier. She collaborates artists as Jessye Norman, Eleanor Steber, Hakan with director/writer Will Pomerantz; together they Hagegard, Judy Collins, Art Garfunkel and Joan have created a series of interdisciplinary theater Rivers. He toured with the late Brecht/Weill works, dealing with Lucky Strike cigarettes, Buster interpreter Martha Schlamme, and with Swedish Keaton, Goethe's Faust, Chekov's The Seagull, soprano saxophonist Anders Paulsson. His record­ vaudeville and silent film. Dina is also a certified ing credits include In a Sentimental Mood (music instructor in Vinyasa, or flowing, Hatha Yoga. of Duke Ellington), In Praise of Humanity for Pro Organo (music of Calvin Hampton), Memento Katie Geissinger received critical acclaim for her Bittersweet (music by composers afflicted with performances in Meredith Monk's ATLAS: an opera AI DS) and Traditional Patterns (music of Donald in three parts and American Archeology # 1: Ashwander). He recently composed and performed Roosevelt Island, and is featured on two CDs of 34 piano sketches for the audio book Piece by her music: Volcano Songs and Monk and the Piece, a collection of the humorous writings of Abbess. She appeared in Glass/Wilson's Einstein Calvin Trillin; he will be the featured organist on on the Beach, Peter Sellars' Mozart/da Ponte the Jessye Norman CD, In the Spirit. operas and Anthony Davis' Tania. Off-Broadway credits include Mahagonny Songspiel, Trouble in Stephen Kalm has sung with many of America's Tahiti, Dido and Aeneas, and many Gilbert and regional opera companies and symphony orches­ Sullivan operettas. She is a frequent soloist with tras including The Houston Grand Opera, the the Waverly Consort. Chautauqua Opera, Lake George Opera Festival, Minnesota Opera, Connecticut Opera, Cincinnati Tony Giovannetti has toured Europe and the US Opera, The Pennsylvania Opera Theater and the as technical director and lighting designer for Milwaukee, Billings and Springfield Symphony Meredith Monk/The House since 1976, adapting Orchestras. Internationally, Mr. Kalm has received settings ranging from opera houses to museums critical acclaim for his solos in Orff's Carmina to boat houses for the needs of Ms. Monk's work. Burana with the Filharmonica de Bogota. He He has designed lighting for Ann Carlson, Blondell created the role of Franco Hartmann in Meredith Cummings, Paul Langland, Stephen Koplowitz, Monk's ATLAS: an opera in three parts and Lee Nagrin, Susan Rethorst, Holly Fairbank and appears on the ECM recording as well as Ben Jeannie Hutchins. He also works with Dancing Johnston's "Five Fragments" on Ponder Nothing in the Streets as Production Consultant. Since with Musici Amici. Recently, he recorded Harry 1980, he has worked at the Metropolitan Opera Partch's 17 Lyrics of Li Po for Tzadik Records. as Electric Construction Supervisor. A graduate of He teaches voice and directs the opera program NYU School of the Arts Design Department, he has at the University of Montana. taught technical theater and lighting design at C.W. Post and Middlesex College. He won a New Paul Krajniak is a Designer/Conceptual artist and York Dance and Performance Award ("Bessie") creator of multi-media theater work. He first met in 1985 for lighting design. Meredith Monk at age 19 when he performed a walk-on role in her opera epic, Vessel at the Ching Gonzalez first worked (and played) with University of Wisconsin-Milwaukee. Paul went on Meredith Monk in 1984. Since then he would to receive a BFA in Sculpture from the University. like to think that he has grown both as a performer He is the Executive Director of the Discovery World and an artist, and perhaps come closer to being Museum of Science, Economics and Technology. a decent human being through this experience. He has designed sets and costumes for dance and To the Ensemble he wishes the joy of pure expres- theater since the mid 1970s. Some of his designs can be seen in the work of the Bauer Contemporary Studies program, and has received grants from Ballet