Atlanta ArtsTHE MONTHLY MAGAZINE OF THE ATLANTA MEMORIAL ARTS CENTER

MAY 1977

Symphony Summer

YouCanTellAGoodOIBoyBy What Keeps Him Company

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Now you're just as likely to find 'em moving and shaking in the city as hunting and fishing in the country. They're run­ning fast and working hard, trying to change the South. But still, beneath all that "WaffStreet" outside, you'll find a little Main Street inside. Maybe that's why this New South everybody's talking about is turning out to be the real South. Because a good ol' boy has the sense to keep what's

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Of Special Interest• AT THE CENTER

ATLANTA SYMPHONY ORCHESTRA

Summer Season 'Seventy-Seven Includes Mostly Music and Pops

The 1976-77 series of subscription concerts will come to a dramatic close on May 19, 20, and 21, at 8:30 p.m. in Symphony Hall when Robert Shaw conducts the Atlanta Symphony Orchestra, the ASO Chorus and soloists in Verdi’s Requiem Mass.

The soloists will be Betty Jones, -r soprano; Elizabeth Mannion, mezzo-

soprano; Gordon Greer, tenor; John Cheek, bass-baritone.

Yet, the close of the 1976-77 subscription concert season only marks the beginning of the ever-popular and pleasurable summer series of concerts. There are two different series offered during the summer—Mostly Music at Symphony Hall, and the Pops concerts in Chastain Park.

* For seven weeks concert-goers will enjoy the Atlanta Symphony Orchestra with guest artists such as Sarah Caldwell, conductor; Jacques D’Amboise, ballet

* star; Garrick Ohlsson, pianist; Sergio Mendes and Brasil ’77; Peter Nero, pianist; and others.

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Illi______________The Mostly Music format will allow the

guest artists to talk to the audience in order to give them added insights into the music and a special understanding of their performances.

The Mostly Music series will present several different dimensions of music as it is performed for dance, opera, humor, and for sheer listening pleasure.

Pianist, Garrick Ohlsson will be performing Liszt—“A Romantic Hero” on June 8 and 9, followed by the entertaining PDQ Bach on June 15 and 16. Sarah Caldwell, the popular woman conductor, who sold-out three performances in Symphony Hall this past November, will return to present a program on opera.

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Jacques D'Amboise Leonard Pennario

Jacques D’Amboise, who was one of last summer’s most spectacular performers will return to present an all new “Ballet Encounter” on June 29 and 30. And while featuring dance performers the Symphony will bring the most unusual dance

■* company, Les Ballets Trockadero de Monte Carlo, on July 6 and 7. As a travesty dance company they are not only amusing, they are an adventure into ballet satire. Variety magazine praised them as “The hottest dance company in America,” and the Washington Post headlined them as “The Troupe that Dances to a Different Drummer.”

July 13 and 14 will bring Ms. Clamma Dale, the star of the acclaimed successful

# national production of Porgy and Bess, to Symphony Hall.

The Mostly Music series will close on July 20 and 21 with pianist, Leonard

* Pennario, who after his performance with the orchestra this past spring brought Atlanta’s audiences to their feet, cheering and applauding for an “Encore.”

r All Mostly Music concerts are held inSymphony Hall and they begin at 8:30 p.m.

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ffli_________________And Pops

Imagine having a picnic in Chastain Park with such well-known musicians as Sergio Mendes and Brasil ’77, Ferrante and Teicher, Peter Nero, and Henry Mancini appearing with the Atlanta Symphony Orchestra to provide all your favorite music. Well, you needn't imagine, because that is exactly what the Atlanta Symphony’s Chastain “Pops” is all about. For seven Fridays throughout the months of June and July the Symphony will offer informal evening concerts in Chastain Park with a line-up of guest artists to please both the youngest and oldest music listeners.

Sergio Mendes Peter Neroand Brasil '77

The guest artists who are scheduled to perform for the Pops concerts to date are the following: June 10—Sergio Mendes & Brasil ’77; June 17—Sarah Vaughan, an outstanding performer who has been praised by her peers as “The finest singer in the world”; June 24—Peter Nero pianist; July 1—Henry Mancini, composer, conductor, and musician of world-wide fame; July 8—to be announced; July 15—Michel Legrand, one of the world’s great composer­conductors, who has been responsible for the scores of “Ice Station Zebra,” “Wuthering Heights,” “How To Save a Marriage,” “The Umbrellas of Cherbourg,” etc. Other famous songs which he composed include “What Are You Doing the Rest of Your Life?,” “Brian’s Song,” theme from Lady Sings the Blues, “Pieces of Dreams,” and two songs for which he won Oscars: “The Windmills of Your Mind” and “The Summer of’42” (“The Summer Knows”); July 22— Ferrante and Teicher, pianists.

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THE ALLIANCE THEATRE COMPANYDAVID BISHOP, Producing Director

FRED CHAPPELL, Artistic Director

presents

Who’s Afraid of

Virginia Woolf?by Edward Albee

with

DENNIS HOWARD JAMES NOBLECAROL MORLEY JILL O’HARA

Directed by CHARLES KERR

Sets Designed byPHILIPP JUNG

Costumes Designed byBARBARA HAUSE

Production Stage ManagerALLEN WRIGHT

Lights Designed byMICHAEL STAUFFER

Technical DirectorERIK MAGNUSONProduction Manager

BAXTER JOY

The use of recording devices or cameras during the perrormance is strictly prohibited.

Nathalie Dupree is cooking up something wonderful!A whole new season of cooking classes and demonstrations ... all in Rich’s Cooking School, Downtown. In the classes, you do the cooking. In the demonstrations, you watch and taste. Classes are available in basic and advanced levels. For prices, schedules and details, call 586-2525.

WHO’S AFRAID OF VIRGINIA WOOLF?CAST (in order of appearance)

Martha................................................................................................................. Carol MorleyGeorge................................................................................................................. James NobleNick ...................................................................................................................Dennis HowardHoney.......................................................................................................................Jill O’Hara

Act IFun and Games

Act IIWalpurgisnacht

Act IIIThe Exorcism

There will he two ten minute intermissions.

The Alliance Theatre would like to express sincere appreciation to the following individual for his assistance in our operation:

John C. Nolan, The Englishman

BIOGRAPHICAL SKETCHESDENNIS HOWARD comes to the Alliance Theatre Company after recently returning from Los Angeles where he starred in a special TV comedy project for NBC aimed at becoming a new fall series. He was last seen on stage in New York in the Manhattan Theatre Club’s production of A.R. Gurney Jr.’s Children in a role he had previously performed at the Virginia Museum Theatre in Richmond. Mr. Howard’s first New York Appearance was in the original Circle in the Square production of The Hot L Baltimore. Regionally he has also been a member of Arena State in Washington, D.C. where he created the title role in the American Premiere of Georg Buchner’s Leonce and Lena under guest director Liviu Ciulei of the Balandra Theatre of Bucharest, Rumania. Among Mr. Howard’s stock credits are Little Murders, Boys in the Band, The Lion in Winter, Midsummer Night’s Dream, Hamlet and The Knack. He has toured with the National Theatre Company of New York and has appeared in over fifty television commercials.

CAROL MORLEY most recently played “April” in The Hot L Baltimore at Springfield, Mass.’s Theatre West. She has been seen in Atlanta in Alan Aybourne’s Table Manners with Eileen Heckart. She has also performed in George Washington Slept Here with James Coco, Jerome Kern’s Cat and The Fiddle and Some People, Some Other People. At Princeton’s McCarter Theatre she performed in Section-Nine under the direction of Michael Kahn. Among her New York credits are Gypsy starring Angela Lansbury, Prisoner of Second Avenue directed by Mike Nichols, Adaptation/Next directed by Elaine May, and Terrence McNally’s Bad Habits.

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JAMES NOBLE is making his first appearance at the Alliance Theatre as “George” in Who’s Afraid of Virginia Woolf? Most recently he starred on Broadway in The Runner Stumbles. He has also been seen on Broadway in 1776, Strange Interlude, Enemy of the People, Medea, and The Big Knife. He has appeared on television in The Adam's Chronicles, NYPD, The Defenders, The Doctors, and The Edge of Night. Among the films he has appeared in are 1776, Dragon Fly, The Sporting Club, and Been Down So Long It Looks Like Up. Mr. Noble has performed at numerous regional theatres; among them are the Cincinnati Playhouse in the Park, the Barter Theatre, the Williamstown Playhouse, McCarter Theatre at Princeton, the Papermill Playhouse, and the Theatre Company of Boston.

