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EINSTEIN ON THE BEACH

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Opera HouseDecember 11 ..23, 1984

EINSTEIN ON THE BEACHAn Opera in Four Acts

ByPHILIP GLASS--ROBERT WILSON

Choreography byLucinda ChildsWith

Lucinda Childs Sherylj SuttonLighting Design

Beverly EmmonsMusical Direction

Michael RiesmanSound Design

Kurt MunkacsiSpoken Text

Christopher Knowles/Samuel M. Johnson/Lucinda Childs

WithThe Lucinda Childs Dance Company

Music Performed byThe Philip Glass Ensemble

Design/DirectionROBERT WILSON

Music/LyricsPHILIP GLASS

These performances of Einstein On The Beach are dedicated to the memory of Ninon TaIIon Karlweis andEdwin I:>enby, who were an important part of the creation.of this work in 1976.7

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Eric BensonSteven Bromer*Rachel Brumer*Warren CampbellLucinda Childs

Timothy J. Conboy*Vincent de Cordova

Nan Friedman*Mary Ann Hart

Michael Ing*Jeff Johnson

Samuel M. JohnsonJohn Koch

Raissa Lemer*Leslie McEwenRobert Mince

Priscilla Newell*Charlae OlakerGloria J. ParkerLute Ramblin'

Garry Reigenbom*Marie Rice

Sheryl L. SuttonDonna Wade

John GibsonMartin Goldray

Jack KriplDora Ohrenstein

Richard E. Peck, Jr.Michael Riesman

Kurt MunkacsiBob BieleckiDan Dryden

EINSTEIN ON THE BEACHTHE COMPANY (in alphabetical order)man in red shirt making calculations, jury member trial, prisoner,singerman in black suit, dancer, Steven Weeddancer on perpendiculars train, woman reading book, dancerjury member, singercharacter in kneeplay, character on diagonal train, witness in trialman with string, jury member, dancer, Steven Weedtrial guard, jury member trial/prison, singerjury l1}ember trial, dancer, prisonerjury member, singerjury member trial, dancer, man on bench in trial/prison, dancerspacemachineman on bench in trial, jury member trial/prison, singerjudge, bus driverjury member, singer, night t r a ~ n duetwoman with string, rear stenographer trial, dancer, woman on benchin trialIndian, jury member trial/prison, singertrain engineer, man on night train, jurymember, singerfront stenographer, dancer, woman in elevator '1]"jury member, singer, night train duetjury member, singer, alto voice with The Philip Glass Ensembleboy on tower, judge, boy in elevator ~ man with string, man on bench, dancer, flying man spacemachinewoman with shell, jury member, rear stenographer trial/prison, singercharacter in kneeplay, woman with newspaper, lawyer, woman onnight train, woman withjlashlights spacemachinejury member with blond wig, woman in building, woman withtelescope spacemachine, singer

The Philip Glass Ensemble:soprano saxophone/flutekeyboardspiccolo/flute/bass clarinetsoprano voicealto saxophone/flutekeyboards/bass synthesizersound mixsound mixsound mix

andTison Street violin

*Members of The Lucinda Childs Dance CompanyAs Einstein On The Beach is performed without intermission, the audience is invited to leave and reenter theauditorium quietly, as necessary. The food service in the lobby will remain open:during p e r f o r m a n c e : ~ .

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The music for Einstein On The Beach was written in the spring, summerand fall of1975. BobWilsonand I workeddirectly froma seriesofhis drawings which eventuallyformed the designs for the sets.Prior to that period, we had reached agreement on the general thematic content, the overall length,its division into 4 acts, 9 scenes and 5 connecting "knee p l a y s ~ We also determined themakeupof thecompany - 4 principal actors, 12 singers, doubling whenpossible as dancers and actors, a soloviolinist,and the amplified ensemble of keyboards, winds and voices with which my music is usuallyassociated.Einstein On TheBeach is partof an ongoing musical project begunwith "AnotherLook atHarmony"in the spring of 1975. This, in tum, is based on"Music in 12 Parts" (completed 1974) whichdevelopeda vocabulary of techniques (additiveprocesses, cyclic structure and combinations of the two) to applyto problems of rhythmic structure. With "Another Look at H a r m o n y ~ I have turned to problems ofharmonic structure or, more accurately, structural harmony - a new solutiontoproblems ofharmonicu s a g e ~ where the evolution ofmaterial can become the basis of an overall formal structure intrinsicto the music itself (andwithout the harmonic languagegivingup its moment-to-moment content and"flavor").My main approach throughout Einstein On The Beach has been to link harmonic structure directlyto rhythmic structure, using the latteras a base. In doing so, easilyperceptible"rootmovement" (chordsor "changes") was chosen in order that the clarity.ofthis relationship could be easily heard. Melodicmaterial is for themostpart a function, or result, of theharmony, as is true inearlierperiods ofWesternmusic. However, it is clear that someof the priorities ofWesternmusic (harmony/melody first, thenrhythm) have been reversed. Herewe have rhythmic structure first, then harmony/melody. Theresulthas been a reintegration of rhythm, harmony and melody into an idiom which is, hopefully, accessible to a general public, although, admittedly, somewhat unusual at first hearing.The vocal texts used throughout the opera are based onnumbers and solfege ("do, re, mi ... ") syllables.When numbers are used, they represent the rhythmic structure of the music. When solfege is used,the syllables represent the pitch structure of themusic. In eithercase, the text is not secondary or supplementary, but is a descriptionof the music itself. Besides seeming appropriate for the subjectof"Eins t e i n ~ Bob and I felt that a vocal textbased on numbers would beeasilyunderstoodby an internationalaudience (Einstein On The Beach was premiered and toured widely in Europe before coming to theUnited States).The three main recurring visual themes of the opera (Train/Trial/Field with Spaceship) are linkedto three main musical themes. However, the most important musical material appears in the "kneeplays" and features the violin. Dramatically speaking, the violinist (dressed as Einstein, as are all theperformers on stage) appears as a soloist as well as a character in the opera. His playing positionmidway between the orchestra and the stage performers - offers a clue to his role. We seehim then,perhaps as Einstein himself, or simply as a witness to the stage events, but in any case, as a musicaltouchstone to the work as a whole.

