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6/19-20/75 - New York, NY (1) (Martha Graham Dance Company)
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6/19-20/75 - New York, NY (1) (Martha Graham Dance Company)
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Betty Ford White House Papers
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The original documents are located in Box 10, folder "6/19 - 20/75 New York, NY (1)
(Martha Graham Dance Company)" of the Betty Ford White House Papers, 1973-1977 at
the Gerald R. Ford Presidential Library.
Copyright Notice
The copyright law of the United States (Title 17, United States Code) governs the making of
photocopies or other reproductions of copyrighted material. Betty Ford donated to the United States
of America her copyrights in all of her unpublished writings in National Archives collections.
Works prepared by U.S. Government employees as part of their official duties are in the public
domain. The copyrights to materials written by other individuals or organizations are presumed to
remain with them. If you think any of the information displayed in the PDF is subject to a valid
copyright claim, please contact the Gerald R. Ford Presidential Library.
file
THE WHITE HOUSE
WASHINGTON
June 13, 1975
MEMORANDUM FOR:
MRS. FORD
VIA:
RED CAVANE
FROM:
PETER SORUM
PH
SUBJECT:
YOUR TRIP TO NEW YORK CITY
June 19-20, 1975
Attached at TAB A is the proposed schedule for your trip
to New York City.
APPROVE
DISAPPROVE
BACKGROUND
You are attending the Martha Graham Dance Company's 50th
Anniversary Celebration at the Uris Theatre in New York which
will feature Rudolf Nureyev, Margot Fonteyn, and the Martha
Graham Dance Company. Following the performance, you
will join Martha Graham, the performers, and Martha's guests
for an informal reception backstage. Due to the late hour of
the program's conclusion, you will remain overnight and return
on Friday, June 20th.
FORD R. GERALD LIBRARY
TAB
A
FID R. FORD LIB
June 13, 1975
3:00 pm
PROPOSED SCHEDULE
MRS. FORD'S VISIT TO
NEW YORK CITY
Thursday and Friday
June 19-20, 1975
12:30 pm
Mrs. Ford boards motorcade on South Grounds.
MOTORCADE DEPARTS South Grounds en route
Andrews AFB.
[Driving time: 25 minutes]
12:55 pm
MOTORCADE ARRIVES Andrews AFB.
1:00 pm
Mrs. Ford boards Jet Star.
JET STAR DEPARTS Andrews AFB en route
LaGuardia Airport, New York City.
GENAL R. FORD LIB
[Flying time: 50 minutes]
[No time change]
1:50 pm
JET STAR ARRIVES LaGuardia Airport, New York
City (Marine Air Terminal).
1:55 pm
Mrs. Ford boards motorcade.
MOTORCADE DEPARTS LaGuardia Airport en route
Waldorf Astoria Hotel.
[Driving time: 30 minutes]
2:25 pm
MOTORCADE ARRIVES Waldorf Astoria Hotel.
Mrs. Ford will be met by:
Hotel Representative
Mrs. Ford proceeds to Presidential Suite.
-2-
2:30 pm
Mrs. Ford arrives Presidential Suite.
PERSONAL/STAFF TIME: 5 hours, 10 minutes
3:00 pm
Constantino Christie arrives Presidential Suite
for fitting.
3:30 pm
Halston arrives Presidential suite for fitting.
7:40 pm
Mrs. Ford departs Presidential Suite en route
motorcade for boarding.
7:45 pm
MOTORCADE DEPARTS Waldorf Astoria Hotel
en route Uris Theatre (51st. St. West on Broadway).
[Driving time: 15 minutes]
8:00 pm
MOTORCADE ARRIVES Uris Theatre.
OPEN PRESS COVERAGE
Mrs. Ford proceeds into theatre to take her seat.
8:10 pm
Mrs. Ford arrives at her seat and is seated.
PRESS POOL COVERAGE
8:11 pm
Martha Graham offers opening remarks and
narates technique demonstration.
8:35 pm
"Messenger of Fate" solo.
FORD 2. GERALD LIBRARY
8:40 pm
"Seraphic Dialogue. 11
9:10 pm
Intermission I.
9:10 pm
Mrs. Ford departs her seat en route holding room.
9:12 pm
Mrs. Ford arrives holding room.
PERSONAL TIME: 15 minutes
9:27 pm
Mrs. Ford departs holding room en route her seat.
-3-
9:29 pm
Mrs. Ford arrives at her seat and is seated.
9:30 pm
"Lamentation. 11
9:35 pm
"Diversion of Angels. "
9:55 pm
"Pas de Deux, Swanlake. 11
10:05 pm
Intermission II.
10:05 pm
Mrs. Ford departs her seat en route holding room.
10:07 pm
Mrs. Ford arrives holding room.
NOTE: You will be joined in the holding room
by former classmates from Bennington for
refreshments.
10:22 pm
Mrs. Ford departs holding room en route her seat.
10:24 pm
Mrs. Ford arrives at her seat and is seated.
10:25 pm
"Lucifer. "
LIBRATY GERALD R. FORD
10:55 pm
Performance concludes.
10:55 pm
Mrs. Ford departs her seat en route backstage area.
10:58 pm
Mrs. Ford arrives backstage area to greet Martha
Graham, Rudolf Nureyev and Margot Fonteyn.
PRESS POOL COVERAGE
11:05 pm
Martha Graham's guests arrive backstage area.
11:05 pm
Mrs. Ford, escorted by Martha Graham, informally
greets guests of Miss Graham.
11:35 pm
Mrs. Ford bids farewell to Martha Graham and proceeds
to motorcade for boarding.
11:40 pm
MOTORCADE DEPARTS Uris Theatre en route Waldorf
Astoria Hotel.
[Driving time: 15 minutes]
-4-
11:55 pm
MOTORCADE ARRIVES Waldorf Astoria Hotel.
Mrs. Ford proceeds to Presidential Suite.
12:00 midnight Mrs. Ford arrives Presidential Suite.
OVERNIGHT
FRIDAY, JUNE 20
10:25 am
Mrs. Ford departs Presidential Suite en route
motorcade for boarding.
10:30 am
MOTORCADE DEPARTS Waldorf Astoria Hotel en
route LaGuardia Airport.
[Driving time: 25 minutes]
10:55 am
MOTORCADE ARRIVES LaGuardia Airport.
(Marine Air Terminal).
11:00 am
Mrs. Ford boards Jet Star.
JET STAR DEPARTS LaGuardia Airport en route
Andrews AFB.
[Flying time: 50 minutes]
FORD & GERALD LIBRARY
11:50 am
JET STAR ARRIVES Andrews AFB.
11:55 am
Mrs. Ford boards motorcade.
MOTORCADE DEPARTS Andrews AFB en route
South Grounds.
[Driving time: 25 minutes]
12:20 pm
MOTORCADE ARRIVES South Grounds.
THE WHITE HOUSE
WASHINGTON
June 13, 1975
MEMORANDUM FOR:
MRS. FORD
VIA:
RED CAVANEY
FROM:
PETER SORUM
PHS
SUBJECT:
YOUR TRIP TO NEW YORK CITY
June 19-20, 1975
Attached at TAB A is the proposed schedule for your trip
to New York City.
APPROVE
DISAPPROVE
BACKGROUND
You are attending the Martha Graham Dance Company's 50th
Anniversary Celebration at the Uris Theatre in New York which
will feature Rudolf Nureyev, Margot Fonteyn, and the Martha
Graham Dance Company. Following the performance, you
will join Martha Graham, the performers, and Martha's guests
Ri
FORD
for an informal reception backstage. Due to the late hour of
the program's conclusion, you will remain overnight and return
on Friday, June 20th.
LIBRARY
June 13, 1975
3:00 pm
PROPOSED SCHEDULE
MRS. FORD'S VISIT TO
NEW YORK CITY
Thursday and Friday
June 19-20, 1975
12:30 pm
Mrs. Ford boards motorcade on South Grounds.
MOTORCADE DEPARTS South Grounds en route
Andrews AFB.
[Driving time: 25 minutes]
12:55 pm
MOTORCADE ARRIVES Andrews AFB.
1:00 pm
Mrs. Ford boards Jet Star.
JET STAR DEPARTS Andrews AFB en route
LaGuardia Airport, New York City.
[Flying time: 50 minutes]
[No time change]
1:50 pm
JET STAR ARRIVES LaGuardia Airport, New York
City (Marine Air Terminal).
1:55 pm
Mrs. Ford boards motorcade.
R. FORD LIBHARY
MOTORCADE DEPARTS LaGuardia Airport en route
Waldorf Astoria Hotel.
[Driving time: 30 minutes]
2:25 pm
MOTORCADE ARRIVES Waldorf Astoria Hotel.
Mrs. Ford will be met by:
Hotel Representative
Mrs. Ford proceeds to Presidential Suite.
-2-
2:30 pm
Mrs. Ford arrives Presidential Suite.
PERSONAL/STAFF TIME: 5 hours, 10 minutes
3:00 pm
Constantino Christie arrives Presidential Suite
for fitting.
3:30 pm
Halston arrives Presidential suite for fitting.
7:40 pm
Mrs. Ford departs Presidential Suite en route
motorcade for boarding.
7:45 pm
MOTORCADE DEPARTS Waldorf Astoria Hotel
en route Uris Theatre (51st. St. West on Broadway).
[Driving time: 15 minutes]
8:00 pm
MOTORCADE ARRIVES Uris Theatre.
OPEN PRESS COVERAGE
Mrs. Ford proceeds into theatre to take her seat.
8:10 pm
Mrs. Ford arrives at her seat and is seated.
PRESS POOL COVERAGE
8:11 pm
Martha Graham offers opening remarks and
narates technique demonstration.
8:35 pm
"Messenger of Fate" solo.
R.
BERALD
FORD
8:40 pm
"Seraphic Dialogue. 11
LIBRARY
9:10 pm
Intermission I.
9:10 pm
Mrs. Ford departs her seat en route holding room.
9:12 pm
Mrs. Ford arrives holding room.
PERSONAL TIME: 15 minutes
9:27 pm
Mrs. Ford departs holding room en route her seat.
-3-
9:29 pm
Mrs. Ford arrives at her seat and is seated.
9:30 pm
"Lamentation."
9:35 pm
"Diversion of Angels. 11
9:55 pm
"Pas de Deux, Swanlake."