JILL O’HARA created the original female role of “Sheila” in Joseph Papp’s Public Theatre production of Hair. For her performance in the original Broadway production of Promises Promises she won a Tony nomination and a Theatre World Award. She also played opposite Joel Grey in the original Broadway production of George M. Miss O’Hara made her film debut as the female lead in Pigeons directed by John Dexter. She played the female lead in Ibsen’s The Master Builder at the Roundabout Theatre in New York and co­starred in the National Company’s musical version of Two Gentlemen of Verona. She played “Felicia” in Finishing Touches with Barbara Bel Geddes and Robert Lansing. In regional theatre Miss O’Hara’s credits include 77ie Hot L Baltimore at the Cincinnati Playhouse in the Park and The Importance of Being Earnest at the Cohoes Music Hall, Cohoes, New York. In stock she co-starred with Sid Caesar in The Last of the Red Hot Lovers and played “Tiffany” in Mary, Mary with Betsey Palmer. On television she has made two guest appearances as a singer on the David Frost Show and has been seen in The Guiding Light.

CHARLES KERR, guest director, has most recently been artist-in-residence at Hollins College, Virginia, and Stephens College, Missouri, where he directed Ladyhouse Blues and Tobacco Road. Mr. Kerr has worked for the past six years at Actors Theatre of Louisville where he directed Vanities, Sexual Perversity in Chicago, the Marowitz adaptation of Measure for Measure, and The Hot L Baltimore. In addition, he staged The Seahorse, Play Strindberg, The Boys in the Band, and Adaptation/Next among others. Also while in Louisville he composed the scores for three children’s theatre musicals and staged Puccini’s Il Tabarro for the Kentucky Opera Association. Over the past few seasons he has directed Little Murders at Purdue University, Gershwin’s Girl Crazy for the Penn State Festival Theatre, and Who’s Afraid of Virginia Woolf? for the Indiana Repertory Theatre. This summer Mr. Kerr will be assuming the position of Artistic Director for the Cortland Repertory Theatre in upstate New York.

PHILIPP JUNG has designed for LaMama and the Circle Rep in New York, as well as many off-off Broadway productions. Regionally, he has designed the sets and costumes for Pantagleize at the Yale Dramat, Oh Dad, Poor Dad for the Princeton Intime and Three Victorian Farces at Benedictine College. Trained in England, he has also designed for the Bristol Old Vic, Leeds Playhouse and the Midlands Arts Theatre. Mr. Jung was the recipient of a British Arts Council Design Bursary in 1974 and has received a National Undergraduate Costume Design Award.

BARBARA H AUSE is designing the show for the Alliance Theatre Company. This season she has worked on all the Alliance productions. She has done costume work for the Atlanta Children’s Theatre, The World of Sid and Marty Krofft, and was wardrobe Mistress for the Universal Studios movie, Smoky and the Bandit. While at the University of Georgia she designed the costumes for The Rimers of Eldrich and Lee Harvey Oswald.

ERIK MAGNUSON, technical director, is in his fifth season with ATC. In addition, he is a full-time partner in a technical services firm whose industrial clients have included the Georgia World Congress Center, the Peachtree Plaza Hotel, CBS Records, Canada Dry and others. He has recently completed a show for the White Motor Lines. His film work includes the TV series From Sea to Shining Sea and public service commercials for the Georgia Department of Corrections. Mr. Magnuson holds a B. A. degree in classics from New York University.

MICHAEL STAUFFER returns to Atlanta as production designer for his fourth season with the Alliance. He has designed sets, costumes or lighting for seventeen productions at the Alliance including The Crucible, The Miracle Worker, and The Tempest. Mr. Stauffer has served as design co-ordinator for the Guthrie Theatre, production designer for the Barter Theatre, Washington Theatre Club, Cortland Repertory Theatre, and guest designer for the Folger Theatre Group, PAF Playhouse, and the Alabama Shakespeare Festival. Mr. Stauffer has designed for a number of summer stock and dinner theatres, lectured on design in colleges and consulted on theatre space. He is a graduate of Carnegie- Mellon University.

FRED CHAPPELL was named ATC’s artistic director last season. For three years prior to his appointment he was resident director of the theatre and during this period directed such productions as Tobacco Road, Jacques Brel, A Midsummer Night’s Dream, The Boyfriend, The Crucible, Romeo and Juliet, The Last Meeting of the Knights of the White Magnolia, The Tempest, and The Miracle Worker. He was also the original director of Alliance’s Studio Company and has appeared as an actor in numerous ATC productions. Outside of Atlanta, he served for three years as artistic director of the Cortland Repertory Theatre in Cortland, New York, and has guest directed at numerous theatres throughout the country. Last fall he directed Don Tucker’s Same Painted Pony at PAF Playhouse.

DAVID BISHOP, a native of Macon, is completing his seventh season with ATC as producing director. He came to Atlanta from Michigan, where he for three years served as managing director for the Meadow Brook Theatre. He studied at the University of South Carolina, Columbia University and the American Theatre Wing and has also studied acting with Lee Strassberg. A featured actor on television, he has performed in some seventy-five live and filmed network productions. On Broadway Mr. Bishop has acquired credits as both an actor and stage manager in such plays as The Desperate Hours, The Ponder Heart, The Happiest Millionaire, and How To Succeed In Business Without Really Trying. He has been associated with numerous off-Broadway productions, was production stage manager for the American Shakespeare Festival in Stratford, Connecticut, and the New York Shakespeare Festival and served as production supervisor for Mike Todd’s America Be Seated as well as for the Ypsilanti Greek Theatre.

ALLIANCE THEATRE ANGELS — 1977 ANGEL CAMPAIGN (as of May 5, 1977)

BENEFACTORS:William N. Banks FoundationMrs. James M. Cox, Jr.Mr. Ed EstesA Former School TeacherHarry E. Ward Foundation

PRODUCERS:Mr. and Mrs. H.W. Beers, Jr.Mr. and Mrs. David L. CokerMr. and Mrs. Robert H. FerstMr. and Mrs. Lindsey Hopkins, Jr. Ms. Jill W. Royce

SPONSORS:Mr. and Mrs. Shepard B. Ansley Dr. and Mrs. John Griffin

Mr. and Mrs. Ronald W. Hartley Mr. and Mrs. Alfred D. Kennedy, Jr.Mr. and Mrs. Louis RegensteinMr. and Mrs. Alfred M. Sperry Mr. and Mrs. Elwyn TomlinsonMr. and Mrs. Wadleigh Winship

PATRONS:Mrs. Mary Blackwell Alexander Mr. and Mrs. Gerald E. Anderson Mrs. Kitty AndersonDr. Grover J. AndrewsMr. Kent BealsMrs. John G. BergMr. David BishopMrs. Rita M. Bryan Mrs. Wm. C. Campbell, Jr.

Mr. Fred ChappellMr. Wayne DrakeMr. and Mrs. Paul EbbsMr. and Mrs. Robert G. EdgeMr. Edward E. ElsonMr. L.L. Gellerstedt, Jr.Mr. and Mrs. Coe HamlingMr. and Mrs. Joseph K. Heyman Mr. and Mrs. B. Harvey Hill, Jr.Mr. and Mrs. Alfred D. Kennedy Dr. Leonard T. MaholickMr. and Mrs. Glover McGheeMr. and Mrs. Kemp MooneyMr. and Mrs. Daniel ParkerMr. and Mrs. William A. Parker Mr. Allen PostMr. and Mrs. Paul Sanger

ALL THE IDEAS THAT ARE FASHION ABLY FRESH FOR SPRING 77 . . . EDITED WITH THE ATLANTA LIFESTYLE IN MIND!

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ALLIANCE THEATRE ANGELS (continued)Mr. and Mrs. Bernard Stevens Mr. and Mrs. Benjamin T. White Mr. and Mrs. James H. Wildman Mr. and Mrs. Charles R. Yates

DONORS:Mr. and Mrs. Charles E. Bowen Ms. Martha S. BrewerMr. and Mrs. T. Hal ClarkeMr. Dock H. DavisMr. Robert E. Dornbush Mr. and Mrs. Alan L. Ferry Mr. and Mrs. John Gerson Mr. and Mrs. Travis E. Halford Dr. and Mrs. John B. Hardman Mr. J. Winston HuffMr. Ben F. Johnson, III Mrs. Robert H. JordanMr. Henri Jova Miss Linda LaneMr. and Mrs. Allen E. Lockerman Mr. and Mrs. Fred C. Minnich Mr. and Mrs. Edward R, Moore Mrs. William T. Rooker, Jr.Mrs. Dena Gray Short Mr. and Mrs. E.L. Simon Mrs. Eunice H. SimsAlex and Betty Smith Foundation Mrs. Francis Storza

BACKERS:Ms. Jeanne H. AllenMr. and Mrs. John R. Barmeyer Mr. and Mrs. Arthur L. Barnett Mr. and Mrs. N. William Bath Mr. and Mrs. Robert W. Battle Mr. and Mrs. Charles Bauer Mr. and Mrs. George Beattie, Jr. Mr. and Mrs. F.M. BirdMr. and Mrs. D.B. Boldt Mr. and Mrs. Philip L. Brauner Ms. Ann BrooksMr. and Mrs. J.J. Burton Mr. and Mrs. Dean Copeland

Mr. Bruce I. Crabtree, IIIMr. and Mrs. Hugh M. Dorsey, Jr. Mrs. Mary Kate Duskin Miss Grace G. FitzgeraldMr. and Mrs. Rawson ForemanMr. Wyche Fowler, Jr.Mr. and Mrs. DeJongh Franklin Dr. and Mrs. Phillip E. Gertler Mr. and Mrs. George Goodwin Dr. and Mrs. Joseph Hertell Mr. Bill HillMr. and Mrs. C. Richard Hoskinson Mr. David HouserMrs. Frances R. Howell Mrs. Marrie B. Johnson Mr. William L. Kinzer Dale and Elaine La Londe Mr. Hugh L. Latta Mrs. Phyllis F. Lawhorn Mrs. Luz A.C. Levy Miss Henrietta McArthur Mr. Simon Moughamian, Jr. Mr. A.L. Mullins, Jr.Dr. and Mrs. Carl I. PirkleDr. and Mrs. Alan L. PlummerMrs. Lillian L. Rudolph Mrs. Frank Shackelford Mr. David L. Smith Mr. Ray Townsend Mr. Jeffrey D. Travis Mr. Wayne R. Vason Mr. Thomas T. Wadsworth Mr. Henry Hall Ware, III Dr. and Mrs. John C. Warner, Jr. Mr. and Mrs. R.E. Wilgus Mr. and Mrs. James R. Williams Mr. and Mrs. Thorne Winter, Jr.