Philip Glass, 1976

Einstein On The Beach was produced originally in 1976 by the Byrd Hoffman Foundation, Inc.with the assistance ofM. Michael Guy, former FrenchMinister ofCulture.Private sponsors of the original 1976 proouction included Christophe deMenil, Mr. and Mrs. PierreSchlumberger and Paul F. Walter.Einstein On The Beach was performed in 1976 at Festival d'Avignon, Avignon, France; DeutschesSchauspielhaus, Hamburg, Germany; Festival d'Automne, Opera-Comique, Paris, France; BITEF,Belgrade, Yugoslavia; Venice Biennale, Venice, Italy; La Monie, Brussels, Belgium; RotterdamseSchouwburg, Rotterdam, Holland; Metropolitan Opera House.Einstein On The Beach is available on CBS Masterworks Records and Cassettes.

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PIDLIPGLASS composes music for opera, film;theater, dance, chorus and his own ensemble. Agraduate of The Juilliard School, Mr. Glass hasreceived numerous commissions and awards,including a composer-in-residence grant from theFord Foundation, a Rockefeller Foundation fellowship, and a Fulbright S c h o l ~ r s h i p , which enabledhim to study with Nadia Boulanger in Paris.His commissions include the opera Satyagraha(fromtheCity ofRotterdam, 1980) whichpremieredin Holland andwas subsequently performed at theBrooklynAcademy ofMusic in 1981. A new production of Satyagraha, directed anddesigned by AchimFreyer, is partof the repertory at theStuttgartOpera,West Germany.The 1984 Los Angeles Olympic Organizing Committee commissionedMr. Glass to compose musicfor the opening and closing ceremonies of the 1984Summer Olympics held in Los Angeles.In June 1982,Mr. Glass' chamber opera, The Pho-tographer, debuted at the Royal Palace in Amsterdam for the Queen of Holland. A newly-stagedproduction of The Photographer opened theBrooklyn Academy's 1983 NEXT WAVE Festival.PhilipGlass'most celebrated collaborationwas withnotedAmerican stagedirector/designer, RobertWtlson, on the opera Einstein on the Beach, whichpremiered at theAvignon Festival in 1976, going onto tour throughout Europe and culminating in twosold-out performances at the Metropolitan Operain New York.Mr. Glass recently collaborated with Mr. Wilsonon the Koln andRome sections of the CWIL warS:a tree i sbestmeasured ~ h e n it is down. TheRomesectionwas cOnuIDssioned by Teatro dell'Opera andpremiered on March 22, 1984:Akhnaten, Mr. Glass' third opera, commissionedby the Stuttgart Opera and directed and designedby AchimFreyer, had its world premiereonMarch24, 1984 in Stuttgart, West Germany. On October12, 1984 the work received its American premierein Houston, Texas under the auspices of theHoustonGrand Opera and the New York City Opera. Thisproduction was directed by David Freeman anddesigned by Bob Israel and Richard Riddell andopened in New York City at the State Theater onNovember 4, 1984.Einstein on the Beach, Satyagraha, and Akhnatenconstitute Mr. Glass' portrait trilogy.On October 4, 1982, the film Koyaanisqatsi, witha full score by Mr. Glass, premiered at Radio CityMusic Hall as a New YorkFilm Festival selection.His first film score was for North Star: MarkDiS-uvero, and he is the subject of a biographical filmby British filmmaker Peter Greenaway (TheDraughtsman's Contract) titled Four AmericanCtflnposers.During the course of his career, Philip Glass hascomposed music for numerous Mabou Minestheater productions, includingDressed like an Egg,The LostOnes, Dead EndKids, and ColdHarbor.Mr. Glass created a prelude for Beckett's Endgamewhich premiered on December 4, 1984 by RobertBrustein's American Repertory Theater. In 1979PhilipGlass collaboratedwith LucindaChilds and

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visual artistSol LeWitt to createDance, a workcommissionedby the BrooklynAcademy ofMusic. ThatspringNewYork CityBalletseasonwas highlightedby the premiere ofGlass Pieces choreographed byJerome Robbins to music from Glassworks andAkhnaten.PhilipGlass has performedworldwidewith his ownmusical ensemble. The PhilipGlassEnsemble, consisting ofMr. Glass, KurtMunkasci, Michael Riesman, Jon Gibson, Richard Peck, Jack Kripl, MartinGoldray and Dora Ohrenstein, has performed insuch famous music halls as TheDorothyChandlerPavilion (Los Angeles), Carnegie Hall, (New YorkCity) , the Dominion (London), Musikcentrum(Holland), and the Casino de Paris, to name onlya few. Recently the Ensemble made its debut inTokyo, Japan. On JuneZl, 1984, Mr. Glass and theEnsemble played in the Kool Jazz Festival at Carnegie Hall.PhilipGlass is a CBSMasterworks recording artist,the first composer to be offered this distinguishedcontract sinceAaron Copland. Glassworks was hisfirst Masterworks release. The second recording,The Photographer, was released inMarch 1983. Ein-stein on the Beach was re-released byCBSMasterworks in March 1984. Satyagraha will be releasedin May 1985.Philip Glass will be the 1985 composer-in-residencewith the Philadelphia Orchestra at Saratoga Performing Arts Centerin SaratogaSprings, NewYork.ROBERT WILSON has written, designed, anddirected a wide range of theater, opera, dance, filmand video pieces since 1965. Perhaps best knownto American audiences for Einstein on the Beach,his 1976 collaborationwith composer PhilipGlass,Wilson recently has beenworking on a major newopera, the CIVIL warS: a tree isbestmeasuredwhenit is down. Sections of this international workhavebeen performed in Rotterdam (1983), Cologne,Rome, andMinneapolis (1984). Act IV and Epilogof the CWIL warSwill};>e presented by the AmericanRepertory Theaterin a new American production underMr. Wtlson's direction at the Loeb DramaCenter in Cambridge, Massachusetts in February1985. Most recently Robert Wilson designed anddirectedMedee by Marc-AntoineCharpentier andhis own Medea, with music by Gavin Bryars, forthe Operade Lyon in France. Thesetwo works weregiven their worldpremiereperformances inOctober1984.Wilson's other recent works include The GoldenWindows for theMunich Kammerspiele inMunich(1982); GreatDay in the Morning withJessye Norman for the Theatre des Champs-Elysees in Paris(1982); The Man in The Raincoat for the TheaterderWelt inCologne (1981);Death, Destruction, andDetroit for the Schaubuehne am Halleschen Dferin Berlin (1979).Wilson, who has a B.F.A. from Pratt Institute andapprenticed with architect Paolo Soleri, brings abackground in ar t and architecture to his work intheater and opera. The King Of Spain, presentedin 1969 at New York's Anderson Theater, wasWilson's first major work. This piece was then incorporated into The LifeAnd Times OfSigmundFreud