10:05 pm
Intermission II.
10:05 pm
Mrs. Ford departs her seat en route holding room.
10:07 pm
Mrs. Ford arrives holding room.
NOTE: You will be joined in the holding room
by former classmates from Bennington for
refreshments.
10:22 pm
Mrs. Ford departs holding room en route her seat.
10:24 pm
Mrs. Ford arrives at her seat and is seated.
R.
10:25 pm
"Lucifer. 11
SERALD
FORM
10:55 pm
Performance concludes.
LIBRARY
10:55 pm
Mrs. Ford departs her seat en route backstage area.
10:58 pm
Mrs. Ford arrives backstage area to greet Martha
Graham, Rudolf Nureyev and Margot Fonteyn.
PRESS POOL COVERAGE
11:05 pm
Martha Graham's guests arrive backstage area.
11:05 pm
Mrs. Ford, escorted by Martha Graham, informally
greets guests of Miss Graham.
11:35 pm
Mrs. Ford bids farewell to Martha Graham and proceeds
to motorcade for boarding.
11:40 pm
MOTORCADE DEPARTS Uris Theatre en route Waldorf
Astoria Hotel.
[Driving time: 15 minutes]
-4-
11:55 pm
MOTORCADE ARRIVES Waldorf Astoria Hotel.
Mrs. Ford proceeds to Presidential Suite.
12:00 midnight Mrs. Ford arrives Presidential Suite.
OVERNIGHT
FRIDAY, JUNE 20
10:25 am
Mrs. Ford departs Presidential Suite en route
motorcade for boarding.
10:30 am
MOTORCADE DEPARTS Waldorf Astoria Hotel en
route LaGuardia Airport.
[Driving time: 25 minutes]
10:55 am
MOTORCADE ARRIVES LaGuardia Airport.
(Marine Air Terminal).
11:00 am
Mrs. Ford boards Jet Star.
JET STAR DEPARTS LaGuardia Airport en route
Andrews AFB.
[Flying time: 50 minutes]
11:50 am
JET STAR ARRIVES Andrews AFB.
SANALD
R. FORD LIBRARY
11:55 am
Mrs. Ford boards motorcade.
MOTORCADE DEPARTS Andrews AFB en route
South Grounds.
[Driving time: 25 minutes]
12:20 pm
MOTORCADE ARRIVES South Grounds.
THE WHITE HOUSE
WASHINGTON
June 13, 1975
MEMORANDUM FOR:
MRS. FORD
VIA:
RED CAVANE
FROM:
PETER SORUM
PH
SUBJECT:
YOUR TRIP TO NEW YORK CITY
June 19-20, 1975
Attached at TAB A is the proposed schedule for your trip
to New York City.
APPROVE
DISAPPROVE
BACKGROUND
You are attending the Martha Graham Dance Company's 50th
Anniversary Celebration at the Uris Theatre in New York which
will feature Rudolf Nureyev, Margot Fonteyn, and the Martha
Graham Dance Company. Following the performance, you
will join Martha Graham, the performers, and Martha's guests
for an informal reception backstage. Due to the late hour of
the program's conclusion, you will remain overnight and return
on Friday, June 20th.
SEALI R. FORD LIBRARY
June 13, 1975 -
3:00 pm
PROPOSED SCHEDULE
MRS. FORD'S VISIT TO
NEW YORK CITY
Thursday and Friday
June 19-20, 1975
12:30 pm
Mrs. Ford boards motorcade on South Grounds.
MOTORCADE DEPARTS South Grounds en route
Andrews AFB.
[Driving time: 25 minutes]
12:55 pm
MOTORCADE ARRIVES Andrews AFB.
1:00 pm
Mrs. Ford boards Jet Star.
JET STAR DEPARTS Andrews AFB en route
LaGuardia Airport, New York City.
[Flying time: 50 minutes]
[No time change]
1:50 pm
JET STAR ARRIVES LaGuardia Airport, New York
City (Marine Air Terminal).
1:55 pm
Mrs. Ford boards motorcade.
MOTORCADE DEPARTS LaGuardia Airport en route
Waldorf Astoria Hotel.
R.
GERALD
FORD
[Driving time: 30 minutes]
LIBRARY
2:25 pm
MOTORCADE ARRIVES Waldorf Astoria Hotel.
Mrs. Ford will be met by:
Hotel Representative
Mrs. Ford proceeds to Presidential Suite.
-2-
2:30 pm
Mrs. Ford arrives Presidential Suite.
PERSONAL/STAFF TIME: 5 hours, 10 minutes
3:00 pm
Constantino Christie arrives Presidential Suite
for fitting.
3:30 pm
Halston arrives Presidential suite for fitting.
7:40 pm
Mrs. Ford departs Presidential Suite en route
motorcade for boarding.
7:45 pm
MOTORCADE DEPARTS Waldorf Astoria Hotel
en route Uris Theatre (51st. St. West on Broadway).
[Driving time: 15 minutes]
8:00 pm
MOTORCADE ARRIVES Uris Theatre.
OPEN PRESS COVERAGE
Mrs. Ford proceeds into theatre to take her seat.
8:10 pm
Mrs. Ford arrives at her seat and is seated.
PRESS POOL COVERAGE
8:11 pm
Martha Graham offers opening remarks and
narates technique demonstration.
8:35 pm
"Messenger of Fate" solo.
8:40 pm
"Seraphic Dialogue."
9:10 pm
Intermission I.
GERALD R. FORD
9:10 pm
Mrs. Ford departs her seat en route holding room.
9:12 pm
Mrs. Ford arrives holding room.
PERSONAL TIME: 15 minutes
9:27 pm
Mrs. Ford departs holding room en route her seat.
-3-
9:29 pm
Mrs. Ford arrives at her seat and is seated.
9:30 pm
"Lamentation. "
9:35 pm
"Diversion of Angels. "
9:55 pm
"Pas de Deux, Swanlake. 11
10:05 pm
Intermission II.
10:05 pm
Mrs. Ford departs her seat en route holding room.
10:07 pm
Mrs. Ford arrives holding room.
NOTE: You will be joined in the holding room
by former classmates from Bennington for
refreshments.
10:22 pm
Mrs. Ford departs holding room en route her seat.
10:24 pm
Mrs. Ford arrives at her seat and is seated.
10:25 pm
"Lucifer. 11
10:55 pm
Performance concludes.
10:55 pm
Mrs. Ford departs her seat en route backstage area.
10:58 pm
Mrs. Ford arrives backstage area to greet Martha
Graham, Rudolf Nureyev and Margot Fonteyn.
R.
SERALD
FORD
PRESS POOL COVERAGE
LIBRARY
11:05 pm
Martha Graham's guests arrive backstage area.
11:05 pm
Mrs. Ford, escorted by Martha Graham, informally
greets guests of Miss Graham.
11:35 pm
Mrs. Ford bids farewell to Martha Graham and proceeds
to motorcade for boarding.
11:40 pm
MOTORCADE DEPARTS Uris Theatre en route Waldorf
Astoria Hotel.
[Driving time: 15 minutes]
-4-
11:55 pm
MOTORCADE ARRIVES Waldorf Astoria Hotel.
Mrs. Ford proceeds to Presidential Suite.
12:00 midnight Mrs. Ford arrives Presidential Suite.
OVERNIGHT
FRIDAY, JUNE 20
10:25 am
Mrs. Ford departs Presidential Suite en route
motorcade for boarding.
10:30 am
MOTORCADE DEPARTS Waldorf Astoria Hotel en
route LaGuardia Airport.
[Driving time: 25 minutes]
10:55 am
MOTORCADE ARRIVES LaGuardia Airport.
(Marine Air Terminal).
11:00 am
Mrs. Ford boards Jet Star.
JET STAR DEPARTS LaGuardia Airport en route
Andrews AFB.
[Flying time: 50 minutes]
11:50 am
JET STAR ARRIVES Andrews AFB.
11:55 am
Mrs. Ford boards motorcade.
MOTORCADE DEPARTS Andrews AFB en route
South Grounds.
[Driving time: 25 minutes]
SEPARA R. FORD LIBRARY
12:20 pm
MOTORCADE ARRIVES South Grounds.
THE WHITE HOUSE
WASHINGTON
May 27, 1975
MEMORANDUM TO: PETER SORUM
FROM:
SUSAN PORTER
SUBJECT:
Action Memo
Mrs. Ford has accepted the following out-of-town invitation:
EVENT: Gala Benefit
GROUP: Martha Graham 50th Anniversary Gala Celebration Committee
for the Benefit of the Martha Graham Center of Contemporary
Dance, Inc.
DATE: Thursday, June 19, 1975
TIME: 8:00 p.m.
PLACE: Uris Theatre, New York City
CONTACT: Mr. Ron Protas, Executive Director, Martha Graham Center of
Contemporary Dance, Inc.
(212) 247-2590
COMMENTS: This Gala Celebration promises to be anhistoric evening as
Margot Fonteyn and Rudolf Nureyev are collaborating with
Martha Graham. Tickets are priced from $50 to $10,000. The
April 18th press release contains much useful background
material about the event. Mrs. Ford is Honorary Chairman
of the Benefit Committee and, as you know, formerly danced
with Martha Graham. Susan had originally planned to join
her mother, however, Susan will now be out of town. Ron Protas
has been wonderfully cooperative in all of our dealings. The
file is attached. Thank you.
c: BF Staff
Red Cavaney
Warren Rustand
FORD & GERALD LIBRARY
William Nicholson
Rex Scouten
Staircase
provements, both as Mayor and previously as
me up") in Brooklyn, 1 December 1935, Woody says
president of the Atlanta Chamber of Commerce,
he was "a fearful student.' "I went to both NYU
he furthered Atlanta's position as the commercial,
and CCNY but I was always a freshman, year after
industrial, financial, educational, cultural, and
year, never even a sophomore. I was a motion pic-
transportation capital of the Southeast.
ture major. I wanted to be a cowboy. But when I
Born in Atlanta on 15 March 1911, Ivan Allen
was in high school I used to mail jokes to colum-
graduated from Georgia Tech in 1933 and entered
nists. They were terrible jokes. The columnists
the family office-supply business. He married
'gave' them to people like Arthur Murray and Guy
Louise Richardson of Atlanta in 1936. They have
Lombardo and Sammy Kaye and Jane Morgan and
three sons-Ivan III, Inman, and Beaumont.