FRIENDS:Dr. Harold H. Alexander Mrs. Carl L. Altmaier Ms. Eugenie D. BattleMr. and Mrs. E. Milton Bevington Mr. and Mrs. Dameron Black. Ill

Mr. and Mrs. M. DeVon Bogue Mrs. Joseph BrownMs. Anne Carole ButlerMr. and Mrs. Mayson A. Callaway, Jr. Mrs. W.C. CampbellMr. Joe Coursey Mrs. Vernon Crawford Ms. Cora Davis Miss Frances K. Drew Mr. Donald S. Dusenbury Mrs. Mara E. EglitisMr. and Mrs. Russell E. EiblingMrs. Alton A. EllisMrs. John ElvinMrs. Homer L. Entrican Dr. Elizabeth L. Feely Ms. Rosi Fiedotin Mrs. Leonard Haas Mr. Thomas Y. Hall Mr. Stephen T. Helms Mrs. Herman Heyman Mr. William W. Holland Mrs. Martin F. Hurst Mr. and Mrs. Clarence F. Johnson Ms. Germaine KrysanMr. and Mrs. Marvin H. LoceyMr. Sam MassellDr. and Mrs. Donald E. McGheeMr. W.E. MosherMs. Linda A. MundyMr. and Mrs. Oscar N. Persons Mrs. G. Allen Potter, Jr.Mr. William G. Revere Ms. Sharyn I. Sachs Mr. Albert L. Scott, Jr. Mr. Robert ShulmanMr. and Mrs. Warren H. Small, Jr.Mr. and Mrs. B.E.B. Snowden Mr. and Mrs. Richard A. Tallman Mr. and Mrs. Scott G. Thompson Mr. B. Kenneth Townsend, Jr. Mrs. Jack P. TurnerMr. and Mrs. G.C. WilliamsDr. T.R. Williamson

ALLIANCE THEATRE COMPANYBy arrangement with Chelsea Theatre Center, New York

presentsFor A Limited Engagement

OpensJune 2

Box Office 892-2414

Only 200 seats per performance

by Jack Heifner

Studio Theatre

Downstairs at the Alliance

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ALLIANCE THEATRE COMPANYDAVID BISHOP — Producing Director FRED CHAPPELL — Artistic Director

* DAVID COKER, President Board of Sponsors

MRS. JOHN HARDMAN, PresidentAlliance Theatre Guild

Administrative Staff

Administrative Director Victoria Mooney

Director of Public Relations / Advertising

Secretaries ..........................

............... Sandra Johnson

Jill Bradley, Pam Crosier

Box Office Manager

House Manager ....Photographer ........

Artist

Production Staff

.... Chip Murray

........ Steve CucichCharles Rafshoon

Ken Ragan

Production Manager ............................................................................................ Baxter JoyProduction Stage Manager............................................................................... Allen WrightStage Manager................................................................................................ Trey Altemose

Assistant Stage Manager....................................................................................Dickson LaneProduction Designer.................................................................................... Michael StaufferAssociate Designer.............................................................................................Philipp JungCostumer............................................................................................................Barbara Hause

Wardrobe MistressDresser..................

.. Lorraine CranePatricia McMahon

Technical Director ...........................................................................................Erik MagnusonProperties....................................... Jeroy Hannah, Michael StaufferMaster Electrician.....................................................................................Cassandra Henning

Master Carpenter.....................................................................................Stanley Konczynski

Scenic Carpenters....................................................... Randolph Thrower, Lynn Van HorneScenic Technicians............................ Edwin Dixon, Liz Lee, Jeffrey Glave, Lisa Miller

1975 Commonwealth of Puerto Rico

In tonight’s martini the part of gin and vodka will be

played by white rum.

White rum from Puerto Rico will finally play the role its distinctive clarity and smoothness have so well prepared it for.

In fact, white rum has already proven itself in rehearsal. It beat gin and vodka on taste and smoothness

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AtlantaSymphony Orchestra

Robert Show, Music Director and Conductor

Thursday, Friday & Saturday, 8:30 p.m„ May 19, 20, 21, 1977

ROBERT SHAW ConductingASSISTING ARTISTS:

-BETSY-JONESrSoptwto C./IA0L P>/}Y/>£\)ELIZABETH MANNION, Mezzo-sopranoGORDON GREER, TenorJOHN CHEEK, Bass-baritoneATLANTA SYMPHONY ORCHESTRA CHORUS

PROGRAM

VERDI Requiem Mass,In Memory of Manzoni (1874)

I. Requiem et Kyrie (Quartet and Chorus)II. Dies Irae

Dies irae (Chorus)Tuba mirum (Chorus)Mors stupebit (Bass Solo)Liber scriptus (Mezzo-soprano Solo) Quid sum miser (Soprano, Mezzo-soprano,

and Tenor)Rex tremendae (Quartet and Chorus) Recordare (Soprano and Mezzo-soprano) Ingemisco (Tenor Solo) Confutatis (Bass Solo)Lacrymosa (Quartet and Chorus)

III. Offertorium: Domine Jesu Christe (Quartet)IV. Sanctus (Double Chorus)V. Agnus Dei (Soprano, Mezzo-soprano,

and Chorus)VI. Lux aeterna (Mezzo-soprano, Tenor and Bass)

VII. Libera me (Soprano and Chorus)This concert will be broadcast on a delayed basis by Atlanta Public Radio, WABE-FM, 90.1, Tuesday evening at 8:30 p.m.

The use of cameras or recording devices during concerts is strictly prohibited.

PROGRAM NOTES

Messa da RequiemGiuseppe Verdi (1813-1901)

Verdi completed his Requiem Mass in 1873. The first performance took place under his own direction at St. Mark’s Church in Milan on May 22, 1874, the first anniversary of the death of Alessandro Manzoni, in whose memory the work was composed.

The score calls for three flutes and piccolo, two oboes, two clarinets, four bassoons, four horns, four trumpets (with four additional trumpets off-stage), three trombones and bass tuba, timpani, bass drum, chorus with four soloists, and strings.

In a long creative life dedicated to the musical theatre, Giuseppe Verdi composed only one large independent choral work, this Requiem Mass, which belongs to his maturity. He was fifty-five when he wrote his first music for it, and in his sixty-first year when he completed it.

The origins of the Requiem may be traced far back into Verdi’s life. As a young man he learned the bitterness of death with the loss of his wife and two small children in a short period at the beginning of his career. This profound experience remained a reality for him throughout his life, and it was the deaths of two men he admired intensely that finally brought the Requiem into being.

These two were Gioacchino Rossini, who died in 1868, and Alessandro Manzoni, whose death followed in 1873. While Verdi knew the two well, he was not on intimate terms with either. The two, in fact, belonged to an earlier generation and were twenty-odd years older than he was. What was important for him was that he respected Rossini as the greatest living Italian composer and Manzoni as the greatest literary figure of Italy. Verdi himself had had an active part in that political and cultural rebirth known as the Italian Risorgimento, which had taken place in nineteenth century Italy and culminated in the emergence of Italy as a unified nation. Italian culture had grown during the lifetimes of these men to a stature that it had not attained since the Renaissance.

Verdi contributed to the Risorgimento

both through his art and as a practical politician and patriot. As early as 1842, while still in his twenties, he supplied what was to become the real national anthem of the new movement in a chorus of his opera Nabucco. In 1860 Verdi stood for the Italian Parliament. He was elected and remained a member until 1865.

Alessandro Manzoni was another great figure in the Risorgimento. He was gener­ally honored in Italy as its greatest living man of letters and his important novel, / Promessi Sposi, was considered to be perhaps the greatest romantic novel of its time. Manzoni and Rossini in fact were the only two Italians whose fame had spread beyond Italy and brought them high reputations among the great musicians and writers of nineteenth century Europe.