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and presented at the Brooklyn Academy of Musiclater thatyear. In 1970,Wilson, working-at the IowaUniversity Theater, created Deafman Glance,which was subsequently performed at the Brooklyn AcademyofMusic (1971) and touredextensivelyin Europe. In 1972, Wilson created a piece for theFestivalofShiraz-Persepolis entitledKaMountainand Guardenia 1errace: A Story About A FamilyAnd Some PeopleChanging, whichwas presentedcontinuously over a seven-day period on Haft TanMountain in Shiraz, Iran. Upon his return to theUnited States, Wilson presented his 12-hour longwork, The LifeAnd TImes OfJoseph Stalin, at theBrooklynAcademy ofMusic and toured this piecein Europe and South America.Called "America's most important dramatist" byEugeneIonesco, RobertWtlsonhas received numerous awards, including the Drama Desk Award forDirection (Deafman Glance); Obie Special Citation Award for Direction (The Life And TImes OfJoseph Stalin); a Tony nomination for Best Scoreand Lyrics (A LetterFor Queen Victoria); andWestGermany's Der Rosenstrauss for Best Play (TheGolden Windows). Mr. Wilson has received twoGuggenheim Fellowships and two RockefellerFoundation Grants. His work has been supported bygrants from the National Endowment for the Arts,the New York State Council on the Arts, the Mas-sachusetts Council on theArts andHumanities, theJapan U.S. Friendship Commission, and theNational Film Institute. Many ofhis drawings andsculptures are held in both private and public collections, including the Museum of Modem Art,New York and theMuseum of Modern Art, Paris.An exhibition ofhis drawings is presently on viewat the Paula Cooper Gallery, New York City,December4-22, 1984.LUCINDACmLDS began her career as a choreographer and dancer in 1963 as an original mem-ber of the Judson Church Dance Theatre in NewYork. In 1966 she participated in the legendary"Nine Evenings: Theatre and Engineering", presenting a work in collaborationwith engineers from BellLaboratories. In 1973 she formed the LucindaChildsDanceCompany, for which she has choreographeda number of large-scale ensemble works and solos.The company has toured extensively in the UnitedStates and Europe.In 1976, Ms. Childs collaborated with Robert Wilson and PhilipGlass on Einstein on theBeach, participating as performer and choreographer, andcontributing to the textof the opera. Einstein on theBeach toured Europe and was presented at theMetropolitan Opera in New York. Ms. ChildsreceivedaCAPS award, as well as as VillageVoiceObie aweml for her performance. Shealsoco-starredwith Robert Wilson in his two-act play, I Kfls Sit-tingOn MyPatioAnd This GuyAppearedI ThoughtI Hbs Hallucinating, which toured theUnitedStatesand Europe in 1'J77-78.In 1979 LucindaChilds began preparing the first ofher large-scale pnxiuctions, in supportofwhich shewas awarded a "Guggenheim Fellowship. This wasDance, an evening-length work for the LucindaChilds DanceCompany, with music by PhilipGlassand film/decor by visual artist Sol LeWitt. Dance