Chock Full O' Nuts." One day an advertising
agency hired him to write jokes for them. "I felt I
was in the thick of show business," he said, and
soon he was writing for Peter Lind Hayes, Herb
ALLEN, STEVE
Shriner, Sid Caesar, and Art Carney.
Actor, comedian, director, songwriter, sculptor,
Where Woody once ruminated in his act on the
poet, political activist, biographer, novelist, tele-
vagaries of his childhood (the punch line of one
vision personality, and man-about-causes-well
of his routines describing the negotiations between
you know all his friends "get weary when they
the FBI and the kidnapers of young Woody Allen
think about" the life and times of Stephen Valen-
has the FBI saying, "Keep the kid"), he now soars
tine Patrick William Allen. "I don't know where
off on flights of fancy about an Eskimo vocalist
my energy comes from," he once mused. "I sup-
who sings "Night and Day" six months at a time.
pose it's largely a hereditary matter, comes from
Or about the 12 convicts, manacled together at the
the food I eat, the amount of sleep I get, and the
ankles, who escaped from a chain gang by posing
amount of lying down I do with my head lower
"as an immense charm bracelet." He was divorced
than my feet on a slant board." He also allowed
from second wife Louise Lasser in 1969 (a palmier
that "there are, no doubt, psychological reasons
year earlier the couple considered the split as "a
most mysterious."
protest against Vietnam"). Woody's 1971 book,
Whatever the source, Allen's stamina led him
Getting Even, is perhaps his final rebuff to those
from "a frequently unhappy" childhood (he was
bullies of his youth.
born 26 December 1921 in New York City, the son
PHOTO: HALSMAN
of vaudevillians) through some 18 schools, where
he was, inevitably, the class clown ("Very young
men now and then write me to ask, 'How can I be-
come a comedian?' The answer
is that if you
ALLERS, FRANZ
somehow aren't one already you might as well
the matter"), and into radio, TV, films,
The Czech-born (6 August 1905) master of the light
forget
and the theater. Twice married (first to Dorothy
touch has had as wide a range of musical experi-
Goodman, three sons; second to Jayne Meadows,
ence as any conductor in the world. At 20 he was
a chamber musician and assistant concertmaster
one son), sometimes called an egghead, and fre-
of the Berlin Philharmonic. At 22 he was the
quently controversial as a result of his "causes"
("People who employ words like 'bleeding hearts'
youngest musician ever to work on the musical
and 'do-gooders' are dry-hearted do-nothings"),
staff of the Bayreuth festival. He knew 90 operas
Allen believes in the marriage of comedy and com-
by 1933, when he fled Germany to return to Czech-
mentary. "We've taken on political extremism
oslovakia for five productive years. Then on to
and air and water pollution," he says of his many
England and his long association with the Ballet
Russe de Monte Carlo. "The Russian companies
TV bouts. "I like a big, gutsy, meaty sketch where
were always squabbling," Allers recalls. "They
the audience gets its money's worth."
sent spies to each other's performances, like base-
ball scouts. After Efrem Kurtz brought me to Amer-
ica with the Monte Carlo group, I was often in-
CALLEN, WOODY
but not of-the Metropolitan.
"In 1945 my friend Maurice Abravanel, who had
He calls himself a "latent heterosexual" and says
turned from opera to presiding over Kurt Weill
he has an intense desire to return to the womb-
shows, was working with a new combination, Fritz
"anybody's." "I'm a compulsive worker. What I
Loewe and Alan Jay Lerner. They were in the midst
really like to do best is whatever I'm not doing at
of a charming show charming, but not a real hit-
the moment," the Samson of the Sad Sacks says.
The Day Before Spring." Allers filled in for a night,
"When I'm writing jokes, I wish I was directing
and when Abravanel later forsook Broadway for
movies. And when I'm writing a play, I wish I was
the Utah Symphony, and Brigadoon came along,
performing in a nightclub." And Woody's done
the Lerner-Loewe mantle fell inevitably on Allers'
them all to the zany tune of mucho dinero. He's
shoulders, and he descended into the pit. After-
penned several plays, including Don't Drink the
wards came Paint Your Wagon, My Fair Lady
Water (1966) and Play It Again, Sam (1969, film
(which he also conducted on a triumphal tour of
1972). His cinema debut was the manic What's
Russia, Germany, and Austria) and Camelot, estab-
New, Pussycat?, followed by the equally hilarious
lishing the Czech as a prime Broadway conductor,
Bananas, which was clasped to the breasts of his
as well as a two-time Tony Award winner.
many fans as "sheer hokum brilliance," although
He has been with the Metropolitan Opera since
&
FORD
some of the outbackers were stranded by the re-
1963, has also found time to accept Richard
gionalized New York humor. Much more general-
Rodgers' invitation for the Lincoln Center series of
ized in its appeal was Everything You Always
light operas, to work with the government-spora
LIBRARY
Wanted to Know About Sex
his 1972 spoof on
sored Radio-TV Producing Center for Holland, and
the Reuben book of the same name.
to conduct the Berlin Philharmonic, the Oslo Phil
Born Allen Stewart Konigsberg ("When the other
harmonic, Het Residentie Orkest of The Hague,
kids learned my name, they'd beat me up. So I'd
l'Orchestre de la Suisse Romande in Geneva, and
tell them my name was Frank, but they'd still beat
at the opera houses of Munich, Hamburg, Cologne,
Winner of the Christopher Award, 1971
0-690-00920-8
Sea And Earth
WOMEN OF AMERICA
Terry
FR
The Life of Rachel Carson
By Philip Sterling
FRONTIERS
OF
The Lit
The sound of the sea beating inside a
Women of America
giant conch shell drew young Rachel
Carson into the work that would occupy
OF DANCE
by
her life and led to the creation of such
The part women have played in American his-
When she
masterpieces as The Sea Around Us and
tory has been given little attention up to now.
nia, Marth
Silent Spring. Raised in a lovely Penn-
Yet in a hundred different ways women have
changed b
sylvania valley, Rachel had never seen
The Life of Martha Graham
legendary
the ocean when she went off to col-
helped to shape our country's course. Many of
lege. Planning a career as a writer, she
them led astonishingly productive lives despite
embarked without enthusiasm on the
the limits placed on them by society and family.
required science courses. But her in-
Their careers and their achievements make rich
the shell, found herself entranced by the
world of marine biology.
The Life of Martha Graham
FRONTIERS OF DANCE
moment,"
sealed. I co
It was the b
to revoluti
structor was a remarkable teacher, and
From
Rachel, remembering the mysteries of
reading, at the same time that they help us
had learne
understand our own history.
sonality CO
WOMEN OF AMERICA, under the general edi-
movements
Soon she became a working scien-
torship of Milton Meltzer, presents brief biogra-
to apply th
tist, but with a difference. Rachel Carson
of dance-po
could write-lyrically, persuasively, sci-
phies of women who engaged in a vast variety
inson in L
entifically. Her early books awoke count-
of careers, battles, and enterprises. Portrayed
tier bride
less readers to the wonders of the ocean
here-often for the first time-are women who
doom-haun
and catapulted her into national prom-
refused to accept things as they were, who took
myth. With
inence. Then with Silent Spring she
company, s
shocked Americans into reevaluating the
great chances and offered bold challenges. Reb-
cabulary of
man-made chemicals that have polluted
els, many of them, they were drawn to where
theater of o
our whole environment.
the action was in whatever world they moved.
Walter
By drawing much of his story from
critic of the
the recollections of Rachel Carson's
and now w
friends and colleagues, the author pre-
Graham's t
sents a well-rounded portrait of a woman
prentice da
who was above all a determined de-
Ted Shawn
fender of the natural world she under-
as this pior
stood so well.
0-690-00920-8
confronted
Crowell
by Walter Terry
audiences.
ute to a WO
Thomas Y. Crowell Company
New York
Established 1834
JACKET PH
1971
0-690-00920-8
$5.95
WOMEN OF AMERICA
Terry
FRONTIERS
OF DANCE
FRONTIERS
The Life of Martha Graham
Women of America
a
Rachel
occupy
The part women have played in American his-
OF DANCE
by Walter Terry
of
such
When she was a young girl in Califor-
Us
and
tory has been given little attention up to now.
nia, Martha Graham's whole life was
Penn-
changed by one encounter with the
Yet in a hundred different ways women have
seen
The Life of Martha Graham
legendary Ruth St. Denis. "From that
to
col-
helped to shape our country's course. Many of
she
them led astonishingly productive lives despite
on
the
the limits placed on them by society and family.
in-
Their careers and their achievements make rich
The Life of Martha Graham
FRONTIERS OF DANCE
moment," she said later, "my fate was
sealed. I couldn't wait to learn to dance."
It was the beginning of a career that was
to revolutionize dance in America.
and
From her psychologist father she
of
reading, at the same time that they help us
had learned that the mysteries of per-
by
the
understand our own history.
sonality could be revealed through the
WOMEN OF AMERICA, under the general edi-
movements of the body; later she was
scien-
torship of Milton Meltzer, presents brief biogra-
to apply that insight in a dazzling series
Carson
of dance-portraits-the poet Emily Dick-
sci-
phies of women who engaged in a vast variety
inson in Letter to the World, the fron-
count-
of careers, battles, and enterprises. Portrayed
tier bride of Appalachian Spring, the
ocean
here-often for the first time-are women who
doom-haunted Clytemnestra of Greek
prom-
refused to accept things as they were, who took
myth. With the brilliant dancers of her
she
company, she created a totally new vo-
the
great chances and offered bold challenges. Reb-
cabulary of movement and an exciting
olluted
els, many of them, they were drawn to where
theater of dance.
the action was in whatever world they moved.
Walter Terry, for many years dance
from
critic of the New York Herald Tribune
arson's
and now with Saturday Review, traces
or
pre-
Graham's turbulent career from her ap-
woman
prentice days with Ruth St. Denis and
de-
Ted Shawn. He captures the excitement
under-
as this pioneer of contemporary dance
0-690-00920-8
Crowell
confronted and challenged and won her
by Walter Terry
audiences. His book is a compelling trib-
ute to a woman of strength and genius.