Rossini died in 1868. Verdi was immediately aware of Italy’s great loss. “Rossini’s reputation,” he wrote, “was one of the glories of Italy. When the other one like unto it exists no longer, what will remain to us?” He felt the loss intensely, not only as a personal thing, but for the whole state of musical culture in Italy. It seemed to him very important that some way should be found for Italian musicians to honor the memory of their great compatriot. He suggested to the Italian publishing firm of Ricordi that a group of Italian composers should collaborate on a Requiem to be sung on the first anniversary of Rossini’s death at Bologna, the city principally associated with his musical career. A commission was set up to oversee the preparation of the work, and a general plan of its sections and the keys in which they were to be composed was made. Thirteen composers received assignments and Verdi was to compose the Libera Me (C Minor).

All the composers, save one, completed their scores and delivered them to Ricordi. Various factors very disturbing to Verdi made it impossible for the performance to take place at Bologna on the required date, and filially the whole project was given up.

It is doubtful if Verdi ever would have taken up his score again if it had not been for the shock of the

NOTES (continued)

death of Manzoni, which occurred on May 22, 1873, at Milan. He was overcome with grief—so much so that he was unable to bring himself to attend the official funeral services in which the country mourned its great writer with almost regal pomp. A few days after the funeral, however, he made a secret journey to Milan and visited the grave alone. He quickly took the resolve to complete the Requiem as a memorial to Manzoni. This time he wanted to be sure that nothing would happen to prevent its performance under proper circumstances. He wrote at once to the mayor of Milan offering to compose a Requiem Mass to be performed on the anniversary of Manzoni’s death. He wrote: “It is a heartfelt impulse, or rather necessity, which prompts me to do honor as best I can to that Great One whom I so much admired as a writer and venerated as a man.”

Verdi’s offer was gladly accepted and plans were set on foot at once for a patriotic and artistic commemoration of Manzoni’s death. The composer returned to his country estate of Sant’ Agata and set to work at once on his new project. The work was composed there and at Paris, which he visited later in the year, carrying with him an Italian translation of the traditional Latin text by Angelo Fava and Carlo Borri. He had studied Latin as a boy at Busseto, but he apparently needed the translation to help him with the exact translation of the highly poetical text he was setting.

It is a curious and remarkable fact that Verdi, with his customarily clear and orderly mind, had taken pains to visualize the opening Requiem Aeternam and the Dies Irae of a complete mass before composing his Libera Me for the Messa a Rossini. In this way he was able to “quote” these two movements in the Libera Me as fully integrated episodes. Undertaking his Manzoni Requiem, he found only the Libera Me completed, but the Requiem Aeternam and the Dies Irae fully conceived and ready with some elaboration to take their places in the first two movements.

The composition of the music was by no means his only labor in preparation for the

anniversary commemoration of Manzoni’s death. He took the greatest of pains to insure the best possible performance of his work. The acoustics of the churches at Milan were carefully studied. Every effort was made to insure that the four desired soloists, Stolz, Waldmann, Capponi, and Maini, should be available. A picked orchestra of 100 and a chorus of 120 were carefully rehearsed. Verdi himself conducted.

The first performance was at St. Mark’s Church in Milan. People had come from all over Europe and it was impossible to find places for all those who wished to gain admission. Even such important visitors as the music critics from Paris had to be packed into the organ loft. It became necessary to schedule three more performances at La Scala, the first of which was conducted by Verdi and the other two by Franco Faccio. Francis Toye in his splendid Life of Verdi has given a graphic description of the first of the three extra performances in the opera house.

“Here the audience, unfettered by ecclesiastical surroundings, were able to give full vent to that enthusiasm which has always been the life-blood of musical performances in Italy. On the left side of the stage was the orchestra; on the right, the chorus. The entrance of the soloists, Stolz in a dress of blue silk trimmed with white velvet, Waldmann in unrelieved pink, was received with acclamations that redoubled when Verdi himself appeared. But Verdi, severe as ever, taking his place at the desk in the middle of the stage . . . immediately gave the signal to begin and the applause ceased as if by magic.

“During the performance the enthusiasm grew until the Offertorium was actually encored; so was the Sanctus. But the climax was reached in the Agnus Dei, when the applause changed to roars which, though stifled, even broke out during the actual performance, so irresistible was the inspiration of the music. Needless to say, this, too, was encored; and afterward, amid the wild plaudits of the assembly, a silver crown on an elegant cushion was presented to Verdi.”

This was only the beginning. The Mass was produced again and again throughout

NOTES (continued)

Italy and became so popular that the law had to be invoked to prevent unauthorized performances. In Ferrara an effort had been made to perform the work with a military band instead of an orchestra and at Bologna four pianos had been substituted. Verdi himself went to Paris, London, and Vienna for the first performances in those cities. Its success continued to be remarkable everywhere. In Paris eight performances had to be given instead of the four originally announced, and after the third Verdi was made a Commander of the Legion of Honor. For the performance at the Albert Hall in London there was a chorus of no less than 1200 voices.

While the work has had as great a success in northern countries as first greeted it in Italy, the question has been

raised again and again as to its essentially religious character. Indeed, it has been criticized as being “too secular.” As a matter of fact, Verdi has done in this work what every great composer must do—he has set a great text to the music that he felt appropriate for it. This is what Bach did in his Mass and Passions, what Mozart and Beethoven did in setting the missal text. Here in the text of the Requiem lies the greatest of all dramas, the conflicts between life and death, between sin and forgiveness, between damnation and salvation. With his long experience and mastery in penetrating to the precise meaning of words, Verdi was able to characterize each fragment of this remarkable text and express the mighty implications. He could not have been more sincere.

The original Latin text follows, together with an English translation:

I. REQUIEM AND KYRIE

Requiem aeternam dona eis, Domine: Et lux perpetua luceat eis.Te decet hymnus Deus in Sion,Et tibi reddetur votum in Jerusalem:

Exaudi orationem meam:Ad te omnis caro veniet.Requiem aeternam dona eis, Domine: Et lux perpetua luceat eis.

Quartet and ChorusEternal rest grant unto them, O Lord, And let everlasting light shine upon them Thou, O God, art praised in Zion,And unto Thee shall the vow be performed Hear my prayer: *n JerusaIem:Unto Thee shall all flesh come.Eternal rest grant unto them, O Lord, And let everlasting light shine upon them.

Kyrie

Kyrie eleison. Christe eleison.Kyrie eleison.

Lord, have mercy upon us. Christ, have mercy upon us.Lord, have mercy upon us.

II. DIES IRAEDies IraeChorus

Dies irae, dies ilia,Solvet saeclum in favilla, Teste David cum Sibylla.

Quantus tremor est futurus, Quando Judex est venturus Cuncta stride discussurus!

Day of wrath! O day of mourning! See fulfilled the prophets’ warning, Heaven and earth in ashes burning!

O what fear man’s bosom rendeth, When from heaven the Judge descendeth, On Whose sentence all dependeth!

Tuba Mirum

Chorus

Tuba mirum spargens sonum, Per sepulchra regionum, Coget omnes ante thronum.

Wondrous sound the trumpet flingeth; Through earth’s sepulchers it ringeth; All before the throne it bringeth.

NOTES (continued)

Bass Solo

Mors stupebit et natura. Cum resurget creatura, Judicanti responsura.

Death is struck, and nature quaking, All creation is awaking, To its Judge an answer making.

Liber Scriptus

Mezzo-soprano and Chorus

Liber scriptus proferetur, In quo totum continetur Unde mundus judicetur.

Judex ergo cum sedebit; Quidquid latet, apparebit; Nil inultum remanebit.

Lo! the book, exactly worded, Wherein all hath been recorded: Thence shall judgment be awarded.

When the Judge His seat attaineth, And each hidden deed arraigneth, Nothing unavenged remaineth.

Dies Irae

ChorusDies irae, dies ilia, Solvet saeclum in favilla, Teste David cum Sibylla.

Day of wrath! O day of mourning! See fulfilled the prophets’ warning, Heaven and earth in ashes burning.

Quid Sum Miser

Soprano. Mezzo-soprano and Tenor

Quid sum, miser tunc dicturus? Quern patronum rogaturus. Cum vix justus sit securus?

What shall I, frail man, be pleading? Who for me be interceding. When the just are mercy needing?

Rex Tremendae

Quartet and Chorus

Rex tremendae majestatis! Qui salvandos salvas gratis Salva me, fons pietatis!

King of Majesty tremendous. Who dost free salvation send us. Fount of pity, then befriend us!

Recordare

Soprano and Mezzo-soprano

Recordare, Jesu pie. Quod sum causa tuae viae Ne me perdas ilia die.

Quaerens me, sedisti lassus, Redemisti crucem passus;

Think, good Jesus, my salvationCost Thy wondrous Incarnation;Leave me not to reprobation!

Far and weary, Thou hast sought me, On the cross of suffering bought me.

Tantus labor non sit cassus.

Juste Judex ultionis, Donum fac remissionis Ante diem rationis.

Shall such grace be vainly brought me?

Righteous Judge! for sin’s pollution Grant Thy gift of absolution. Ere the day of retribution.