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received its Americanpremiere at theOperaHouseof the Brooklyn Academy of Music in the fall of1979.In early 1981, Ms. Childs returned to Paris at theinvitation of the Groupe Recherche Choreographique de l'Opera de Paris for which she choreographed Mad Rush, w ~ t h music by Philip Glass.This twenty-minute work, featuring Wtlfride Piolletand Michael Denard, principal dancers from theParis Opera Ballet, was presented in Paris at theTheatre de la Ville in April, 1981.The second of the large-scaleproductions, RelativeCalm, is an evening-lengthworkwithmusicby JonGibson, and lighting and decor by RobertWilson.RelativeCalm had its premiere in December, 1981at the Opera House of the Brooklyn Academy ofMusic as part of the NEXT WAVE series.Available light, Ms. Childs most recent large-scaleproduction, is an hour-long work with music byJohn Adams, set by architect Frank Gehry, andcostumes by Ronaldus Shamask. Commissionedbythe Museum of Contemporary Artin LosAngeles,Available light had its Americanpremiere there inSeptember, 1983 and was also presented in theOpera House of the Brooklyn Academy ofMusicas part of the NEXT WAVE Festival.In 1983, the Pacific NorthwestBallet commissionedLucindaChilds to choreograph a new work for thecompany. Cascade, with music by SteveReich, waspremiered atthe SeattleOpera Houseon March 1,1984 and was also presented in the company's season at the BrooklynAcademy ofMusic in April andat the SpoletoFestival U.S.A. in Charleston, SouthCarolina in June.In March, Childs performed a retrospectiveofhersolodances at theWhitney Museum. This programbegan with a solo from the 1960's, the popularCar-nation, and concluded with the world premiere ofher new solo work, Outline, with music by theyoung British composer Gavin Bryars.In June of this year, the Asian Cultural Councilawarded Ms. Childs a fellowship to survey ar t andculturatactivities in Japan. This fellowship was thefirst ever awarded to an American choreographer.Atthe request ofRudolfNureyev, Ms. Childs choreographed her second ballet for the Paris Operathis fall. Premier Orage is set to music by Dmitri~ h o s t a k o v i c h , has decor and costumes by RobertoPlate, and stars two of the Paris Opera's principaldancers, Elizabeth Platel and Jean Guizerix. Pre-mierOrage had its premiere at the Paris Opera onNovember 2, 1984.For the irevivalofEinstein on theBeach, Childs choreographed theFieldDances for Actsnand i l l andrecreates the leading role, for which she won anObie in 1'J76 when the operawas performed at theMetropolitan Opera House.For the LucindaChilds Dance Company's 1985-86New York City season, Childs will choreograph anew full-length work. The new work, in four parts,will havemusic for each section for amplified harpsichord and violin, written by a different composer;Michael Galasso, Gyorgy Ligeti, Michael Nyman,andAllen Shawn. The decorwill be created by photographer Robert Mapplethorpe.

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SHERYL SUTTON is recreating the role she per- ,formed in theoriginalproductionofEinstein on theBeach. She has worked with Robert Wilson since1971, appearing inDeafman Glance, The Life andTImes ofJoseph Stalin, ALetterforQueen Victoria,the CWIL warS, and The Murder, a video film forPBS. A native of New Orleans, Sheryl lived forseveral years in Paris where sheworkedextensivelyin televisonand film. Miss Sutton_currently residesin Cologne, West Germany with her husband,Andreas Terhoeven, co-author of her one-womanshow, People Who live in Hotels Get Eyes ofKillers,which has been performed this season in Paris,Geneva, and Brussels.ERIC BENSON, a native ofArlington, Virginia,is a graduateofBrownandBostonUniversity Schoolof FineArts, where he was assistant directorof theOpera Theater. In New York he has appeared withthe Bronx Opera, New York Lyric Opera, TheOpera Ensemble ofNewYork, Capricorn TheaterCompany, St. Luke's ChamberEnsemble, and frequently as a guest artistwith theNew YorkRenaissance Band at Alice Thlly Hall. He has sungprincipal tenor roles inDonGiovanni, LeNozze diFigaro, Cenerentola, AMidsummerNight's Dream,and Cosi Fan Tutte, and acted and dancedStravinsky's Devil in L'histoire du Soldat at Tanglewood. Also a stage director,. he recently directedthe world premiere of Edith Hemenway's TheTwilight ofMagic in March with the Long IslandSingers.STEVENBROMERgrewup in Indianapolis, Indiana and began dancing while pursuing a degree ineducation from EarlhamCollege. He studies balletwithMaggieBlackandthis ishis secondseasonwiththe Lucinda Childs Dance Company.RACHELBRUMERgrew up inOakland, California and began her dance career as a member of theOaklandBalletCompany. She.graduated fromMillsCollege, taking t i ~ e off for a tour with RinglingBros. & Barnum& BaileyCircus. After moving toSeattle, shejoined the Bill Evans Dance Company.Shehas taught for the Pacific NorthwestBalletandthe University ofWashington. In NewYork shehasperformed with MarkMorris, and this fall joilledthe Lucinda Childs Dance Company.WARREN CAMPBELL, a native of Kansas,recently performedwithOperaworks in Figaro andThe Martyrdom of St. Magnus. He has also performed with the NYU Summer Festival in KirkeMecham's Tartuffe, RiversideOpera, MusicTheatreofWichita, PhoenixBach& Madrigal Society, Thscon Opera, Flagstaff Symphony and MusicAcademy of the West. Mr. Campbell's oratoriocredits range from Jesus in St. MatthewPassion toRossini's StabatMater. Frequently touring the country in several Gilbert and Sullivanproouctions, heescaped TItipu to sing with the Charleston, SOuthCarolina Symphony as bass soloist in Mozart'sRequiem.TIMOfHY J. CONBOY was born and raised inRockville Centre, Long Island. He began a seriouspursuit of dance as a career while attending theUniversity of Colorado where he received hisBachelor's Degree in French. Dance brought himto New York to study with Lawrence Rhodes. He

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received hisM.A. fromNYU's Tisch School of theArts in 1984 where his instructors included Mr.Rhodes andAlbaCalzada. Mr. Conboy hasdancedwith the Mercury Ballet and worked with suchchoreographers as CliffKeuter, Joan Finkelstein,Christopher Pilafian and now, Lucinda Childs. Hecurrently studies with Maggie Black.VINCENT de CORDOVA is a graduate of theOberlin Conservatory of Music and and theMozarteum in Salzburg, Austria. Aftercompletionof his musical studies, he was invited to sing withtheMetropolitan Opera Studio inNewYork. He hassubsequently performedwith theopera companiesofHouston, LakeGeorge, Austin, LakePlacid, Virginia, Frankfurt and appeared in the Civil warSbyPhilip Glass and directed by Robert,Wilson at theTeatrodell'Opera in Rome. He has also performedwiththe symphonyorchestrasofVancouver, Miami,Boston, Cleveland, Cincinnati (under the baton ofJames Levine), as well as theOrchestrede la SuisseRomande. In February 1985 he will be making hisdebutWith theBerlin PhilharmonicOrchestra. Hecan be heard on London Records with Lorin Maazel and the Cleveland Symphony Orchestra.NAN FRIEDMAN is from SkoIde, Illinois andhasa B.F.A. from the Juilliard School. She has performed as a principal dancer in Diamond, TanzProjektMunchenandasa guest artistwithBatsheva.In New York she has performed withchoreographers Dianna McPherson, AndrewdeGroat, Rosalind Newman, andGina Buntz. Ms.Friedman canbe seen in the filmPhi Beta Rockersandmost recently in the music video ComplicationShakedown by Japanese artist, Moto. ShejoinedtheLucinda Childs Dance Company in the spring of1983.MARY ANN HART, a native of Missouri, is amezzo soprano and a 1983 winner of the ConcertGuild Auditions and the first prize winner of the1982 MinnaKaufmannRuud DistinguishedPerformance Awards. She receiveda career developmentgrant from the Martha Baird Rockefeller Fund forMusic and was a semi-finalist in the KennedyCenter-Rockefeller Foundation'Competition forAmericanMusic, aswell as a silvermedalist in theRobert Shumann International Competition. Miss