JACKET PHOTOGRAPH BY SOICHI SUNAMI
JUNE 19
DANCE NORIAN
Martha Graham Dance Company I 50th Anniversary Celebration
-
National Broadcasting Company
Congratulates Martha Graham
MARTHA GRAHAM
A GOLDEN ANNIVERSARY
Tonight, June 19, 1975, is, indeed, an historic night for dance.
The occasion is historic for a number of reasons. Foremost among those reasons is the achievement of one
woman-Martha Graham. In April, 1926, in a Broadway theatre not far from this one Martha Graham and a
trio of dancers gave the first performance of what was to become the Martha Graham Dance Company. Now in
its fiftieth year, the Martha Graham Dance Company is one-quarter as old as the Republic, and tonight's
performance initiates a year-long celebration of that golden anniversary.
Tonight is historic for the collaboration of three of the greatest artists that the dance has ever known-
Martha Graham as choreographer and Dame Margot Fonteyn and Rudolf Nureyev as dancers. Their collaboration
in "Lucifer," Miss Graham's 149th work (the largest repertoire by a single choreographer in the history of
dance), illuminates the world of the theatre and brings together modern dance and ballet in a fashion hitherto
unmatched. As Miss Graham told the press earlier this spring, "The war is over."
Finally, the night is historic because of the generosity of those of you who are here. As we go to press we
have every reason to believe that the income for this single performance may be the greatest ever raised for
dance on a single night. For years Martha Graham and her company have stinted for their art, and that sacrifice
has produced one of the glories of the Western World-the Theatre of Martha Graham, a unique and passionate
theatrical experience unlike any other in history.
To receive tonight your appreciation, shown through your contributions and your concern, is overwhelming
and gratifying. The Board of Trustees of the Martha Graham Center for Contemporary Dance is most grateful.
For all of us and especially from Martha herself-thank you.
Francis Mason
Chairman, Board of Trustees
Martha Graham Center for Contemporary Dance
THE NATIONAL COUNCIL
In the past 50 years at her busy school in New York, Martha Graham has trained thousands of
young dancers. In the tours she and her company have made across the country and around the
world, she has found many admirers. To gather together these persons, we have established the
Martha Graham National Council, a membership organization of all who are concerned for Martha
Graham's work and its future.
We take pleasure in making you, our generous supporters this evening, charter members of
the National Council.
FORD R. LIBRARY GERALD
CONGRATULATIONS
MARTHA GRAHAM
DANCE COMPANY
NEW YORK
BEVERLY HILLS
CHICAGO
NASHVILLE
LONDON
ROME
PARIS
MUNICH
WILLIAM MORRIS AGENCY,
INC.
XXX
The
Agency
Of
The
Entertainment
World
®
HANAE MORI
X
6
we bow to martha graham
and the
martha graham center
for contemporary dance
for continuous innovation
during the past fifty years
and for its imprint
on all the years to come
,
bloomingdales
Hail to the first 50 years of
The Martha Graham Dance Company.
May the next 50 be as fabulous.
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BENEFACTORS
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First Artists
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Radio Corporation of America
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Capezio Balletmakers, Inc.
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Traulsen
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James W. Truitt
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Kitty Cunningham
E. John Rosenwald
Jac Venza
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Margaret R. Katzenstein
Anne C. Dodds
Harriette Rosso
Doris Warner Vidor
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Bethsabee de Rothschild
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Ken Canada
Dorothy Schapiro
ASSOCIATES
Christel Wallin
Hope Solinger
John A. Chan
Stuart Schoffman
Carolyn Clarke
Kathy Sherwood
Christine Wengerd
Jane Abram
Mr. & Mrs. Richard Solomon
Lauren Bacall
Harriet Clayson
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Theodora Wiesner
Ben Sommers
Carol Cole
Remine Shields
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Mr. & Mrs. Robert L. Bernstein
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Mrs. Leonard Bocour
Gloria J. Conn
Robert M: Spataro
Susan Stamps
Dan P. Caulkins
Mr. & Mrs. J. Rich Steers Jr.
Eleanor Coplen
Catherine Anne Steiner
Mr. & Mrs. Schuyler Chapin
Gilbert Tauber
Mary Ann Cozzati
with the compliments of
THE
First Artists
COMPANY
Mr & Mrs Dustin Hoffman
Mr & Mrs Steve McQueen
Mr & Mrs Paul Newman
Mr Sidney Poitier
Ms Barbra Streisand
Miro Lucifer
On the occasion of the world premier of Lucifer, Joan Miró celebrates the historic
collaboration of Martha Graham, Margot Fonteyn and Rudolf Nureyev with original
lithographs, each numbered and signed, in a limited edition. A poster, printed from
the original lithograph, is also available. Reservations for original lithographs and
posters are now being accepted. Delivery will be August 1, 1975, or thereafter.
Miró I Lucifer, Martha Graham Center, 316 E. 63 Street, New York, N.Y. 10021
Please place my name on the reservation list
for the Miro / Lucifer
Original Lithograph
Poster
Name
Address
City
State
Zip
Telephone
A Tribute to the Ballet
Pastel & Charcoal
Drawings
by
Lisa Rhana
HAMMER
galleries/ 51 east 57 st
new york 10022, 758-0409
open monday-friday
Dame Margot Fonteyn and Rudolph Nureyev
ICM
INTERNATIONAL CREATIVE MANAGEMENT
Harvey L. Silbert
World Gratitude Day
Edna Fuerth Lemle, President
Thank you, Martha, for giving humankind a unique art form-
an eternal symbol of your creative genius. Thank you, Martha,
for being an inspiration to me and to the whole world.
-E.F.L.
World Gratitude Day-the 21st of September-is the first world holiday, celebrated since 1965 by people of
all faiths all over the world. The essence of World Gratitude Day is getting together of a few friends anywhere,
aware of sharing the emotion of gratitude and knowing that it is being shared globally. For further
information: Penthouse, 132 W. 31 St., N.Y., N.Y. 10001 (212) 524-8159.
Racolin Management Corporation
Dina Racolin
Vera Lukin
Alexander E. Racolin
Compliments of a Friend
The
Martha Graham
School of
Contemporary
Dance
Martha Graham, Artistic Director
Kozuko Hirabayashi, Faculty Chairman
Christine Wengerd, Administrative Director
For further information please contact the Administrative Director,
Martha Graham School, 316 E. 63 Street, New York, N.Y. 10021
(212) 838-5886
The
Martha Graham
Dance Company
Martha Graham, Artistic Director
Contributions to the Martha Graham Dance Company are tax-deductible
as provided by law. Contributions of $25 or more entitles one to
membership in the Martha Graham National Council.
Patron's Desk, Martha Graham Center, 316 E. 63 St., N.Y. 10021
Name
Address
City
State
Zip
Boston Pops/Arthur Fiedler
SLAUGHTER ON
TENTH AVENUE
and other hits from
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TCHAIKOVSKY'S RED SEAL
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LIBRARY
THE
Pas de deux, trois, quatre and forever on RCA
Records and Tapes
TOWERING
GENIUS
DISDAINS
THE BEATEN
PATH.
IT SEEKS
REGIONS
HITHERTO UNEXPLOREDDDD
-ABRAHAM LINCOLN
THE LINCOLN SAVINGS BANK
WE MAKE FRIENDS FOR LIFE.
JUNE19
HISTORIC IT'S AN NIGHT
DANCE
LIBRARY GERALD R. FORD
Martha Graham Dance Company I 50th Anniversary Celebration
MARTHA GRAHAM
"She is my very, very favorite person, one of the outstanding women
of the world. She was my teacher, and she helped shape my life. She
gave me the ability to stand up to all the things I have had to go
through, with much more courage than I would ever have had without
her." These were the words that First Lady Betty Ford used recently to
describe Martha Graham, and in so doing she summed up the feelings
of thousands of people around the world. Martha Graham as a teacher,
choreographer and dancer has touched the lives of countless
individuals in a telling way. A case in point: One late night in Kyoto,
Japan, after a long performance and reception at the conclusion of a
grueling 30,000 mile U.S. State Department tour of Asia, Miss Graham
called the new company manager to her room to settle some financial
business with her (even living legends must pay their hotel bills). The
room was cold, and Miss Graham was bundled up in bed. She
motioned the man to sit on the edge of the bed. She took his hand,
looked him straight in the eye and said, "I have respect for you. You've
come all the way out here and done a job that wasn't really yours.
I am grateful to you." What that meant to the manager is hard to put in
words, but his first thought was, throw away the degree from Yale,
and in its place put: "I respect you-Martha Graham."
MARGOT FONTEYN
"She sits there with her spine very straight, her trim, beautifully
proportioned body covered with a printed shirt and plain full skirt, and
her thin, soft black hair smoothed neatly on top of her head over her
soft demure, surprised-looking face. You can't imagine her slouching
or sprawling or fidgeting, her gestures are clear and unaffected but
very contained. Definitely a lady-she makes my prose want to tie its
laces and dust itself off-and a sport." With that, Deborah Jowitt
introduced Dame Margot Fonteyn to the readers of last week's Village
Voice. A remarkable number of adjectives for a remarkable dancer.
Not long ago Dame Margot telephoned a zealous press agent about
her biography for a souvenir book wherein he had described her as the
world's prima ballerina assoluta. "Could we take out the 'assoluta?'
I think that's a bit much, don't you? After all, prima ballerina is rather
enough. I've never really liked all that Italian anyway." This was
followed with a laugh of such glee that it could only be called jolly.
The press agent disagreed strongly, however, in spite of the charming
laugh, and only with great reluctance and a plan in the back of his mind
to reinstate the word 'assoluta,' did he delete it. But after thinking
about the matter a while, he realized that it did not matter whether he
put the full phrase in or not. Even if it is not said in so many words,
everyone knows Dame Margot is the world's prima ballerina assoluta,
except, apparently, Dame Margot. The press agent decided she
should be told.
RUDOLF NUREYEV
Last Sunday in Newsday Bob Micklin wrote, "Not long ago Martha
Graham was asked to describe her new Lucifer. In doing so, she also
described Nureyev. She said her Lucifer was not Satan, but rather the
god of light. 'Any great artist,' she added, 'is a bringer of light, and
Rudolf is a god of light.' Mr. Micklin concluded, "Who could ask for
a better tribute?" Rudolf Nureyev is the most widely-known dancer in
history and, as Mr. Micklin pointed out, "he has become the symbol of
the public acceptance of dance." It may be that the public has
forgotten that the symbol is also a man. About a year ago, a young
theatre manager waited somewhat apprehensively in the lobby of a
Broadway Theatre for Nureyev to arrive for a modern-dance company's
performance. He held Nureyev's complimentary ticket in his hand.
