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ties at Tanglewood. In November of 1967, Mr. Schuller was inaugurated as the ninth president of the New England Conservatory.

JOSE CONTRERAS (Conductor) has studied under such renowned conductors as Leonard Bernstein, Seiji Ozawa, Eugene Ormandy and Gunther Schuller. Receiving his certificates in conducting from the Mozarteum in Salzberg, Austria and the Conservatory of Music in Santo Domingo, Dominican Republic, Mr. Contreras has achieved innumerable honors including a 1975 Conducting Fellowship at the Berkshire Music Center, Tanglewood, the 1974 Premium Firenze in Conducting in Florence, Italy, and the Gabriel Faure Prize for Conducting at the 1972 International Competition in Besancon, France. Mr. Contreras is persently Musical Director and Conductor for the Brooklyn Heights Chamber Orchestra.

FRANCO COLAVECCHIA (scenic and Costume Designer) is both a designer and a painter with some 80 productions to his credit. He found his inspiration for the sets and costumes of Treemonisha in the works of the black painter/collagist Romare Bearden and with Bearden's aid he created a mystic world of voodoo masks, dancing alligators and handheld scenery for this production. He joined the Oxford Playhouse Company where his designs included Richard II, She Stoops to Conquer, The Homecoming, Gaslight and Little Malcolm and His Struggle Against the Eunuchs. At the Edinburgh Festival he designed ballets, revues and plays for the Oxford Theatre Group. His sets and costumes for Cellini were seen both at the Edinburgh Festival and at the Jeannetta Cochrane Theatre in London, receiving the nomination for best set design. In 1970, he was invited by Harvard University to lecture and design for one year, but stayed for five. Treemonisha marks Mr. Colavecchia's Broadway debut.

NANANNE PORCHER (Lighting Designer), with Treemonisha, marks her seventh collaboration with director Frank Corsaro. Others include A Village Romeo and Juliet, Kong and Die Tote Stadt. She has also designed lighting for the opening production at the Metropolitan Opera House -- Anthony and Cleopatra her tenth collaboration with Franco Zeffirelli. Her designs have also been seen at the Kennedy Center Opera House in its Beatrix Cenci. Since 1970 she has been the resident lighting designer with American Ballet Theatre. Immediately after the opening of Treemonisha, Miss Porcher will travel to Houston, Texas, with Mr. Corsaro to design lighting for Handel's Rinaldo and, in the spring of 1976, Carlisle Floyd's Bilby's Doll.

LOUIS JOHNSON (Choreographer) has danced, directed and choreographed on and off-Broadway, for opera and ballet companies, on television and in motion pictures. As a dancer he worked with such masters as George Balanchine, Gene Kelly, Jerome Robbins, Antony Tudor, Michael Kidd, Bob Fosse, Herbert Ross and June Taylor. He di-
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rented the musical Miss Truth for the Newport Jazz Festival and was dance director for the Negro Ensemble Company, staging and choreographing their productions of Kong's Harvest, God Is a Guess What and Song of the Lusitanian Bogey, the latter of which won an Obie award. On television, he was one of the choreographers for Lauren Bacall's special, The Strolling Twenties, and for The Ed Sullivan Show. He has created choreography for the Cincinnati Ballet, the Alvin Ailey Dance Theatre, the Washington Ballet and for the Dance Theatre of Harlem (Forces of Rhythm, which was performed in command performance for the Queen of England). He choreographed the movie Cotton Comes to Harlem and his Broadway credits include the staging and choreography for Les Blancs, Lost in the Stars, Mahagonny and Purlie, for which he won a Tony nomination and the A. and M. Schaefer Award. For the Metropolitan Opera he choreographed Aida and the "Dance of the Hours" in La Gioconda, and is currently on the staff of Howard University as well as being the director of the Louis Johnson Dance Theatre.

VERA LAWRENCE (Artistic Consultant) is more than any other individual responsible for discovering Treemonisha and for overseeing so many of the production details that are alive in the current production of the Joplin work. She was originally a well-known concert pianist and later turned to writing and musicology, assembling a complete edition of the music of Gottschalk. Her 1969 Gottschalk collection was the first published collection of the works of an American composer. Ms. Lawrence almost singlehandedly instigated the current worldwide Joplin revival with the publication of his collected works, a collection which was turned down by 24 publishers before being accepted by the New York Public Library. Ms. Lawrence's new book, Music for Patriots, Politicians and Presidents, will soon be published by Macmillan.

FRANK CORSARO (Director) is one of his profession's busiest and most versatile talents. His careers as actor and more regularly as director of both opera and theater have found Mr. Corsaro working all over the world. As 

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an actor, Mr. Corsaro appeared on Broadway with helen Hayes in Mrs. McThing; in the movies with Joanne Woodward in Rachel, Rachel. He directed Broadway productions such as The Night of the Iguana and A Hatful of Rain, and off-Broadway productions of No Exit, The Family Reunion, The Creditors and The Scarecrow. Mr. Corsaro directed Treemonisha for the Houston Grand Opera earlier this year, following such operatic credits as Susanna, La Traviata, Madame Butterfly, Faust, Die Tote Stadt, Manon Lescaut and Rigoletto as well as the world premieres of Of Mice and Men by Carlisle Floyd, Summer and Smoke by Lee Hobby and recently The Seagull by Thomas Pasatieri. Frank Corsaro also adapted L'Histoire du sold for the Houston Grand Opera in 1973, and had his own play, Piece of Blue Sky, presented on Play of the Week on television.

ADEL HOLZER, JAMES NEDERLANDER and VICTOR LURIE (The Producers) first worked together as co-producers of Sherlock Holmes which will soon begin its second year at the Broadhurst Theatre. Mrs. Holzer is known as the producer of such hits as The Ritz and All Over Town and for her association with Hair, Lenny, Sleuth and numerous other Broadway shows. Mr. Nederlander, whose organization operates and owns such theatre as The Palace, The Uris and the Brooks Atkinson in New York, and the Fischer in Detroit, is also part owner of The Yankees Baseball Team. Victor Lurie, an entrepreneur with numerous world-wide business interests, first teamed with mr. Nederlander on the Broadway production of My Fat Friend.

SCOTT JOPLIN
When Scott Joplin, the reigning "King of Ragtime," arrived in New York in 1907, he announced that his chief purpose was to find a publisher for his new opera, Treemonisha, and a producer to stage it. To both the ragtime community and the music Establishment, such high aspirations seemed preposterous. For any composer of ragtime, with its disreputable, honky-tonk origins, to attempt to invade the sacred precincts of grand opera was outrageous. It boggled the contemporary 

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