Ingemisco

Tenor Solo

Ingemisco tamquam reus, Culpa rubet vultus meus;

Guilty, now I pour my moaning, All my shame with anguish owning;

Supplicanti parce. Deus.

Qui Mariam absolvisti,Et latronem exaudisti,Mihi quoque spem dedisti,

Preces meae non sunt dignae, Sed tu bonus fac benigne,Ne perenni cremer igne.

Spare, O God, Thy suppliant groaning!

Thou the sinful woman savedst;Thou the dying thief forgavest;And to me a hope vouchsafest.

Worthless are my prayers and sighing, Yet, good Lord, in grace complying, Rescue me from fires undying!

NOTES (continued)

Inter oves locum praesta, Et ab hoedis me sequestra; Statuens, in parte dextra.

Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

Dies irae, dies ilia,Solvet saeclum in favilla. Teste David cum Sibylla.

Lacrimosa dies ilia!Qua resurget ex favilla Judicandus homo reus.

Huie ergo parce, Deus:Pie Jesu, Domine,Dona eis requiem. Amen

With Thy favoured sheep O place me: Nor among the goats abase me;But to Thy right hand upraise me.

Confutatis

Bass Solo

While the wicked are confounded, Doomed to flames of woe unbounded. Call me with Thy saints surrounded.

Low I kneel, with heart submission, See, like ashes, my contrition; Help me in my last condition.

Dies Irae

Chorus

Day of wrath! O day of mourning! See fulfilled the prophets’ warning! Heaven and earth in ashes burning!

Lacrimosa

Quartet and Chorus

Ah! that day of tears and mourning! From the dust of earth returning Man for judgment must prepare him;

Spare, O God in mercy spare him! Lord, all pitying, Jesus blestGrant them Thine eternal rest. Amen.

III. OFFERTORIUMQuartet

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorium de poenis inferni, et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum; sed signifer sanctus Michael, repraesentet eas in lucem sanctam;

Quam olim Abrahae promisisti, et semini eius.

Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie memoriam facimus; fac eas, Domine, de morte transire ad vitam;

Libera animas omnium fidelium defunctorium de poenis inferni, faceas de morte transire ad vitam.

O Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the lowest pit. Deliver them from the mouth of the lion, that hell may not swallow them up, that they fall not into darkness; but let Saint Michael the Archangel lead them to the sacred realms of light;

As Thou didst promise to Abraham and his seed for ever.

We offer to Thee, O Lord, sacrifices of praise; do Thou accept them for those souls whom we this day commemorate; make them, O Lord, to pass from death to life;

As Thou didst promise to Abraham and his seed for ever.

Deliver the souls of all the faithful departed from the pains of hell; make them, O Lord, to pass from death to life.

IV. SANCTUS AND BENEDICTUS

Sanctus, Sanctus, Sanctus,Dominus Deus Sabaoth,Plenis sunt coeli et terra gloria tua.

Double Chorus

Holy. Holy, Holy.Lord God of Sabaoth,Heaven and earth are full of Thy glory.

NOTES (continued)

Hosanna in excelsis. Hosanna in the highest.Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of theHosanna in excelsis. Lord.

Hosanna in the highest.

V. AGNUS DEISoprano, Mezzo-soprano, and Chorus

Agnus Dei qui tollis peccata mundi: dona eis O Lamb of God, that takest away the sins of therequiem. world, grant them rest.

Agnus Dei qui tollis peccata mundi: dona eis O Lamb of God, that takest away the sins of the requiem sempiternam. world, grant them eternal rest.

VI. LUX AETERNAMezzo-soprano, Tenor and Bass

Lux aeterna luceat eis, Domine, Let eternal light shine upon them, O Lord,

GUEST ARTISTS

BETTY JONESSoprano Betty Jones graduated from Sarah Lawrence College where she majored in art and studied voice at the Mannes College of Music. She received a grant from the Metro­politan Opera Associa­

tion and has sung with the New York City Opera, San Francisco Opera, Seattle Opera, Chicago Lyric Opera, the Mexico City Opera, the Opera Company of Boston, Washington Opera and Opera/South.

Mrs. Jones has been soloist with the symphony orchestras of Chicago, St. Louis, Jacksonville, Buffalo, Milwaukee, Seattle, etc.; and she has performed with the Boston Pops and Arthur Fiedler.

In 1976 she opened both the Mexico City Opera and Denver Opera seasons doing Amelia in Ballo and Aida. She also sang Eva in Meistersinger, the Countess in Marriage of Figaro, Senta in Flying Dutchman at the New York City Opera and Aida with the Seattle Opera.

During the 1977 season she did her first Leonora in Fidelio with Opera/South.

Mrs. Jones is a resident of New York and a mother of two children.

ELIZABETH MANNIONBorn in Seattle,

Washington, Elizabeth Mannion graduated from that city’s noted Cornish School of Music. She received a Bachelor of Arts degree from the University of Washington, where she

also taught voice, and had her own radio program. Having studied in Cologne, Germany, on a Fulbright Scholarship, sung at the Bonn Opera, and toured in Europe, she achieved quick success in New York, joining the NBC Television Opera Company soon after her arrival.

Miss Mannion was first prize winner in National Federation of Music Clubs 1963 Young Artists Auditions. She also received awards that year from the National Arts Club, the American Opera Auditions, and the Sullivan Foundation.

Before joining the staff at the Indiana University School of Music, where she is currently a professor of voice, she taught at the University of Michigan and at Bowling Green University, Ohio.

Many of her greatest successes have been in opera, but she has also performed as a guest soloist with such major

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ARTISTS (continued)

orchestras as the NBC, Seattle, Cincinnati, Indianapolis, and Minnesota symphonies.

In February 1973 she sang the Verdi Requiem with Robert Shaw conducting

3 the Minnesota Orchestra and the University of Minnesota Chorus. She also appeared with Robert Shaw and the Atlanta Symphony in the 1973-74

. performance of Berlioz’s Romeo et Juiliette, and the 1974-75 performance of Schoenberg’s Gurre-Lieder.

GORDON GREERGordon Greer is a lyric/Italian tenor cur­rently engaged by the Deutsche Oper am Rhein, Duesseldorf- Duisberg, West Ger­many. In his first European season, Greer performed with

the Radio France Orchestra (Paris), the* Staatstheater Karlsruhe, as well as with the

Deutsche Oper am Rhein. He opened the 1976-77 season of the Deutsche Oper am Rhein as Alfredo in the new Duesseldorf

' production of La Traviata. He also sang the Verdi Requiem in Bremen and the Bruckner Te Deum with the Duesseldorf Symphony Orchestra in the 1976-77

* season.A native of the United States, Greer has

sung in America with various organiza- a tions including the Chautauqua Opera

Association, San Diego Opera, Kentucky Opera Association, Anchorage Civic Opera, and the symphony orchestras of

t Atlanta, Indianapolis, Roanoke (Virginia), etc.

In 1974 Greer won second prize in the Twenty-third International Music

* Competition, Munich (West Germany), and in 1973 he was awarded third prize in the Third International Madame Butterfly Competition, Tokyo (Japan).

* Greer studied at the Indiana University School of Music and holds a Bachelor of Arts degree in English from the University of Alaska. He resides in Duesseldorf with

* his wife, soprano Jean Reese, and their daughter Rebecca.

This is Greer’s third appearance with the Atlanta Symphony. He has sung with Maestro Shaw in performances of the Beethoven Missa Solemnis at Indiana University and at the University of Illinois.

JOHN CHEEKA native of North

Carolina, bass-baritone John Cheek received his Bachelor of Music degree at the North Carolina School of Arts. He subsequently earned the Diploma of Merit at the Accademia

Musicale Chigiana, under the tutelage of Gino Bechi.

In August of 1975, Cheek completed his four years of service in the U.S. Army, where he was featured soloist with the U.S. Army Chorus. Since his release from the Army he has been engaged as soloist with many of this country’s most important symphonies and operatic organizations. These engangements have included the Buffalo Philharmonic in Cosi fan tutte, Messiah with the National Symphony, Brahms’s Requiem in Carnegie Hall with the Collegiate Chorale, Basilio in the Michigan Opera production of Barber of Seville, and Carlisle Floyd’s Bilby’s Doll with the Omaha Opera.

In the summer of 1976, Cheek was engaged with the Wolf Trap Festival for three separate appearances including a Wagner concert of Walkuere excerpts, Mahler’s Eighth Symphony, and Theseus in Britten’s A Midsummer Night's Dream.

During the 1976-77 season, Cheek was engaged for a series of Messiah perform­ances with the New Jersey Symphony, Haydn’s Seasons with the Charlotte Oratorio Society, the Verdi Requiem with the Bangor Symphony, Bach and Purcell works with the Winter Park Bach Festival, and the Minnesota Orchestra’s St. John Passion. He also has had numerous opera engagements during this season.

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offering a fine way to spend your summer. No matter what your pleasure is, whether opera, ballet, piano, classical or contemporary music, or just good ol’ humor, the Atlanta Symphony is where to spend your days for summer pleasure and entertainment.