Nureyev was a few minutes late, though the curtain had not yet gone
up. A bit breathless, he apologized for being late, and then asked,
"Who do I pay for my ticket?" No doubt Mr. Nureyev could well have
afforded to pay for his ticket, but the manager was surprised that he
offered to do so. Generosity, it seems, is not particularly associated
with living symbols. The manager found this brief glimpse of the man
behind the symbol reassuring and resolved to tell people about it when
he got the chance.
A
June 19, 1975, 8:00 p.m.
MARTHA
Uris Theatre
CHARHAM
New York
In the presence of Mrs. Gerald R. Ford on the occasion of the
fiftieth year of the Martha Graham Dance Company.
FONTEYN RUDOLF
I
Fanfares composed by Eugene Lester
Introduction
Martha Graham
NUDOYEV Dance, Martha Inc. Graham
Messenger of Fate
The Messenger of Fate solo is excerpted from the Prologue of
Clytemnestra, a full-length work choreographed by Martha
Graham with music by Halim El-Dabh and lighting by Jean
101
Rosenthal. Bass-Baritone: John Ostendorf
Certer
Mario Delamo
Seraphic Dialogue
DANCHAM Director
Music Norman Dello Joio
Set I Isamu Noguchi
Lighting I Jean Rosenthal
Choreography Martha Graham
Seraphic Dialogue is the drama of Joan of Arc at the moment of
her exhaltation. In a dialogue with Saint Michael, Saint Catherine
and Saint Margaret, whose voices had guided her toward her
destiny, she looks back upon herself as a maiden, a warrior and
a martyr, and, transfigured, is taken up to her place of honor.
Joan
Takako Asakawa
Maid
Diane Gray
Warrior Elisa Monte
Martha Tim Diane rkes, Peggy Washington, Ross
Martyr Phyllis Gutelius
St. Michael David Hatch Walker
St. Catherine Peggy Lyman
St. Margaret Susan McGuire
Peter the the Powell* David William Leandro. Monte Bonnie THE Chase. Susan Oda Batcheld Rehea Ronald Reed: leave Manager: Isamu Manage- absence Noguchi,
INTERMISSION
Warning bells will be sounded five minutes
before curtain.
E ment
II
Lamentation
Lucifer
Revival
World Premiere
Music I Zoltan Kodaly
Music I Halim El-Dabh
Lighting I William H. Batchelder
Setting I Leandro Locsin
Choreography I Martha Graham
Costumes I Halston
Piano Accompaniment: Louis Stewart
Lighting I Ronald Bates
Lamentation is a "dance of sorrows." It is not the sorrow of a
Choreography I Martha Graham
specific person, time or place but the personification of
grief itself.
"How art thou fallen from heaven, O Lucifer, son of the morning!"
-Isaiah 14:12
Peggy Lyman
Lucifer, the name means "light bringer"; when Lucifer falls from
Lamentation, created in 1930, is the earliest work in the
heaven-the state of grace-he who was once a god becomes half-god
company's current repertoire and is being revived this evening
and half-man. As such, he is subject to the fears and passions of man.
after an absence of 31 years.
This is a retelling of a mythical experience which is common to all
mankind.
Diversion of Angels
The Tempter I Daniel Maloney
Music I Norman Dello Joio
Lucifer Rudolf Nureyev
Lighting I Jean Rosenthal
Night | Margot Fonteyn
The Captains of Fear Tim Wengerd, Mario Delamo,
Choreography I Martha Graham
Peter Sparling, Eric Newton, David Chase,
"The city seemed to stand in Eden or to be built in Heaven. The dust and
Ralph Farrington
stones of the streets were as precious as gold Eternity was manifested
Daughters of the Dawn
I
Peggy Lyman, Lucinda Mitchell,
in the light of day and something infinite beyond everything appeared, which
Diana Hart, Bonnie Oda Homsey,
talked with my expectation and moved my desire The Men! Immortal
Elisa Monte, Shelly Washington
Cherubim! And young men glittering, and sparkling angels, and maids
seraphic pieces of life and beauty. Boys and girls, tumbling in the streets and
The ballet Lucifer was choreographed by Martha Graham on Rudolf
playing, were moving jewels. I knew not that they were born or should
Nureyev as Lucifer. Because of the limits of rehearsal time, the role of
die The streets were mine, the temple was mine, their clothes and gold
Night was choreographed by Miss Graham on Janet Eilber and restaged
and silver were mine, and so were the sun and moon and stars, and all the
world was mine, and I the only spectator and enjoyer of it."
for Margot Fonteyn for this occasion.
Thomas Traherne
Diversion of Angels is a lyric ballet about the loveliness of youth, the
pleasure and playfulness, quick joy and quick sadness of being in love for the
This production is made possible through generous and deeply
first time. It tells no story, but like a lyric poem, simply explores its theme.
appreciated gifts from the Lincoln Savings Bank, the Shubert
Janet Eilber
Takako Asakawa
Shelly Washington
Foundation and an anonymous donor. The precious metals and
Peter Sparling
David Hatch Walker
Tim Wengerd
stones-platinum, gold, silver, rubies and diamonds-used in the
costumes for Lucifer have been donated by Baumgold
Bonnie Oda Homsey
Lucinda Mitchell
Susan McGuire
Eric Newton
Brothers, Precious Stone Corporation, the Platinum Information
Elisa Monte
Bureau, Whiting and Davis and the Diamond Information Center
and designed by Halston with the assistance of Samuel Beizer
Pas de Deux
and Associates and Elsa Peretti of Tiffany & Company.
Swan Lake, Act II
Music | Piotr Ilich Tchaikovsky
Choreography I Marius Petipa and Lev Ivanov
Margot Fonteyn
Rudolf Nureyev
INTERMISSION I Warning bells will be sounded five minutes
before curtain.
FORD & LIBRARY GERALD
Martha Graham Center for Contemporary Dance, Inc.
50th Anniversary Celebration Committee
Martha Graham Dance Company
Mr. and Mrs. Robert Bernstein
Calvin Klein
Ron Protas*
First performance April 18, 1926
Patricia Birch
Harold S. Klein
Alexander E. Racolin*
Mr. and Mrs. H. Gerard Bissinger II
Mrs. Robert Korn*
Lee Radziwill
Mrs. Gerald R. Ford
Mrs. Martin Blumenthal
Mrs. Harold Landau
Tony Randall
Honorary Chairman
Ray Bolger
Hope Lange
Mrs. Harold Reed*
Mrs. Aristotle Onassis
Mr. and Mrs. Michael Brown
Mrs. Leonard Lauder
Molly Reinhart
Miss Alice Tully
Mrs. Walker O. Cain
Ming Cho Lee
Mrs. Martin Revson
Honorary Vice Chairmen
Ralph M. Chait
Leo Lerman
Diana Rigg
Mr. and Mrs. Schuyler G. Chapin
Mr. and Mrs. Mortimer Levitt
Dr. and Mrs. Peter Rizzo*
Mrs. Marvin S. Traub
Mrs. Anthony Lewis
Chairman
Mrs. Gilbert W. Chapman
Francis Robinson
Kitty Carlisle
Goddard Lieberson
Jeanette Rockefeller*
Jeanette Rockefeller
Mr. and Mrs. Richard M. Clurman
Mollie Parnis Livingston
Bethsabee de Rothschild
L. Arnold Weissberger
Mr. and Mrs. Wyatt Cooper
Mr. and Mrs. Leandro Locsin
Carroll Russell*
Vice Chairmen
Mr. and Mrs. Gerret van S. Copeland
Anita Loos
Mr. and Mrs. John Barry Ryan III
Mrs. Michael Brown
Aaron Copland
Gertrude Macy
Mr. and Mrs. Herbert Salkin
Committee Coordinator
Richard W. Couper
Barbara Ann Malluk
Mrs. Georgia Sargeant
Robin Howard
Joan Davidson
James Marshall*
Arnold Scaasi
Irene Worth
Mrs. Charles Englehard
Francis S. Mason, Jr.*
Mrs. Herbert S. Schlosser
International Committee
Mrs. James Erdman*
John Martin
Carleton Sprague Smith
Mr. and Mrs. Henry D. Epstein
Steven A. Martindale
Donald F. Smith
Mrs. Harold Reed
Mr. and Mrs. Ahmet M. Ertegun
Darren McGavin
Reception Committee Chairman
Sam Spiegel
Douglas Fairbanks, Jr.
Mary McFadden
Frances Stein
Alexander E. Racolin
Mrs. Richard G. Faux
John L. McHugh
Frances Steloff
Program Committee Chairman
Mrs. Gerald R. Ford
Dr. Alan Mead
Perry Stieglitz
Executive Committee of the
Gray Foy
Peter Mennin
Mrs. Donald Stralem
Board of Trustees of the
Buckminster Fuller
Gian Carlo Menotti
Suga
Martha Graham Center for
Benjamin Garber*
E. H. Michaelsen
Gloria Swanson
Contemporary Dance, Inc.
Sir John Gielgud
Hanae Mori
Mr. and Mrs. Truman Talley
Francis S. Mason, Jr.
Brendan Gill
Barbara Morgan
Walter Terry
Paulette Goddard
Peter H. Morrison*
Chairman
Sarah Tornay
Mr. and Mrs. Robert Gottlieb
Princes Moune
George Trescher
L. Arnold Weissberger
Martha Graham*
Jane Murchison
Mr. and Mrs. Marvin S. Traub*
President
Diane Gray*
Mrs. Samuel Newhouse
Alice Tully
Alexander E. Racolin
Jo and Joel Grey
Paul Newman
Lawence Turk
Secretary
Tammy Grimes
Isamu Noguchi
Benay Venuta
Edmund W. Pease
Dr. Cary Guy
Donald Oenslager
Jac Venza
Treasurer
Albert Hadley
Mrs. Aristotle Onassis
Diana Vreeland
Halston
Ms. Genevieve Oswald
Eli Wallach*
Mrs. Marvin S. Traub
Mrs. T. Edward Hambleton
Glen Ostergaard
Barbara Walters
Mr. and Mrs. George Roy Hill
Mrs. William S. Paley
Querube Arias
L. Arnold Weissberger*
Howard Hook, Jr.