Hart has been a soloist at theMarlboroMusic Festival, with theMinnesotaOrchestra, Musica Sacra,The ClarionMusic Society, ConcertRoyal, and TheYouth Symphony of New York. In addition to her1983 debut recital at Carnegie Recital Hall, MissHart has made recital and oratorio appearances inAustria, Germany, Rumania, East Germany,Washington, D.C., and several states.MICHAEL ING grew up inRockville, Maryland.He began his dance training atWashington University in St. Louis, Missouri where he also receiveda B.A. in architecture. His teachers there includedClaudia Gitelman and Satoru Shimazaki. Sincemoving to New York in 1983, Michael has studiedmoderndancewithMerce Cunninghamandballetwith Janet Panetta and Rachel List. He has performed inworks by choreographers EllenCornfieldand Garry Reigenborn in:addition to working withthe Lucinda Childs Dance Company, which hejoined in August, 1983.

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JEFF JOHNSON has appeared on Broadway inThe Three Musketeers, with the first national company ofADay inHollywood/A Night in the Ukraine,andat the Spoleto ~ s t i v a 1 in Italy with the NewYorkEnsemble for Early Music. He has performed inpieces at LaMamaE.T.C., Radio City Music Hall,theAugusta Opera Company, theVirginiaMuseumTheatre, and with the Gregg Smith Singers. Mostrecently he was Dustin Hoffman's assistant on theBroadway revival of Death o fa Salesman.SAMUELM. JOHNSON is recreating the role heperformed in theoriginal productionofEinstein onthe Beach. He appeared in the CBS television series Beacon Hill and the films Shuttle Escapade, Vel-vet Smooth, and Times Square.JOHN KOCH, a graduate in music of Kent StateUniversity, holds theMasterofMusic inVoice fromthe University of Illinois. He has performed withthe Lake George Opera Festival, Michigan OperaTheatre, I..ouisville Opera Association, and theKansas City Lyric. Last fall he toured nationally forColumbiaArtists Management, creating the role ofSir Arthur Sullivan in an original opera based onthe lives ofGilbert and Sullivan. This past year heperformed the duel roles of Larry and Matt in TheFace on the Barroom Floor with the New YorkCenter for Contemporary Opera and the role ofPedrillo with the Arkansas Opera Theatre inMozart's Abduction from the Seraglio.RAISSA LERNER grew up in Connecticut andbeganperforming with theAmericanYouth Ballet,which m ~ d e annual summer tours toWestGermanyand Switzerland. After graduating from AmherstCollege in 1983, shemoved toNewYork andjoinedColloquiumDance Co. She has been a member ofthe Lucinda Childs Dance Company since April1984, and is studying ballet with Maggie Black.LESLIEMcEWEN has recently moved to the NewYork area from Seattle, where she was a SeattleOpera CompanyPreviewArtist and also sangwithSeattle Civic Light Company and with the PeterBritt Music Festival in Oregon. Since arriving inNew York, Leslie has sung with the Lubo OperaCompany, The.Center for Contemporary OperaCompany and was a recent winner in the AmericanOperaAuditions. She is also a past Metropolitan Opera Opera National Auditions and a SanFrancisco Merola Program finalist.ROBERT MINCE, a native Long Islander, hasbeen active in opera and musical comedy for 11years. His credits include a stint atMichiganOperaTheatrewhere he playedBob in The OldMaidandthe Thief, David inHand ofBridge and Marullo inRigoletto. M r . ~ i n c e ' s New York credits includeFiorelloinBarberofSeville (BrooklynOpera Society) and Belcore in Elixir ofLove (Opera Ensemble of New York). This past summer Mr. Minceappeared in New Hampshire as the Pirate King inPiratesofPenZ/lnce, Sir Harry inOnce Upon a Mat-tress and Shem in Two by Two.PRISCILLA NEWELL was born in Louisville,Kentucky. After graduating from Sarah LawrenceCollege, she moved to New York City where shehas performedwithseveralchoreographers, including David Gordon and Valda Setterfield, and Col-