in Milwaukee, performance artist Mark Meet the Composer and Concert Artists' Guild. Anderson and television work for musician Todd She serves as Assistant Organist at St. James' Rundgren. He designed for Ping Chong through­ Church and Assistant Music Director for Brooklyn out much of the 1980s for such pieces as A. M./ College Opera Theater. A.M. and A Race. His own works include Bird in Dog Jungle, The Last of the Dinosaurs and Knee Pablo Vela has been a member of Meredith Monk! Deep in Atlantis. The House since 1975; he was also Associate Director of Monk's ATLAS: an opera in three David Meschter, sound designer, audio consultant parts and American Archeology # 1: Roosevelt and composer, received a degree in Audio Island. He received his theater training at Yale Technology from American University. He was University and studied with the late Viola Spolin the sound consultant and repertory musician with (improvisation) and Jacques Lecoq (masks and the Merce Cunningham Dance Company from mime). From 1965 to 1975 he taught acting at 1981 to 1988, and has worked with John Cage, Goddard College, becoming director of the theater Philip Glass, LaMonte Young, Pandit Pran Nath, program. His work as performer and director has Kronos Quartet, American Ballet Theater, Lincoln been presented throughout the US, Canada, Europe Center and Houston Grand Opera. His recent and Central America. In NYC, Vela created a series sound designs include American Archeology # 1: of cabaret performances at BACA Downtown; Roosevelt Island by Meredith Monk, The Family most recently he directed Jeannie Hutchins' No Business, written and directed by Ain and David Harm and Donald Ashwander's Particular People Gordon, Chinoiserie by Ping Chong and Whispers at LaMaMa ETC, Eva Gasteazoro's Amor de Mis of Angels by David Rousseve/REALITY. He has Amores at PS 122 and Linda Mancini's Tip or designed interactive computer systems such as Die at HERE. a Flute-to-Haiku poetry creation/computer speech system for composer Yasunao Tone. As a com­ Randall Wong, soprano, made his operatic debut poser, he has presented performances of his in 1983 in Bernabei's Ascanio (Vicenza, Italy). works Structured Silence and The Parenthetical Since then, his engagements include appearances Set (version 1). with Opera, Houston Grand Opera, SemperOper (Dresden), Stuttgart Barock Orchester Carol Ann Pelletier is pleased to be worki ng with and the San Francisco Symphony, in repertory Meredith Monk again, for whom she costumed ranging from the Baroque (in numerous operas American Archeology # 1: Roosevelt Island. For by Handel, Hasse and Jomelli) to the modern. Ping Chong, she designed Deshima, Nosferatu, His world premieres include ATLAS: an opera in and the historic costumes in Chinoiserie. At Ubu three parts and The Politics of Quiet (Monk), Repertory Theatre, she has worked with directors Harvey Milk and Where's Dick? (Wallace and Korie) Andre Ernotte, Ntozake Shange, Shirley Kaplan, and the W of Babylon (Wuorinen). Operatic Robbie McCauley and Shaunielle Perry. For David engagements include Jomelli's Demofoonte, pre­ Rousseve/REALlTY, she costumed Whispers of sented in Schwetzingen, Cremona and Rome and Angels and Pop Dreams. At Atlanta Ballet Theatre, Mozart's II re pastore in San Francisco. He she designed Yellow Tailed Dogs. She teaches received his Doctor of Musical Arts (historic per­ costume design at Sarah Lawrence College. formance) from Stanford University. His recordings have appeared on ECM, Capriccio, Teldec and Allison Sniffin has performed with NeWorks, Koch International. Music Under Construction, L'Amour Bleu, The Galatea Ensemble, Composer's Circle, Downtown Music Productions, The Hueco and others, and has recorded the music of Jose Halac and Ricky Ian Gordon. Also a composer, Allison has been an associate at the Atlantic Center for the Arts, a fellow in Aspen Music Festival's Compositional The House Foundation for the Board of Directors Arts, Inc. Lindsley Chase Borsodi Susan Carlyle 131 Varick Street, Room 901 Susan K. Foster New York, NY 10013 Nicholas J. Gajdjis Telephone: 212.206.1440 Eden Graber Fax: 212.727.2535 Audrey Marsh eMail: [email protected] Meredith Monk Nam June Paik Artistic Director Mark Palermo, Esq. Meredith Monk Barbara G. Sahlman Glen Seator Managing Director Ellynne Skove Barbara Dufty Frederieke Sanders Taylor Arbie R. Thalacker Director of Development Micki Wesson & Exhibitions Kerry McCarthy