Cynthia Parker
Lauren Bacall
Lolly Weymouth
Samuel Barber
Mrs. Amory Houghton, Jr.
Edmund W. Pease*
Mr. and Mrs. Ronald Wilford
Patricia Barnes
Robin Howard
Gregory Peck*
Patricia A Winter
John Houseman*
Mr. and Mrs. Robert Peltz
Mrs. John Hay Whitney
Trumbull Barton
Mrs. Karl R. Bendetsen
Robert Irving
Mrs. J. C. Penney
Joanne Woodward
Isadora Bennett
Anne Jackson*
Elsa Peretti
Irene Worth
Marvin Josephson
Mr. and Mrs. Harvey Picker
Mrs. Helen Wright
Polly Bergen
William Kennedy*
Mrs. Donald C. Platten
Richard S. Zeisler
Leonard Bernstein
Tom Kerrigan
Khun Puck Pring
Vera Zorina
*Members of the Board of Trustees of
The Martha Graham Center for
Contemporary Dance, Inc.
Board of Trustees
Staff
Contributions to The Martha Graham Center for
Francis S. Mason, Jr.
Ron Protas
Contemporary Dance, Inc., are tax deductible as
Chairman
Executive Director
provided by law and may be sent
L. Arnold Weissberger
Cynthia Parker
c/o Patron's Desk
President
General Manager
Martha Graham Center
Alexander E. Racolin
Tom Kerrigan
316 E. 63 Street
Secretary
Management Consultant and Press Representative
New York, N.Y. 10021
Edmund W. Pease
Frank Lackner
(212) 832-9166
Treasurer
Company Manager
Booking Agent: Sarah Tornay
Ross Parkes, Patricia Birch, Carol Fried
Mrs. James Erdman
Tornay Management, Inc.
Diane Gray, Robert Powell*
Benjamin Garber
250 W. 57 Street, New York, N.Y. 10019
Rehearsal Directors
Martha Graham
(212) 246-2270
Diane Gray
William H. Batchelder
John Houseman
Production Manager and Technical Director
The Martha Graham Dance Company wishes to
Anne Jackson
express its gratitude to Ming Cho Lee, Eugene
William Kennedy
Touring Staff
Lester and Joe Eula.
Mrs. Robert Korn
Ron Protas
Photographs of Martha Graham by Chris
James Marshall
Executive Director
Alexander. Photograph of Margot Fonteyn
Peter H. Morrison
Tom Kerrigan
courtesy Hurok Concerts. Photograph of Rudolf
Gregory Peck
Company Manager, International
Nureyev by Jurgen Vollmer from Nureyev in
Ron Protas
Paris published by Modernismo.
Mrs. Harold Reed
Frank Lackner
Dr. and Mrs. Peter Rizzo
Company Manager, Domestic
Credits: Set for Lucifer constructed by Feller
Jeanette Rockefeller
Ursula Reed
Scenery Studios and Costume Armor. Lighting
Bethsabee de Rothschild
Costumer
equipment by Four Star Stage Lighting. Curtain
Carroll Russell
William H. Batchelder
and drapes by Hanson. Ballet shoes by LaRay.
Mrs. Marvin S. Traub
Tights and leotards by Capezio. Sound equipment
Production Manager
Eli Wallach
by Mosque Sound. Martha Graham's hair style
Anne McKey, Perry Silvey
by Suga. Jewelry by David Webb. Maquillage by
Stage Managers
Jeffery Navarro of Lancaster. Batik design executed
by Reiko.
For this performance
Reception: Wine and Grand Marnier crepes
Arnold Goldberg
provided by Carillon Importers, Ltd. and
Orchestra Contractor
Sol Krieg Associates. Flowers by Ronaldo Maia.
Marilyn Wright
Perfume by Halston.
Concert Master
The Uris Theatre is a Nederlander Theatre.
Gary Koch
Other Nederlander Theatres in New York are:
Orchestral Librarian
The Brooks Atkinson with Same Time Next Year
Eugene Lester, Lewis Stewart
(CI 5-3430) and The Palace (PL 7-2626).
Rehearsal Pianists
The unauthorized use of cameras or recording
equipment in this theatre is strictly prohibited.
LEANDRO LOCSIN
Martha Graham delights in telling the story of her first meeting with
Leandro Locsin. In 1955, when the Graham Company was performing
in the Philippines under the auspices of the U.S. Department of State,
Miss Graham visited a newly built, round chapel and admired its
architecture greatly. A few years later, when she was again in the
Philippines, she happened to mention the chapel to a young man that
she was talking to at a party. "I told him that I had always meant to
find out the architect's name," said Miss Graham recently. "And I asked
him if he knew it. 'Yes, I do,' he said. 'I'm the architect.' Today,
Leandro Locsin is the Philippines' leading architect and when the
Graham Company performed in Manila last fall, again on a State
Department tour, it appeared in the cultural center designed by Mr.
Locsin. Miss Graham, who, as they say, knows from theatres, grows
absolutely rhapsodic at the memory of her company playing in Mr.
Locsin's theatre. "This is a theatre-everything!" she exclaims. For his
part, Mr. Locsin remembers with feeling the day in 1970 when he first
showed Miss Graham around the newly opened theatre. "She told the
press," he said "that it was the only thing that she had seen on her
trip that was worthwhile. I was, of course, very touched by this." Miss
Graham is also obviously touched by Mr. Locsin and his work. When
she returned from the scenic studio last week after having inspected
the set, which was just constructed, she practically did a jig in the
general manager's office. "Martha's ecstatic over the set," came the
word. "She's so excited, she's like a child with a new toy." As we know,
Miss Graham does very well by her "toys" on stage. As Mr. Locsin put
it after seeing the set on the Uris stage on Tuesday, "She knows how to
get each person to do just that special thing that she requires."
HALSTON
"If I can't do something for Martha Graham to show my gratitude to
her then, really, I ought to quit." So saying, Halston, invited Martha
Graham to his East Side salon last January and dressed her in the now
famous natural wool caftan, which she wore to present the Capezio
Award to Robert Irving a few days later. "I love clothes, and I love his,
because they are so elegant, and they are comfortable," says Miss
Graham. As he has with the fashion industry in America, Halston has
conquered Martha Graham. Rarely, these days, do you see her in
anything other than Halston caftans, including her gown this evening.
FORD i LIBRARY GERALD
(Halston also designed the First Lady's gown for tonight.) And each
time you see Miss Graham, she looks so right, so comfortable that-
man or woman-you envy her those dresses and want to steal them and
all their soft security away. Recently, one who is uninitiated in the
rigors of Seventh Avenue, was amazed to find that Halston, in the space
of a few days, had not only designed the fifteen dazzling costumes for
Lucifer-his first stage designs ever-he had presented two different
fashion collections plus his first fur collection literally in between
fittings for Rudolf Nureyev and Dame Margot Fonteyn. On Monday
night, as a harried press agent pulled together the last notes for this
program, Halston arrived at the Graham School, sat down opposite the
press agent and said, "Call Martha. I've got a car here. It's raining, and
I'll send it for her. And, by the way, I got that $5,000 [contribution] for
you and 1400 bottles of perfume [Halston's own and worth about
$28,000]. What about the TV for Thursday? I got 26 carats of rubies, but
they would only give me 12 carats of diamonds. And The press
agent was impressed.
JUNE19
June 16, 1975
FROM: TOM KERRIGAN
FOR RELEASE: THURSDAY, JUNE 19
One Montague Terrace
1975
Brooklyn, N.Y. 11201
(212) 643-1249
MARTHA GRAHAM OFFERS BALLET WITH MARGOT FONTEYN AND RUDOLF NUREYEV
ONE-TIME ONLY BENEFIT PERFORMANCE RAISES $ 200,000 (EST.)
FIRST LADY BETTY FORD AMONG GLITTERING AUDIENCE AT URIS
HALSTON DESIGNED COSTUMES OF SOLID GOLD VALUED AT $250,000
DANCE
The aphorism, "All that glitters is not gold," will be given
additional credence tomight (19) when the curtain rises on what
promises to be a remarkable evening in the theatre, and what the
THE GRANAMA
MARTHA
publicist has been calling with some immodesty "an historic night
for dance." The occasion is a benefit performance by the Martha
Graham Dance Company with Miss Graham herself as onstage commenta-
tor and Dame Margot Fomteyn and Rudolf Nureyev, ballet's
most ERATO R. FORD LIBRARY
celebrated team, in a new Graham ballet "Lucifer."
The glitter in the audience will be proved by a host of
celebrities from the worlds of politics, theatre, dance, fashiom
and society with the list headed by First Lady Betty Ford, a
FORDOLF
former Graham student and dancer, Governor Hugh Carey, Woody
Allen, Diame Keaton, Paul Newman, Joanne Woodward, Lauren Bacall,
NUREYEV
Danny Kaye, Ali MacGraw and Steve McQueen and literally dozens
more like them.
The glitter OR the stage will be provided by, in addition
to the artists' performances, a set of costumes designed by the
MORE
*As of June 16 total was $175,000
MARTHA GRAHAM BENEFIT - page two
American fashion designer Halston out of solid gold, silver, platimum, gold and
silver mesh, diamonds and rubies. The retail value of the costumes is estimated
by Halston at approximately $250,000 including considerations for designing fees
as well as retail value of the metals and stones. According to Halston the whole-
sale value of the platinum alone is worth $30,000, and he has used significant
amounts of gold and silver as well as 24 carats of rubies and a paltry 8 carats
of diamonds. Significantly, all the materials have been donated as has Halston's
time in fashioning them. The contributors include Baumgold Brothers, Precious
Stone Corporation, the Platimum Imformation Bureau/USA, Whiting and Davis and
the Diamond Information Center. Halston also designed both Mrs. Ford's and Miss
Graham's gowns for the occasion.