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leen Mulvihill. She has been with the LucindaChildsDanceCompany since 1981, andhas taughtin France andNewYorkCity. Shecurrently studiesballetwithMaggieBlack and modern dance at theCunningham studio, and likes to swim.CHARLAEOLAKER is a nativeofChicago. Shebegan early musical studies in piano at the AmericanConservatory ofMusic, continuing as a vocalistat Howard University where she received herdegrees. Miss Olaker is the recipient of numerousscholarships, prizes, and awards, including semifinalist in the Concours Internationale de Paris,1980; First Prize in the Y.M.C.A. Annual VocalCompetition, 1980; and the sole winner of ArtistInternational's Voice Award, 1981, which waspresented by the management at her New Yorkrecital debut at Carnegie Recital Hall in 1982. As amember of the Wolf Trap Opera Company, TheChildren'sOpera TheatreofWashington, D.C. , andthe Alexandria Lyric Opera, Miss Olaker has performed roles by Mozart, Menotti, Puccini, andVerdi. She has made guest appearances as a soloistwith orchestras atKennedy Center's ConcertHall,Lincoln Center's Damrosch Park, Central Park, andhas made successful concert, recital, radio, television, and film appearances throughout the UnitedStates and Europe. Most recently she toured withthePhilipGlass Ensemble in The Photographer andperformedwith Lukas Foss and the Brooklyn Philharmonic in Idomeneo, which was aired recentlyon WNCN Radio.GLORIA PARKER has been guest artist withseveral symphony orchestras in the United States,including Oklahoma City, St. Louis, Queens, andthe St. Luke's Chamber Ensemble. She has alsoappeared with the Houston Grand Opera, OperaTheatre of St. Louis, BostonOpera, Children's FreeOpera of N.Y. and Caramoor Festival, ~ m o n gothers. In 1983 sheplayed the role of Julie LaverneoppositeDonald O'Connor in the national tour andBroadway revival of Showboat and will be appearing as Evvie in the comedy musical, ScrambledFeet, at Toronto's Strand Theatre in 1985.LUTERAMBLlN'lirst appeared as the final incarnation in Jean Claude van Italie'sNaropa at Yale in1978. He played one of the manifestations ofArielin The New YorkShakespeare Festival's productionof The 1empest in Central Park in 1981, as well asThe. Child in Mabou Mines' production of LeeBreuer's Hajj, a piece for live and pre-recordedvideo that premiered at ThePublic Theater in 1983.He can be heard on National Public Radio in theZBS Productionof The Mist in which he plays Billy.LuteRamblin' is nine years old. He attends FriendsSeminary and plays on the travelling soccer teamfor TheManhattan Kickers. He is a visual artist andmusician and has studied Ken-do in Japan.GARRY REIGENBORN, a native of Colorado,received a B.F.A. from theUniversity ofUtah, SaltLakeCity. Beforejoining theLucindaChilds DanceCompany in 1981, he was a principal dancer withAndrewdeGroat andDancers from 1977-79. Hehasperformed with Meg Harper and David Gordon.He has collaborated with theater director CindyLubar and with RobertWilson since 1980. He has

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conducted workshops throughout Europe, Canadaand the U.S. and has been d irect ing andchoreographing for his own company, GarryReigenborn: Company Dance since 1979. He is therecipient of a NEA Choreography Fellowship in1982 and has been awarded an Artist in Residenceby the Djerassi Foundation ofCalifornia in 1986.He has studiedprofessionally withMerceCunningham, Ann Halprin andcurrently studies balletwithMaggie Black.

RICE has been a part of Einstein on theBeach from thebeginning. As a memberof the castof the original 1976 production, she performedthroughout Europe and at the Met as well as participating in the recording of the complete opera.She has also appeared in Canadian Equity theatreand n u ~ e r o u s Off-Broadway and OftOffBroad-way productions. She received her B.F.A. in acting from EmersonCollege and is currently studyingwith William Esper.DONNA WADE, Maine born soprano, comes toNew York City via extensive musical training inNova Scotiawhere she recieved herB.M. and B.M.Ed. degrees on full scholarship. Her diverse talentsrun from singing lead roles in Cosi Fan Tutte andThe Telephone and TheMedium, to acting lead rolesin Hamlet, On Baile's Strand, The Tempest and Can-dida. After appearing on various CBC Radio andTelevision shows, she moved back to the States anaattended Manhattan School ofMusic. Now a student of Sam Sakarian, this is Miss Wade's NYCoperatic debut.JULIAGILLETT was Production StageManagerfor the original Einstein on the Beach in 1976. Shehas worked with Mr. Wilson on other productionsincludingA Letterfor Queen Victoria, The $ ValueofMan, Medea, and The Civil warS. Other highlights include Andrei Serban's The CherryOrchard,st Agamemnon, and Happy Days; LiviuCiulei's Hamlet; Alan Schneider's A lmly FromDubuque; and The Greeks at the WilliamstownTheatre Festival. She is currently ProductionManager at the Guthrie Theater in Minneapolis.BEVERLY EMMONS (Lighting Designer)designed the lighting for theMerce CunninghamDance Company from 1965 to 1968. She has alsodesigned lighting for theaterdirectorsJosephChaikin, Andrei Serban, and for Meredith Monk's andPingChong's The Games. Ms. Emmonshas numerous Broadway credits including Tony nominationsfor TheElephantMan, A Day in Hollywood/A Nightin the Ukraine, and last year's All's Well That EndsWell. Her dance credits includedesigns for thecompanies ofMarthaGraham, Lucinda Childs, TrishaBrown, Lar Lubovitch, Dana Reitz, Viola Farber,andAlvin Ailey. Other collaborations with RobertWilson have been I Nbs Sitting On My Patio ThisGuy Appeared I Thought I Was Hallucinating,Death, Destruction, and Detroit at the BerlinSchaubuhne, Great Day In The Morning in Paris,and the Rome Opera segment of the CWIL warS.In 1980 she received a Village Voice Obie and in1984was awarded a Bessie for distinguished lighting design.