Company Manager Amy Santos

Office Manager Christine Pichini

Domestic Touring Representation John Claassen and John Hebel Sheldon Soffer Management, Inc. 130 West 56 Street, #702 New York, NY 10019 Telephone: 212.757.8060 Fax: 212.757.5536 eMail: [email protected]

Meredith Monk/The House Foundation for the Arts is made possible with additional support from The Booth Ferris Foundation; Con Edison; The Dietrich Foundations; The Eisner Foundation; The Fund for U.S. Artists at International Festivals and Exhibitions; The Gere Foundation; Morris and Rose Goldman Foundation; The Sydney and Frances Lewis Foundation; Materials for the Arts; Morgan Guaranty Trust Company of New York; National Initiative to Preserve American Dance; New York Foundation for the Arts; Philip Morris Companies Inc.; James E. Robison Foundation; The Trust for Mutual Understanding; and Lila Acheson Wallace Theater Fund, estab­ lished in Community Funds by the co-founder of The Reader's Digest Association. Public support is provided by the National Endowment for the Arts; New York State Council on the Arts; and New York City Department of Cultural Affairs. Patrons Supporters Friends Elise Pustilnik Anonymous-5 Anonymous-4 AMRA Victoria Pyle Lindsley Borsodi Haruno Arai Anonymous-4 Colleen Jennings- Susan H. Carlyle, MD Theodore C. Bale Rob Besserer Roggensack Roy & Dorothy Susan Hulsman Susan H. Bingham Leslie B. Samuels & Lichtenstei n Bingham & Jeanne & Robert Augusta H. Gross Tedd Monk & Timothy Bingham Boynton Barbara Schwartz Audrey Marsh Barbara & Kirk Jane M. Brox Amy Schwartzman Hiroaki Okazaki Browning James &Joanne Suzi Shelton Nancy & Bernard J. Jane C. Dillon Carroll Susan Sugar Picchi Catherine Drew Mary Carswell Johanna & Michael Barbara G. Sahlman June Dunbar H.T. Chen Tree Frederieke Sanders April Eiler George Conduso David Uozumi Taylor Richard Foreman & William B. Cook Laurie Uprichard Arbie R. Thalacker Kate Manheim Suzanne Delehanty Martha Van Burek Micki & Howard Kenneth N. French William G. Dietrich Lewis Wei nfeld Wesson Nicholas Gajdjis Jack Eppler Lucian Wulsin Johanna & Jim & Pamela Finney Wendy Woodson Benefactors Leslie Garfield Soichi Furuta Pamela Calvert Judith Goldman Robert Gainer list in formation Susan K. Foster Richard M. Grant Mary Kay Giblin & Eden Graber & Rhoda Grauer Thomas E. Ricks Richard Tilton Dr. Maxine Greene Janet Goldner Lita Hornick Lou isa Heywa rd Adele & Bertram Slade R. Metcalf Gregory and Greenspun Mark H. Palermo & Lou ise Ka ndel Susan K. Griffiths Ca role Robi nson Alex & Ada Katz Anna S. Halprin Palermo Chet Kerr & Lanny Harrison Alan & Sondra Siegel Heather Thomas Caroline Horn Robert & Melissa Jack &Jan Ellen Kliger Elizabeth Howard Soros Debra & Fernando Nancy Hull Losada,MD Tomoko Iwama Sustainers Jeannette Lovetri Judith Brin Ingber Anonymous-2 Christina McKnight Gregory B. Johnson Molly Davies Naoyuki & Monica I. Kane Terence F. Eagleton Mari ana Miura Edith Konecky Andrew J. Feldman, Joyce & Brad Paxton Laura Shapiro Kramer MD D_avid Lamar Rigby &Jay Kramer Robert R. Fitzgerald Eileen L. Robert Nachiko Kudo Morris Golde Mr. & Mrs. David Mr & Mrs Irwin Lerner Linda Handler Rogath Harvey Lichtenstein Francoise Jeanpierre Paul Rogers Eveyln Mandelker Leslie S. Kogod Eugene Solon Patricia Mann Elizabeth LeCompte Carla H. Skodinski Carla Maxwell Consta nce H. Poster Cecilia Smiley Gina Michaels Margot Tweedy Sheldon Soffer Joan Morris & Caroline Stone William Balcom Bessie Varley Monica Moseley Pamela Drexel Walker Kathleen A. Neacy Alexandra Walcott Brian Newhouse Mark Wovsaniker Myra C. Paci