The glitter in the cash register is quite pessibly the most money ever raised
for dance on a single evening==$200,000 (estimated). The tickets ranged in price
from $50 for a balcony seat to $10,000 for a seat in Row C in which Mrs. Ford
will sit although she herself bought a $125 ticket--the price paid by the major-
ity of ticket holders. Among the major sponsors of the evening are the Lincoln
Savings Bank, which underwrote ome-quarter of the cost of "Lucifer" ($12,000),
Halston, an anonymous $10,000 contributor, the Shubert Foundation ($6,000) and
R.
FORD
Woody Allen ($5,000)--all of which benefits the non-profit Graham Company and ALD School.
LIBRARY
The occasion for all the festivities and effort is provided by the fact of
the 50th Anniversary Celebration of the Martha Graham Dance Company which gave
its first performance at the 48th Street Theatre in New York on April 18, 1926.
Miss Graham, whose career as a dancer began a decade earlier in 1916 with the
Denishawn Company of Ruth St. Denis and Ted Shawn, has since 1926 choreographed
149 ballets by her count (Other sources credit Miss Graham with up to 158 works.
Miss Graham, who freely admits with characteristic candor that "there have been
lots of clinkers," has apparently forgotten about some of the worst.) Mrs. Ford
is the Honorary Chairman of the Celebration Committee and Mrs. Aristotle Onassis
MORE
MARTHA GRAHAM BENEFIT - page three
and Miss Alice Tully are the Honorary Vice Chairmen. Mrs. Marvin Traub is the
Committee Chairman, Mrs. Michael Brown is Committee Coordinator and Mrs. Harold
Reed is Reception Committee Chairman. A champagne reception with wine and Grand
Marnier crepes provided by Carillon Importers, Ltd. and Sol Krieg Associates will
be held in the Uris Theatre for about 800-900 guests following the performance.
The white and gold galleries of the Uris, which includes the Theatre Hall of
Fame, will be decorated with huge floral arrangements by Renaldo Maia.
In addition to the world premiere of "Lucifer," the program will include
introductory remarks by Miss Graham, a brief display of Graham technique, the
solo "Messenger of Fate" from the full-length "Clytemnestra," "Seraphic Dialogue,"
"Lamentation," "Diversion of Angels" and Dame Margot and Mr. Nureyev in the "White
Swan" pas de deux from the second act of "Swan Lake." The program should end at
approximately 11:00 p.m. (the press agent said hopefully).
For "Lucifer," the setting is designed by Philippino archtect Leandro Locsin.
The lighting is by Ronald Bates. The cast includes Dame Margot, Rudolf Nureyev,
Daniel Maloney, Mario Delamo, Tim Wengerd, Peter Sparling, Eric Newton, David Chase,
Peggy Lyman, Lucinda Mitchell, Bonnie Oda Homsey, Elisa Monte and Shelley Washington. FOR
NOTE ON MRS, FORD AND MISS GRAHAM: Prior to her marriage to Gerald Ford, Betty
Ford studied and danced with Martha Graham in the late 30's and early '40's in
New York. On at least two occasions, Mrs. Ford (Betty Bloomer) actually danced
with the Graham Company including a 1938 performance in Miss Graham's "American
Document" in Carnegie Hall. Last week, the 81 year-old Miss Graham received Mrs.
Ford at the Graham School on East 63 Street in New York. It was the first time
the two had met, though there had been recent phone calls, since the early '40's.
A moment of high emotion for both women as well as many of the press and friends
assembled in the main studio of the School, Mrs. Ford and Miss Graham each spoke
glowingly of each other and watched a brief rehearsal of a part of "Lucifer."
Before leaving Mrs. Ford paid $125 by check for her ticket for the benefit.
# # #
For last minute ticket information, call the Uris box office (212) 586-6510.
JUNE19
June 19, 1975
FROM: TOM KERRIGAN
One Montague Terrace
Breeklyn, N.Y. 11201
(212) 643-1249
IT'SAN
FACT SHEET
HSTORIC
NORAN NIGHT
The purpose of tonight's performance by the
Martha Graham Dance Company with Dame Marget Fonteyn
and Rudolf Nureyev is to raise funds for the non-
profit Martha Graham Center for Comtemperary Dance,
Inc. Specifically, a deficit of $75,000, which has
DANCE
been carried by the company for one year, had to be
irradicated, (The Martha Graham Center operates
both the Martha Graham Company and School.)
MARTHA
Martha Graham, herself, fought the idea of
the benefit until just a few weeks ago. In fact,
GRANAMA
this is the first benefit performance Miss Graham
has allowed for her company since its beginnings
FORD 2. LIBRARY GERATO
MARGOT
in 1926.
"I hated to admit," she said in a recent inter-
view with the Associated Press' Mary Campbell, "we
FONTEYN NUREVEV
couldn't make money in a more natural way. I didn't
want it to be regarded as a publicity stunt. I don't
believe in bankruptcy. You owe the workman and other
people; they have a right to be paid. I think its
a betrayal of trust not to. I am not fighting the
benefit now. To have people stand with me as much
as they have--it has been very warm and very meving."
MORE
MARTHA GRAHAM FACT SHEET/page two
The tickets for the performance tonight were priced from $50 to $10,000.
The purpose behind the categories from $500-$10,000 was to provide a venue
for those who wished to come forward and make gifts to the company in these
amounts. The idea that these funds were expended by the patrons for tickets,
per say, is erroneous. The question posed by the Graham management when
the benefit was planned was: how do we let people know that we need sigmifi-
cant funds contributed as major gifts.
The solution was to create the following categories of contributions
in which tickets were available: Founder's Rew-$10,000; Benefacter's
Rew-$5,000; Donor's Rew-$1,000; Patron's Rew--$500; Centributers--$125;
Asseciates--$75; $50--Friends. All but $10 in each category was tax-deducti-
ble. A small number of tickets at $25 each were reserved for students at
the Graham School.
Remarkably enough, the idea worked. As of 6:00 p.m. today (19) funds
in the amount of $196, 151 had been raised. This is believed to be the largest
amount of money ever raised at a single performance in a theatre in the history
of dance. (By comparison, the New York City Ballet raised $140,000 for a
benefit performance at the State Theatre recently where the seating capacity
is 2700 seats. The highest gress for abenefit at the Metropolitan Opera (4000
seats) is $422,000. On this occasion the Uris Theatre has 1874 seats.
The Graham Company, in addition to gifts of cash, received a goodly
FORD R. GERALD LIBRARY
mumber of services and materials, which were donated. Most spectacularly,
of course, are the materials used in the Halsten-designed cosutmes. The
retail worth of these costumes is placed by Halston at approximately $250,000,
and the cotumes are now owned in toto by the Graham Company. It is intended
that duplicate costume-will be made to replace the originals, which will be
auctioned off next spring for the benefit of the company and school.
# # #
FROM: TOM KERRIGAN
One Montague Terrace
Brooklyn, N.Y. 11201
(212) 643-1249 or 832-9166
BETTY FORD AND MARTHA GRAHAM: BACKGROUND
Martha Graham is 81. She is generally considered to be the world's
most important and influential modern-dance choreographer, and it is frequently
though inaccurately, said of her that she "founded" modern dance. In reality
Martha Graham was one of several seminal artists in modern dance including
Doris Humphrey, Charles Weidman, Hanya Holm and Heln Tamiris. Miss Graham's
contribution is, however, significant on two important counts: one, she
codified modern-dance movement into a vocabulary of standardized technique--
a technique which finds a parallel in classical ballet, and two, she has
created a vast body of works from 1926 to the present which number 149. It
is thought that this is the largest repertoire ever created by a single
choreographer in the history of dance and is certainly the largest repertoire
of any living choreographer. In her influence on her chosen art and the scope
of her work, she is often compared to Picasso in art and Stravinsky in music.
The Martha Graham Dance Company is the oldest dance company in America
and the oldest modern-dance company in the world. It was founded in 1926
by Martha Graham along with three other dancers who gave one performance for
a few hundred people in the 48th Street Theatre on Broadway. Now in its
FORD R. GERALD LIBRARY
fiftieth year, the company enjoys world-wide acclaim having toured extensive-
ly for the U.S. State Deaprtment and under its own auspices including a re-
cent fall, 1974, tour of Asia which logged 30,000 miles and included Saigon--
the only American dance company to ever perform there.
MORE
FACT SHEET
Betty Ford's association with Martha Graham occured in the late '30's
and early '40's in New York. The records of the Graham School are imprecise
as to exact dates, but it is clear that Mrs. Ford, then Elizabeth Bloomer,
appeared with the Graham Company in Carnegie Hall and at the Alvin Theatre
in the fall and winter of 1938. The playbills for those performances are
extant and show that Mrs. Ford, though not a member of the company proper,
was one of nine women billed as "Assistant Dance Group." The work she danced
in was "American Document," and she may have also appeared in another Graham
work, "Primitive Mysteries."
In order to celebrate the 50th Anniversary of the Martha Grahm Dance
Company properly, the Board of Trustees of the Martha Graham Center for Con-
temporary Dance, Inc., formed a 50th Anniversary Committee which is planning
various events through out 1975-76. The Trustees asked Mrs. Ford to become
Honorary Chairman of the Committee, which she accepted. Mrs. Aristotle
Onassis and Miss Alice Tully are the Honorary Vice Chairmen. Mrs. Marvin
Traub, whose husband is President of Bloomingdale's in New York, is the Chair-
men of the Committee, and Mr. Francis S. Mason, Jr., is the Chairman of the
Trustees.
The first event in the year-long celebration is a benefit performance
on June 19 at the Uris Theatre in New York for which Miss Graham has created
a new ballet for Dame Margot Fonteyn and Rudolf Nureyev. It is the first time
that the three artists have worked together. Tickets for the benefit are
priced from $50-125 with special contribution categories from $500-$10,000.
To date the receipts for the evening total more than $140,000, and it is likely
that the total raised on June 19 will be the largest amount of money raised
on a single night in the history of dance.
# # #
Sheila
THE WHITE HOUSE
WASHINGTON
URIS THEATRE SEATING
Listed are some of the people who will occupy seats on the
aisle who will be on your right as you proceed to your seat.
L Martha Duffey, Senior Editor, Time
J Danny Kaye
G
Steve McQueen, Ali McGraw
F Leonardo, Locsin, Phillipine Architect who designed Lucifer set
E Halston, pic Earl Wilson
D 102-Mrs. Marvin Traub-Chairman of event, former Graham student
103-Marvin Traub-President of Bloomingdale's
C 101-Mrs. Ford
102-Woody Allen Pic sent
103-Diane Keaton Pic sent
104-Francis Mason
105-Mason guest
106-Mason guest
107-Bethsabee de Rothschild
108-Jeanette Ordman
On your left as you come down the aisle will be the major dance
critics covering the evening. Clive Barnes will be one row back
in row D, with the Washington Post behind him.