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THE PIDLIP GLASS ENSEMBLE,is a virtuosogroup ofmusicians performing on both electronicand acoustical instruments. Mr. Glass created theEnsemble over a decade ago to capture his uniqueinstrumental sonorities and his hypnotic melodieswith their compelling, ever-ehanging rhythmicpatterns. Comprised of outstanding musicians andcomposers in their own right, the Ensemble is theonly group in the worlddevotedexclusively toMr.Glass'music. Thegroup has performed in many ofthe world's most prestigious halls, including Carnegie Hall in NewYork and theDorothy ChandlerPavilion in Los Angeles.MICHAEL RIESMAN is acomposer and performer whose activities encompass a broad spectrum of music. He studied at the Mannes CollegeofMusic andHarvardUniversity where he receiveda Ph.D. in composition, and has taught at Harvardand at SUNY/Purchase. He has received a Fulbrightgrant and commissions from the Ford Foundationand the Fromm Music Foundation, and has alsoreceived supprt from theNational Endowment forthe Arts andMeet theComposer. In addition to concert works, Mr Riesman has composed music forthe theatre, dance, and for films and television. Hewrotemusic for RobertWIlson'sEdison, whichwasseen in New York, Paris and Milan. Lucinda Childsrecently commissioned a work entitled FormalAbandon, which was premiered in Paris. Hismostrecent work is a ballet called The City, which wascommissionedby the Spoleto Festival, andwas performed in bothItaly and South Carolina. Mr. Reisman is noted as th e conductor of numerousrecordings includingEinstein on the Beach, Glass-works, The Photographer, and Koyaanis,qatsi. Hehas conducted and performed on albums by PaulSimon, Mike Oldfield, Ray Manzarek, and PhilOchs.KURTMUNKACSI returns to this production ofEinstein On The Beach to re-create his originalsound design. A long time member of the PhilipGlass Ensemble, he was perhaps the first soundmixer to be treated as an equalmember of a groupof musicians. Over the past several years he hasturned his attention to recorded music and is bestknown at this time for his productions, whichinclude the original recording of Einstein on theBeach, re-released by CBSMasterworks; The Pho-tographer, Gmmmy nominee 1983;Glassworks forCBSRecords; The Waitresses first album for Polygram; and the music for theKoyaanisqatsi, winnerof the 1983 Golden Globe Award for best soundtrack. During his somewhat adventurous musicalcareer he has worked with such varied artists asOrnetteColeman, DonCherry, John Lennon, BrianEno, MikeOldfield, Ray Manzarekand Polyrock.The recordingofGlass'operaSatyagraha, producedby Munkacsi, will be released early next year byCBS Masterworks. It is especially interestingbecause of its unique recording approach to traditional orchestration. He is also producing Glass'score for the soundtrack to Paul Schrader's upcoming filmMishima, produced by George Lucas andFrancis Ford Coppola, which will be available onElektra-Nonesuch Records.

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JON GIBSON, as composer andperformerofhisown music, has given many solo andensemble concerts throughout Europeand NorthAmerica. Tworecordings of his music, Visitations and Two SoloPieces, appear on ChathamSquare Records. In lCJ77he was commissioned by the Merce CunninghamDanceCompany to compose and perform themusicfor Fractions, a dance for video and live performance. Subsequently, Mr. Gibson was commissioned by choreographer Lucinda Chi lds tocompose music for Relative Calm, which touredwidely in Europe and received its Americanpremiere at the Brooklyn Academy of Music inDecember 1981. He is currently working on anopera with director JoAnne Akalaitis, based uponCharles Darwin's book, J.byage ofthe Beagle. Mr.Gibson hasperformedwith PhilipGlass since 1968.MARTIN GOLDRAY is the pianist for the NewMusic Consort andappears regularly with the Contemporary Chamber Ensemble. He has also performed with the Group for Contemporary Music,the Orchestra of the TwentiethCentury, and on theGuild of Composers series. After receiving theD.M.A. from the Yale School of Music he wasawarded a Fulbright to study with Yvonne Loriodin Paris. He has also been the recipient of Tanglewood and Yale-in-Norfolk Fellowships. He receivedhis B.A. from Cornell University, where he studiedwith MalcolmBilson, and his earlier studies werewith Carlos Buhler and at the Dalcroze School ofMusic in New York City.JACKKRIPL, winner of theGeneva InternationalCompetition for Musical Performers, has touredextensively as a soloist and performer with orchestras and bands. He is regarded as one of the leading exponents of the classical saxophone. As arecipientof two successive Fulbright Scholarshipsto Paris, he studied saxophone with Marcel Muleandmusical style with Nadia Boulanger. ItWdS during this period thathisprofessional relationshipwithPhilip Glass began. A widely sought-after performer, Mr. Kripl works frequently on Broadwayand in New York recording studios. Most recently,he WdS the leadwoodwind player in the original castofBarnum. His interestin new music ledhim tobea founding member of the American SaxophoneQuartet, dedicated to new music from Americancomposers.DORAOHRENSTEIN has an active career in abroad repertoire. She has been soloist at the Witten Festival of New Music in West Germany andhas participated in the premieres of compositionsby Philip Glass, John Cage and many others. Assoloist with the SEMEnsemble, she traveledwidelyin South America. She has been heard as soloist attheWaterlooMusic Festival, theAspenMusic fes-tival andwith theManticoreOrchestra, the SolaireEnsemble, Queens College Choral Society, Newband, theWesternWind, theNewCalliopeSingers,JohnBiggs Consort, ScholaAntiguaand at theNewport Festival. Ms. Ohresteinhas recorded with CBS,Nonesuch and Labor Records.RICHARD E. PECK, JR., saxophonist, composer and visual artist, came to New YorkCity fromLouisiana in lCJ71. While in the South, he performedwith rhythm and blues bands and attended theUniversity ofSouthwesternLouisiana. Upon arriv-