Up-Date on the Individual Gifts Campaign

In order to keep everyone informed as the success of this year’s 1976-77 Individual Gifts Campaign, here is a report on the latest totals: $92,240 of the $ 115,000 goal has been received or pledged. This amount represents 80% of the anticipated goal. New donations amounted to $24,620, and a total of 3,150 donors contributed.

These figures do not represent the final funds collected for the 1976-77 Individual Gifts Campaign, but only those received to date. Contributions are still being received.

Campaign chairman Mrs. William Izlai expressed her deepest thanks to all those who contributed and to all “the devoted workers who have done an absolutely phenomenal job for this year’s campaign.”

Summer Reminders for Your 1977-78 Calendar

Don’t forget to purchase your season tickets for next year as soon as possible. A variety of subscription series are available and by acting now, one can save up to 41% and receive up to 10 free concerts.

To receive a brochure outlining the details of next year’s concerts, or for information on the various series available, phone the season ticket director, Ms. Dee-Dee Walters, at 892-3600, ext 253.

ATLANTA CHILDREN'S THEATRE

Atlanta Art Community Saddened by Loss of ACT's Director

Charles L. Doughty, director of the Atlanta Children’s Theatre since its inception in 1968 and an internationally respected master of children’s theatre, suffered a fatal heart attack, Wednesday,

ATLANTA SYMPHONY ORCHESTRA CHORUSROBERT SHAW, Conductor

MARILYN WALTHALL, Accompanist

Soprano I

Cheryl Bray Jeanne' Brown Penelope Byrns Elizabeth Cochran Elizabeth Colson Darlene Conrad Donna Cowart Sandra Crawford Barbara Delon Rosemary Dixon Peggy Dutton Leanne Fjetland Nola Frink Gloria Garrett Melanie Genovese Jo Grodzicki Sara Hall Elizabeth Imig Maryella Jackson Rebekah Kinsey Margaret Liu Patricia Perry Phoebe Pomeroy Kelly Reece Melissa Russell

Soprano II

Ann Askew Mary Kay Burnett Sandra Burroughs Emily Clark Elizabeth Dixon Harriett Hardy Elizabeth Henry Linda Hoffman LuAnn Holden Betty Jo Hollon Carol Lineberger Jean Lower Marilyn McLeod June Martin Carol Myford Elizabeth Nesmith Deborah Newman Deborah Rieck Althea Robinson Phoebe Snow Betsy Sterner Dietre Sutton Carolyn Thomas Priscilla Thompson-

MartinKay Tucker Karen Williams Derin Wilsden Jane Youngquist

Alto I

Marja Barron Rita Bissell Carole Conklin Bette Culver Dorothy Davis Becky Eppinger Judith Flint Donna Foster Kathryn Fraser Beverly Greene Anita Guffin Frances Harrold Janet Hubler JoAnn Hunsinger Bonnie Kendrick Ai-Lien Li Wanda Lynn Eda Mathews Genevieve Miller Martha Osborne Louise Otto Alexis Parker Lynn Prickett Regina Ray Pauline Shields Suzanne Shull Edith Skinner Miyoko Tsukamoto Jacquelyn Turner

Alto II

Carol Brown Jane Carry Alice Cordes Joyce Culpepper Jeanette Ferkel Mary HallRusty Harris Sylvia Kaier Florence Kopleff Susan McCarthy Joan Maki Kathleen New Frances Orowski Linda Rainey Rise Ray Kathleen Reece Elizabeth Rice Carol Schwartz June Stewart Mary Tewell Hiroko Yamashita

Tenor I

John Beasley John Beebe Robert Brendsel Stephen Coffey Hugh Deen Billy Densmore Hugh deSaram Paul Eichner Joseph Gegan Thomas Hammett Robert Mathis Charles Redmon Doyle Register Robert Richmond Steven Rudy Dennis Samchok Amos Smith Robert Snead George Starke Edward Van Horn James Walters

Tenor IIRobert Aaron Douglas Carlyle John Clovis Charles Cottingham Karl DayMike Donehoo Clayton Farnham Richard Felner Ralph Gaston Mark Gresham Nicholas Jones Darrell Kinsey Rollin Mallernee Ronald Markette Tom Roberts Fred Schlosser James Sikes Bobby Sims Larry Walker Derek Wilsden Ivan Winslett

Bass IJames Bohart Buron Buffkin Douglas Bunker Charles Claiborne Rick Copeland Philip Cordes Wilkes Davis Richard Flinn Stephen Folmar Jerry Goulding Robert Johns Hampton Kicklighter Robert Lower Wallace McLeod Thomas Matthews Roland Mouchette James Robinson David Shively Kendric Smith George Stansbury Mark Thomas Thomas Underwood Donald Vann Edward Watkins Ralph Webb Kenneth Williams

Bass IIWayne Baughman James Blackwell William Boggs John Cooledge John Currie Alan Gould William Gunter Charles Hamilton Delbert Hart Kenneth Headley Dudley Hinds Robert Johnson Charles Moon Robert Otto Ernest Plunkett Robert Pulliam Henry Rhodes David Ross Ralph Roughton Mark Swanson Cornelius Watts Ivan Woods

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Charles L. Doughty

April 6. He was 48 years old.Under his guidance the Atlanta

Children’s Theatre has entertained more than one million youngsters at the Atlanta Memorial Arts Center and on tour through the state of Georgia. The theatre program has received wide acclaim for its spectacular productions of classic and contemporary drama, and for its innovative educational programs.

A graduate of the University of Denver, Doughty has had a varied career as an actor, writer, producer and director, but his special gift was in staging plays for young audiences. He began that career as executive director of the Portland, Maine, Children’s Theatre. Later he served for eight years as director of the Nashville Children’s Theatre before coming to Atlanta.

Doughty has served as an advisor and consultant for theatre projects across the nation and has served on many panels, regarding all phases of theatre. In 1965 he was a member of the American delegation for the International Theatre Conference held in Paris, France.

In 1972 the Atlanta Children’s Theatre was named one of five outstanding theatre groups performing for young people in the United States and represented this country in Albany, N.Y., at the International Congress for Children and Young People attended by representatives of 34 countries.

Doughty is survived by two children, daughter Cris and son Bix Doughty, the company manager of A.C.T. Memorial contributions may be made to the Atlanta Children’s Theatre or the American Diabetes Foundation.

Successful Atlanta Premiere

Noah and the Great Auk. the original play written by A.C.T. company manager Bix Doughty, enjoyed a successful Atlanta premiere and currently is on tour around Georgia.

The subject of endangered species, presented in a dramatic production geared for a young audience, sparked interest in several environmentalist and conser­vation groups. The Chief of Public Affairs for the U.S. Fish and Wildlife Service taped the show to be sent to Washington, D.C. for possible use as an educational tool.

Three high school apprentices are among the crew members who help get Noah and the Great Auk on the road. Duncan Moran of Paideia School, Carlton Horton, North Fulton High School, and Donald Griffin of Washington High School are working with the Atlanta Children’s Theatre as part of the Atlanta Public School’s Exploration Quarter.

The three are on leave from their schools but earn a quarter’s elective credits while learning theatre first hand. While the show was in the Alliance Theatre the apprentices learned how to run the light board, the how-to’s of set design and construction, and how to set up and strike the set.

During the road tour to Griffin, Jackson, Cobb County Civic Center, Newman, and Cartersville the apprentices face long hours, after reporting at 6 a.m. for travel to a town to set up the show. They learn the importance of constructing a set which can break down into small units for travel, how to re-block scenes to fit smaller stage areas in school auditoriums or cafeterias and wardrobe maintenance.

Following the tour the apprentices will receive more formal instruction in classes taught by the A.C.T. professional staff. The schedule includes stage voice, stage conventions, set costume and lighting design, make-up and mime.

Students in grades 10 through 12 are eligible for this apprentice program. For information on application procedure, call 892-7607.

HIGH MUSEUM OF ARTArt World Speaker Series Lecture by Lawrence Halprin, May 9

Lawrence Halprin, the dynamic and widely influential landscape architect, environmental designer, town planner, and author, will be the next guest in the Members Guild Art World Speaker Series. Halprin’s fame rests upon an astonishing range of achievements. He has repeatedly helped strike fresh, convincing, and interesting bargains between groups of people and their shared environments. He has done pioneer work in ecological approaches to regional and town planning (Sea Ranch, California), in recycling old

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nn______________buildings and urban spaces (Ghirardelli Square, San Francisco), in redesigning downtown for pedestrians (Nicollet Mall, Minneapolis), in humanizing city cores (the beautiful fountain and plaza projects in Portland, Oregon), and in urban park design (Manhattan Square Park in Rochester, New York). His most recently completed project is the Seattle Freeway Park. Halprin is presently at work on the Franklin Delano Roosevelt Memorial in Washington, commissioned by Congress. In addition, he has written a number of seminal books, including Cities, RSVP Cycles: Creative Processes in the Human Environment, New York, New York, and Freeways. The lecture, free and open to the public, will begin at 8 p.m. in the Alliance Theatre. Seating may be limited. The lecture will be followed by a Members-only reception.