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ing in New York, hejoinedthe PhilipGlass Ensemble and furthered his studies in music and art atHunter College. In addition, he has recorded hismusic with the jazz band, Roux. His visual workhas been shown at P.S. 1 and the Holly SolomonGallery in New York and at the Contemporary ArtCenter in New Orleans.TISON STREET has pursued a duel career asviolist and composer. From1968 to lCJ78, he workedas a freelance violinist in Boston where'he playedin the BostonPhilharmonic, BostonOpera, BostonBallet Orchestra, BostonPops, BostonSymphony,appeared in solo and chamber recitals, and taughtchamber music classes at Harvard University. Inrecent years he has concentrated mostly on composition. Hisworks havebeenplayedby suchgroupsas the St. Paul Chamber Orchestra, the New Yorkand Los Angeles Philharmonics and the ConcordString Quartet.THE LUCINDACIDLDS DANCECOMPANYwas founded in 1973 and performed its first concertat the Whitney Museum in New York that year.From 1973-78, Lucinda Childs choreographed anumber ofworks for the company including: CalicoMingling (1973), ParticularReel (1973),DuplicateSuite (1CJ75), RecliningRondo (1CJ75), RadialCourses(1CJ76), Interior Drama (1CJ77), and Katema (lCJ78).All of these pieces were performed without musicand secured Childs's reputation as one of the important and influential contemporary choreographers.In 1979 the company began to perform large-scaleworks created by Childs in collaboration with artistsfrom other mediums. These works have beenacclaimed by critics in EuropeandAmerica for thebeauty of their choreography and for their innovative use ofmusic anddecor. The first of theseworks,Dance (1979), is an evening-length piece for anensemble and solo dancer with music by PhilipGlass and a film-decor by Sol LeWitt. Dance touredextensively in Europe and had its Americanpremiere at theBrooklyn Academy ofMusic. Rela-tive Calm (1981) was created in collaboration withcomposer Jon Gibson and has lighting and decorby RobertWtlson. Followinga tourofFrance, it hadits American premiere at the Brooklyn AcademyofMusic's NEXT WAVE Festival. Available Light(1983) was commissioned by the Museum ofContemporary Art in Los Angeles to inaugurate its"Temporary Contemporary"exhibitionspace. Thishour-long work has music by John Adams, decorby Frank Gehry, and costumes by Ronaldus Shamask. Available Light was also performed inChateauvallon, France and at the 1983 NEXTWAVE Festival. In December, 1983, the companyappeared in a one-week season at the Theatre de laVille in Paris. The company has also performed attheWashingtonSociety for the PerformingArts, theWalker Art Center, Harvard University, ZellerbachHall and thoughoutEurope. In June, 1985, thecompany will perform a retrospective ofChilds' worksat the Holland Festival.The Lucinda Childs Dance Company is supportedin part by the Danceand Inter-Arts programs of theNational Endowment for the Arts, the New YorkState Council on the Arts, the DanielW. DietrichFoundation, Exxon Corporation, the Jerome Rob.,.bins Foundation and many generous friends.

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STAFF FOR EINSTEIN ON THE BEACH

ASSISTANT DIRECTOR

Company ManagerProduction Stage ManagerStage ManagersSet CoordinatorCostume CoordinatorAssistant to the Lighting DesignerAssistant to the ChoreographerAssistant Musical DirectorAssistant to Robert Wilson

Production AssistantsLighting Production AssistantHair and MakeupCasting Consultants

Rehearsal Pianist/Standby KeyboardRehearsal PianistLegal Counsel

Production Manager forThe Philip Glass Ensemble

JULIA GILLETT

Ellen DennisDon JudgeJames GrantCharles OtteMichael DeeganDon NewcombKen TabachnickGarry ReigenbomMartin GoldrayAnn-Christin RommenPeter J. DowningNina StachenfeldMaidie O. GreerEthyl EichelbergerMargery SimkinDonna NewtonMichael WardNurit TillesRon Feiner, Esq.Colton, Weissberg, Hartnick, Yamin and Sheresky

Kristina Kinet

choreography copyright 1984 Lucinda Childs

CREDITSScenery constructed by Broggi Brothers, Milan, Italy. Scenery refurbished by Nolan Scenery Studios,Inc. and Metro Scenic Studios. Lighting equipment by Bash Theatrical Lighting, Inc. and Production Arts Lighting, Inc. Mini-striplight courtesyofLighting and Electronics, Inc. based on a designby Jules Fisher. Sound equipment by Maryland Sound Industries, Inc. and Masque Sound andRecording Corp. Projection equipment by Charlie Spataro's Audio Visual Workshop, Inc. Original scenicsupervisionby'A. Christina Giannini. Original costumes by D'Arcangelo-Mayer, Paris. Additionalcostumes by Annamarie Hollander.Special thanks to FOTOFOUOThemusic ofmany composers featured in the NEXTWAVB FESTIVAL is available from the NewMusic Distribution Service, the only non-profit organization specializing in the marketing and promotion of new music recording.

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Exclusive Representation of Philip Glass byIPA/Intemational Production Associates853 BroadwayNew York, NY 10003212 505-1688 Telex: 821238

For information regarding Robert Wilson:Byrd Hoffman Foundation, Inc.325 Spring StreetNew York, NY 10013212 620-0220 Telex: 383773 BHF NYK UD

Exclu,sive Representation ofThe Lucinda Childs Dance Company byLucinda Childs Dance Foundation, Ltd.541 BroadwayNew York, NY 10012212431-7599

Worldwide Representation ofThe Philip Glass Ensemble byIPA/Intemational Production Associates853 BroadwayNew York, NY 10003212505-1688 Telex: 821238

EINSTEIN ON THE BEACH SPECIAL EVENTSDecember 4-22, 1984ROBERT WILSON: DRAWINGS 1974-1984

Paula Cooper Gallery155 Wooster S t r ~ tNew York, New York(212) 674-0766

December 16, 1984THE EINSTEIN DINNER

EIlntemacionalFor ticket information and reservations call Ms. Carol Willis at (718) 636-4193. Proceeds willdirectly benefit this Next Wave production.

December 23, 1984 12:3OpmBAGEL BRUNCH AND 'SYMPOSIUMDr. Roger Oliver, Humanities Director, Next Wave Festival will chair a panel discussionabout Einstein On The B ~ a c h . Bagels, coffee, and orange juice will be served.Brooklyn Academy ofMusic

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