Ferdinand Warren Early Works Exhibit At High Museum May 28

An artist who has been active in Georgia for nearly three decades, Ferdinand Warren lived in New York for more than twenty years. With solid training and a particularly sensitive response to urban landscape, Warren produced a series of powerful and expressive paintings of the New York scene related to the sympathetic observations by the artists of the Ash Can School and their followers. The exhibition includes a number of the first examples from Warren’s New York years during a time when the artist won numerous honors and sold a number of works to collections including the Metropolitan Museum of Art. The exhibition will be on view through June 26 in the New Gallery, third floor.

Visual ArtsSymposium—May 12

A symposium dealing with the state of the visual arts today will be held in the Hill Auditorium on May 12, beginning at 8 p.m. The event, a question and answer session with a panel of five, is being presented under the auspices of the Arts Festival of Atlanta, The High Museum of Art, and Contemporary Art Southeast magazine. Panel members will include the

three judges for the Arts Festival ’77 in Piedmont Park; Thomas Armstrong, III, Director of the Whitney Museum of American Art; Betty Pierson Parsons, Director of the Betty Parsons Art Gallery in New York City; and Paul Smith, Director of the Museum of Contemporary Crafts in New York City. Gudmund Vigtel, Director of The High Museum of Art, and David Heath of the Heath Gallery in Atlanta will also be on the panel. The symposium is free and open to the public.

Art Experiences for Children Offered at the Museum and Piedmont Park

Beginning June 13 THE CITY exhibi­tion will be open from 12:00 noon to 4:45 p.m. seven days a week. The High Museum will also offer art awareness activities for preschool and elementary age children this summer at PLAYSCAPES in Piedmont Park. For information call the Department of Children’s Education, 892-3600, Ext. 228.

Award-winning CITY exhibition at museum.

ALLIANCE THEATRE

Big Spring Discount on Season TicketsFor 1977-78 Season—Subscribe by May 31And Save 33'/3°/o

You have only a short time left to take advantage of our Spring discount on

DO YOU HAVE ASCHOLAR-ATHLETE-ARTIST

or an average Joe or Jane? If so, we have a program for you at

A $1,700 000 building program in progress to be completed in the school year 1977

$1,000,000 Fine Arts Center — Middle School New Library Addition — 7 New Tennis Courts

New Administration BuildingFor information on all schools and programs write or call:

Admissions Director, (404) 761-8881 P. O. Box 87190-K COLLEGE PARK, GEORGIA 30337

Woodward Academy Administers a Non-Discriminatory Admissions Policy

For Boys and Girls Boarders and Day Students

season tickets for the brand new 1977-78 season.

Here are some of the bonuses for those who subscribe before May 31:

A Tremendous Savings and the Best Seats in the House. You save up to 26.40 on a pair of season tickets by subscribing NOW. You get two plays free, or 331 /3% off the regular price. Plus, by subscribing early, you have priority on the best seats.

A Christmas Play For the Whole Family. Our 1977-78 season will begin in November, and our second play will be Charles Dickens’ beloved story of the holiday spirit, A Christmas Carol. Season ticket holders will receive first chance to order additional single tickets for their families and friends before tickets go on sale to the public.

A New Play. Each season we produce one new play which we think has the promise of becoming one of the outstanding plays of our time. Alliance Theatre audiences have been among the first in the country to see The Hot L Baltimore. The Last Meeting of the Knights of The White Magnolia, and this year, the greatest success in our history, Come Back to the 5 and Dime Jimmy Dean. Jimmy Dean. We are already reading scripts for next season. You may see the production of a major playwright of the future here on the Alliance stage.

Four More Outstanding Productions. Among plays now being considered for production in 1977-78 are Streamers, David Rabe’s scorchingly honest and sensitive probe of young Americans in uniform; Private Lives, Noel Coward’s sophisticated comedy about two people unable to live together yet equally unable to live apart; For Colored Girls Who have Considered Suicide When The Rainbow Is Enuf, Ntozake Shange’s touchingly raw examination of the sorrow, the joys, and the determination of contemporary black women; Look Homeward, Angel, Ketti Frings’ hauntingly beautiful treatment of Thomas Wolfe’s novel about the artist growing up in North Carolina; Julius Caesar, by William Shakespeare; Indians, Arthur Kopit’s powerful play about the brutal taming of our native land; Are You Now Or Have You Ever Been? Eric Bentley’s accurately documented piece of

theatre based on the actual files of the McCarthy Hearings; The Good Doctor, Neil Simon/Anton Chekov—the perfect match. A celebration of the highs and lows of that most joyful experience—life.

Remember by subscribing now, you get two plays free, priority seating, and six unforgettable evenings at the Alliance Theatre. Prices go up substantially after May 31—So subscribe TODAY.

ATLANTA COLLEGE OF ART

Tara AuctionTo Benefit College

The fifth annual Tara Auction will be telecast live from the Georgia World Congress Center on Thursday, May 26 and Friday, May 27. WATL/TV Channel 36 will pre-empt all regular programming from 4:00 until 10:00 to cover this exciting event which benefits the Atlanta College of Art, a founding member of the Atlanta Arts Alliance. In a cooperative effort, WXIA/TV Channel 11 will simultaneous­ly telecast the auction at selected times during both evenings.

Tara Auction offers television viewers twelve hours of spirited bidding on hundreds of donated gifts, from luxury items to dinners for two, with items for every interest and budget. It’s an opportunity to bid on things you need, or have always wanted, and also support the Atlanta College of Art, a fully accredited four-year institution making a continuing

From left to right: Mrs. John C. Rieser, president of the Associates of the college, Mrs. Daniel Parker, chairman of the 1977 Tara Auction, Mr. Michael P. Rich, Acquisitions chairman and Mrs. Hugh M. Dorsey, Jr., president of the Board of Sponsors of the Atlanta College of Art.

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* More than 600 patrons make the 1977 Tara Auction possible through their generous donation of goods, services and monetary consideration. The 1977 Tara

* Auction is chaired by Mrs. Daniel Parker. Aiding her are Mr. Michael Rich, chairman of the Acquisitions Committee; Mrs. John C. Rieser, president of the Associates of the Atlanta College of Art; Mrs. Hugh M. Dorsey, Jr., president of the Board of Sponsors of the College and Mr.

# William J. Voos, president of the College.

THEATRE PROJECT/ATLANTA

Three by Tennessee• Opens May 23 at the

Studio Theatre

Under the artistic direction of Ted• Martin, Theatre Projects/ Atlanta presents

three of Tennessee Williams’s fine one-act plays: The Lady of Larkspur Lotion, about two characters resolutely living in a fantasy

• world too often shattered by a hard and realistic landlady; The Last of My Solid Gold Watches with an old-time Mississippi

delta shoe salesman recounting his days of glory; Talk to Me Like the Rain and Let Me Listen revealing a mis-matched young couple only half-wanting to break out of

Ted Martin

the life their weaknesses have trapped them into. Scenic design is by the Luis Maza Studios. Performed at the Studio Theatre, the production runs each evening at 8:30 from May 23 through May 28. This production was made possible, in part, by a grant from the Bureau of Cultural and International Affairs, City of Atlanta, Maynard Jackson, mayor. All seats are free on Monday, May 23. Seats for Tuesday through Saturday may be purchased at the door or the Alliance box­office for $3.50 each.

Open a Presto today! _

Illi MAY1977

MEMORIAL ARTS CENTER

ACA: Atlanta College of Art

ACT: Atlanta Children's Theatre

AT: Alliance Theatre ATC: Alliance Theatre

CompanyASO: Atlanta Symphony

OrchestraGAL: Galleria

HMA: High Museum of Art

MR: Member’s RoomPR: Paneled RoomRH: Rehearsal HallSH: Symphony HallST: Studio TheatreWHA Walter Hill

Auditorium

For ticket information, call the box office at 892-2414. For other information, call 892-3600.

Concerts

THURSDAY, FRIDAY, & SATURDAYAPRIL 28, 29, & 30

Atlanta Symphony Orchestra, 8:30, SH. Robert Shaw, conducting; Horacio Gutierrez, pianist. Glinka: Overture to Russian and Ludmilla; Rachmaninoff: Piano Concerto No. 2; Tchaikov­sky: Symphony No. 4._________________________ sunpayTmay 1 Atlanta Symphony Orchestra, 2:30, SH. Same program.______________________ ___________

FRIDAY? MAY 6Bands of Forest Park, 8:00, SH.

saturday.may 7 _________Weather Report in Concert, 8:00, SH.__________

sundayTmay 8Atlanta Symphony Youth Orchestra. 8:30, SH. Michael Palmer, conducting; Glinka: Russian and Ludmilla; Prokofiev: Lieutenant Kije; Tchaikovsky: Symphony No. 2 in C minor; Concerti and soloists: to be announced.

THURSDAY, FRIDAY. 8 SATURDAY MAY 12,, 13, & 14 ___

Atlanta Symphony Orchestra, 8:30, SH. Robert Shaw, conducting; James Tocco, pianist. Strauss: Metamorphosen; Strauss: Burleske for Piano and Orchestra; Hindemith: The Four Temperaments; Hindemith: Symphonic Metamorphosis on Weber Themes.

THURSDAY, FRIDAY, & SATURDAY MAY 19, 20, & 21______

Atlanta Symphony Orchestra, ASO Chorus, 8:30, SH. Robert Shaw, conducting; Betty Jones, soprano; Elizabeth Mannion, mezzo-soprano; Gordon Greer, tenor; John Cheek, bass-baritone. Verdi: Requiem Mass.

Exhibitions

High Museum hours: 10:00 to 5:00 Mon. through Sat., 12:00 to 5:00 Sun., closed evenings. Art Shop hours: open during regular High Museum hours. THE CITY and Jr. Art Shop hours: 3:00 to 4:45 Mon. through Fri. 12:00 to 4:45 Sat. and Sun. Donation: 250 Children, 50<t Adults, Museum Members free. THE CITY is reserved at other hours during the week for scheduled school tours by prior arrangement only.Gallery 413: open weekdays from 10:00 am to 5:00 p.m. The Gallery is located in the Atlanta College of Art, Level "A."The City, HMA, Junior Gallery. Discover the city as a place made up of color, line, space, shapes, and texture—the elements of design. Award­winning exhibition designed by Heery & Heery Architects and Engineers. Admission fee to non­Members.The William and Robert Arnett Collection of Antique Chinese Jades HMA McBurney Galleries, third floor. Continuing on extended loan.European Ceramics Galleries, HMA, McBurney Gallery, third floor. A special installation of more than 350 pieces from the collections of Mr. and Mrs. Ryland Scott and their families, Mr. and Mrs. Emory L. Cocke, and the Museum’s permanent collection. Sponsors: Mr. and Mrs. Lindsey Hopkins, Jr. and the Atlanta Arts Alliance. Designer: Roy P. Frangiamore, A.I.A. Ceramics Consultant: John Austin, Colonial Williamsburg. Photography: Kathryn Eros Green.

« THURSDAY & FRIDAYMAY 26 & 27

Atlanta College of Art Senior Show, Galleria.Exhibition of work by graduating seniors who will receive their Bachelor of Fine Arts Degree May 6

it in the Memorial Arts Center. The exhibition isopen to the public at all time the Center is open.

WEDNESDAY, MAY 18

Films by artists, 8:00, WHA. Free.SUNDAY. MAY 22

SIFC, 3:00, WHA. Lillian Schwartz will show and discuss her films. Free.

SpecialLectures

THURSDAY & FRIDAYMAY 26 & 27

Tara Auction to Benefit College, WATL/TV, Channel 36 will telecast Auction live 4:00 p.m - 10:00 p.m. WXIA/TV, Channel 11 will simulcast selected periods during both evenings. Join the bidding by phone!

MONDAY, MAY 9Art World Speaker Series Lecture. 8:00 p.m., AT. Lawrecce Halprin, guest speaker, Free.

FilmsTheatre

SUNDAY, MAY1Films on Alexander Calder, 3:00, HMA, WHA Free.

______ THURSDAY, VAY~5~Shame, 7:00 & 9:00, WHA. HMA Bergman Film Series. $1 Museum Members with cards, $1.50 Students with ID's, $2 General.

~frFday7may~6 ~The Passion of Anna, 7:00 & 9:00, WHA. HMA Bergman Film Series. $1 Museum Members with cards, $1.50 Students with ID’s, $2, General.____________ SATURDAY, MAY 7____________ Cries and Whispers, 7:00 & 9:00, WHA. HMA Bergman Film Series. $1 Museum Members with cards, $1.50 Students with ID’s, $2 General.

3 TUESDAY. MAY 10Jim Herbert Presentation, 8:00, WHA. Jim Herbert will show and discuss his work. Free.

SUNDAY, MAY15Nureyev's Don Quixote. 3:00 p.m., SH. BHI Herring’s World Films & Dance Atlanta.

THURSDAY, FRIDAY, & SATURDAYMAY 5, 6, & 7

Henry IV, Part I, 8:00, AT. Alliance Theatre production. A King, a prince, and a buffoon-while Mary Falstaff carouses with Mistress Quickly, galant young Prince Hal saves England from the usurper’s sword.

THURSDAY, FRIDAY, & SATURDAYMAY 12, 13, & 14___ _________

Henry IV, Part I, 8:00, AT.____________________THURSDAY, FRIDAY, & SATURDAY

MAY 19, 20, & 21___ __Who's Afraid of Virginia Wolfe?, 8:00, AT. Alliance Theatre production. As the drinks flow faster, George, Martha, Nick and Honey lose their inhibitions, exposing the secret sadness beneath their outrageous, edgy banter.____________________________SUNDAY, MAY 22_____________ Who’s Afraid of Virginia Wolfe?, 2:30, ATThree by Tennessee, 8:30 ST. Theatre Projects Atlanta, Inc. production. Three one-act plays by Tennessee Williams, Funny, sad and bittersweet. Vintage Williams with characters as only he can draw them. Ted Martin, director.

TUESDAY, WEDNESDAY, THURSDAY, FRIDAY, & SATURDAYMAY 24, 25, 26, 27, & 28

Who's Afraid of Virginia Wolfe? 8:00. AT.Three by Tennessee, 8:30, ST.______________________ SUNDAY, MAY 29_______ Who’s Afraid of Virginia Wolfe?, 2:30, AT ___

TUESDAY, WEDNESDAY, THURSDAY, FRIDAY, & SATURDAY

MAY 30, JUNE 1, 2, 3, & 4Who's Afraid of Virginia Wolfe?, 8:00, AT.

THURSDAY, JUNE 2 thru SUNDAY, JUNE 19

Vanities, Tues.-Thurs. 8:30, Fri. & Sat. 7:00 & 10:00, Sun 8:30, ST. Vanities has been leaving audienes in stitches and tears in New York, Los Angeles and Chicago. Alliance Theatre production.

Children

THE CITY Exhibition—for Children and Adults— in the High Museum of Art. Open to the public Mon.-Fri., 3:00-4:45; Sat. & Sun., 12:00-4:45 p.m.; 25C Children, 500 Adults, Free HMA Members.

Illi Atlanta ArtsMonthly magazine of the

Atlanta Memorial Arts Center 1280 Peachtree Street, N.E. Atlanta Georgia 30309

MAY, 1977 VOL. XII ISSUE 9

THE ATLANTA ARTS ALLIANCE Charles R. YatesPresidentJames K. GrlffethControllerWilliam ShippenFacilities Manager

ATLANTA SYMPHONY ORCHESTRA Frank RatkaGeneral ManagerRichard W. ThompsonAssistant Manager

THE HIGH MUSEUM OF ART Gudmund VlgtelDirectorMs. Paula HancockCurator of Education

THE ATLANTA COLLEGE OF ART William VoosPresidentAnthony GrecoAcademic DeanMrs. Guthrie FosterDean of Students

THE ALLIANCE THEATRE COMPANY David BishopProducing DirectorFred ChappellArtistic Director

THE ATLANTA CHILDREN S THEATRE Charles L. DoughtyDirector

PARKING FACILITIES: Center Parking garage with covered parking directly adjacent to Center, entrances on Peachtree and Lombardy Way; also commercial parking across from Peachtree entrance to Center, and north of First Presbyterian Church.

BOX OFFICE: (404) 892-2414. Hours: Mon. through Fri. 10-6 pm (or until curtain); Sat. noon-4:00 (or until curtain); Sun. noon-3:00. The MemorialArts Center Box Office handles tickets for the Atlanta Symphony, Atlanta Children’s Theatre, Alliance Theatre Company, Dance Atlanta, Theatre Atlanta Off Peachtree; Vagabond Marionettes; Travelogue Film Series; also on night of performance, all tickets for any event scheduled in the Arts Center.TOURS: For information on regular weekday tours or group tour arrangements, call (404) 892-3600.

RESTROOMS: Located off the Galleria Balcony across from both Symphony Hall and the Alliance Theatre. Also located adjacent to the balcony lobbies inside Symphony Hall.

OUR COVER The cover reflects the offerings of the Atlanta Symphony summer season, which will consist of the MOSTLY MUSIC series in Symphony Hall and the POPS concerts in Chastain Park—a summer of singers, dancers, concert pianists, conductors, and popular artists.

ATLANTA ARTS Magazine is published for the Atlanta Memorial Arts Center, by The Conger Printing Co., Inc. in Atlanta, Georgia. All rights to Atlanta Arts are reserved by the Atlanta Memorial Arts Center. Reproduction from the magazine in whole or in part without permission is prohibited. Editorial Office, 1619 Chattahoochee Ave., N.W., Atlanta 30318. Phone (404) 352-1910.

L. W. CONGER, JR.PublisherCOCO CONGERAdvertising Director

SANDRA HAISTENEditorERNEST DeVANEArt Director

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