Across the aisle from your seat and one seat in will be Lauren
Bacall.
FORD i LIBRARY GERALD
? all pictures have been sent
Do you want pictures to go to any
of the above who were not on
the list
THE WHITE HOUSE
WASHINGTON
URIS THEATRE SEATING
Listed are some of the people who will occupy seats on the
aisle who will be on your right as you proceed to your seat.
L Martha Duffey, Senior Editor, Time
J
Danny Kaye
G
Steve McQueen, Ali McGraw
F
Leonardo Locsin, Phillipine Architect who designed Lucifer set
E
Halston, Earl Wilson
D 102-Mrs. Marvin Traub-Chairman of event, former Graham student
103-Marvin Traub-President of Bloomingdale's
C 101-Mrs. Ford
102-Woody Allen
103-Diane Keaton
104-Francis Mason
105-Mason guest
106-Mason guest
107-Bethsabee de Rothschild
108-Jeanette Ordman
FORD 8. GERATE LIBRARY
On your left as you come down the aisle will be the major dance
critics covering the evening. Clive Barnes will be one row back
in row D, with the Washington Post behind him.
Across the aisle from your seat and one seat in will be Lauren
Bacall.
June 30, 1975
Please mat and inscribe these pictures
to the following people. The inscription
is:
To:
with appreciation and warm best
wishes.
Thanks.
Carolyn
FORD & GERALD LIBRARY
POLLOWING:
John J Fondacaro
The Waldorf Astoria
New York, N. Y. 10022
V.M. Del Castillo
The Waldorf Astoria
New York, N.Y.
Joe Rantissi
The Waldorf Asotria
New York, N. Y.
Snapper
c/o Halston
33 E. 68th St.
New York, N. W.
Mrs. Gertrude Parker
Republican County Committee
Hotel Roosevelt
45 E. 45th Street
New York , N.Y.
Mr. Vince Albano
Republican County Committee
Hotel Roosevelt
45 E. 45th Street
New York, N.Y.
Potson
FORD LIBRARY
MEMORANDUM
THE WHITE HOUSE
WASHINGTON
July 7, 1975
NOTE TO THE PHOTO OFFICE
FROM: Carolyn K. Porembka
Please send us the following photographs from the First Lady's
recent trip to New York on June 19-20, 1975. All are color pictures.
20 Ju 75 A5155-5
(President Scheel) -
2 copies of
19 Ju 75 A5148-31
(Pat Mori and Suzanne) -
A5145-2A
(Miss Marion Harris)
A5145-14A
(Kathryn Healy)
I
2 copies of
A5145-12A
(Woody Allen and Diane Keaton) -
19 Ju 75 A5145-06A (Woody Allen) -
A5145-27A
(Ron Protas -
A5146-3
(Susan Rothman) -
19 Ju 75 A5148-11
A5148-10
(Baron Hilton)
Frank wangemen
A5148-13
(Baron Hilton)
Size 11X14
19 Ju 75A 5148-20
(Mr. Christie)
)
Size 11X14
19 Ju 75 A5148-20A (Mr. Henri Bochene)
A5156-15A
(Dan Reichartz)
A5156-19A
(Eugene Scanlan)
-
3 copies of
20 Ju 75 A5157-10
(Martha Graham, Fonteyne & Nureyev)
(
A5157-25
(Jose Canales)
A5158-5A
(Paul Newman & Joanne)
A5158-9A
(Paul Newman)
A5159-13
(Halston)
2 copies of
19 Ju 75 A5149-12
(Martha Graham and Halston)
19 Ju 75A 5145-24
(Martha Graham)
A5149-16A (Nureyev)
(Black & White photo)
A5154-6A (Maria Palmira Sozzi)
GERAID LIBRARY R. FORD
\
A5145-24A (Martha Graham)
Thanks.
MEMORANDUM
THE WHITE HOUSE
WASHINGTON
May 28, 1975
NOTE TO THE PHOTO OFFICE
FROM: Carolyn Porembka
Please send us copies, size 11 x 14, of the following photographs
for several of the people involved in the First Lady's recent
trips to New York, Philadelphia and California.
New York City-April 30, 1975
A4304 10A (Ambassador and Mrs. George Feldman)
I
Philadelphia-May 12, 1975
A4500 24A (Miss Karen Toff)
I
A4499 3 (Ms. Shellie Anderson)
/
A4499 15 (Ms. Shellie Anderson)
A4501 15A (Agent D'Melio)
A4501 9A (Melba Moore)
A4501 4A (Mike Douglas)
/
A4501 2A (Ms. Shellie Anderson)
A4560 7A (PARC Work Training Center)
I
A4560 3A (PARC Work Training Center)
A4560 12A (George and Esther Horowitz)
A4560 29A (PARC Aides)
A4560 19A (Mike Douglas)
GERALD LIBRARY R. FORD
California-May 19, 1975
A4692 10 (Mrs. Hungate)
A4665 22A and 24A (Tom Schwartz) (Black and White)
A4679 1A, 5A, 6A, 13A, 15A (Fred Wilson)
A4682 32A (Fred Wilson)
A4682 4A (Bill Banowsky)
A4677 9A (Bob and Midge Clark)
A4677 15A (Mayor Bradley)
A4677 20A (Midge Clark)
A4677 7A (Nancy Reagan)
A4675 12 (Joan Embery)
A4675 10 (Bill McLaughlin)
A4675 22 (Bartara Parma)
A4675 27 (Mrs. Wilson)
A4675 30 (Mrs. Parma--mother)
Page 2
California-May 19-21, 1975
A4669 20 (Gary Hunt)
-
A4669 12 (Brig. Gen. Paul Graham)
A4669 11 (Gary Hunt)
A4669 14 (Pete Sorum)
A4683 7A (Supervisor Hayes)
A4678 8A (Gary Hunt) Bob strans A4678-11
A4683 14A (Mayor Bradley)
A4678 2A (Bob Clark)
A4670 4A (General Graham)
A4676 6A (Hanz Boldt)
A4676 7A (Bud Portenstein)
A4676 26A
A4676 31A (Chuck Bieler
A4684 10A (Art and Lois Linkletter)
A4684 26A Gary Hunt
A4678 17A (Margaret Brock)
A4681 9 (Pearl Williams)
A4681 27 (Pearl Williams)
A4673 8 (Leon and Barbara Parma) -
2 copies of
A4672 3 Boyler Holding
3 copies of
A4672 11 (Bill McLaughlin & Gallery and Sorum)
A4672 7 (Mayor Pete Wilson)
A4674 7 (Mrs. Oatman
A4672 5 (Mr. Gardiner)
A4672 13 (Bill McLaughlin)
A4677 28A (Pete Sorum)
A3955 9 (Popovich and Thompson) (Black and White)
form
FORD
GERA,
LIBRARY
PICTURES FROM NEW YORK VISIT
Read 7/2
June 19-20, 1975
Ursula Reed
Costumer foc Martha graham
Martha Graham Center
316 E. 63rd St.
with warm best
New York N. Y.
wishes
Janet Eilber
Dancer from Interlochen
333 West End Avenue
with admiration,
New Yor N.Y.
warm best wishes
Susan Rothman
Little girl in tulip dress at Theatre
230 E. 79th St.
with warm best wishos
New York, N.Y. 10021
Miss Marion Harris
Housekeeper at Waldorf
The Waldorf Astorai
New York, N.Y. 10022
Dan Reichartz
Asst Mgr. at Waldorf
Executive Assistant Manager
The Waldorf Astorai
with appreciation
New York, N.Y,
& warm bestwishes
Jose Canales
Room Service Waiter
1166 Manor Avenue
with appreciation
Apt 4B
warm best wishos &
Bronx, N. Y. 10472
Pat Morey
Halston
with Halston Appreciation fitter
33 E. 68th St.
& warm best wishes
New York, N. Y.
Suzanne
Halston seamstress
Halston
FORD & LIBRARY GERALD
33 E. 68th St.
New York, N.Y.
11x14
Constantino Christie & Henri Bochene
c/O Christie Bros.
secy
seamstress
Albert Capraro, Jean Balliett, Maria Palmira Sozzi, Giovanni Cattone
Peggy McDonnough and Lynn Yeager
c/o/ Albert Capraro
completion OI THIS torm,
rward immediately to the
THANK YOU LETTERS
Event Martha Graham Benefit
vance Office with a car-
n copy.
Date June19, 1975
LIBRARY
FORD
Advanceman Peter Sorum
R.
ME & ADDRESS
SALUTATION
GERATO
DESCRIPTION
Martha Graham
Dear Martha:
Self Explanatory
316 E. 63rd Street
New York, N.Y.
Cynthia Parker
Dear Cynthia:
Gneral Manager of Martha Graham Company
Martha Graham Center
Key contact for advance team. Was exceller
316 E. 63rd Street
throughout. Welcomed Mrs. Ford to the
New york, N. Y.
studio on her June 12 visit.
Tom Kerrigan
Dear Tom:
Public relations man for Martha was key
One Montague Terrace
press contact and did a great job. Very
Brooklyn, New York 112 01
professional.
Mr. Francis Mason, Jr.
Dear Francis:
Chairman of Martha Graham Board
Pierpont Morgan Library
Welcomed Mrs. Ford to the Uris
29 E. 36th Street
Theatre.
New York, N. Y. 10016
Dame Margot Fonteyn
Dear Margot:
Star performer in Lucifer
Flat 4
Prince's Gate
London, S. W., England
Rudolf Nureyev
Dear Rudolf:
Star performer in Lucifer
18 E. 78th Street
New York, N. Y.
Halston
Dear Halston:
Designed Mrs. Ford's dress whcih was
101 E. 63rd Street
10021
a gift to her. Also designed the costumes
New YOrk, N.Y.
for the dnace. Hosted a party which Mrs.
Ford attended following the performance.
rward immediately to the
THANK YOU LETTERS
Event Martha Graham Benefit
vance Office with a car-
Page 2
copy.
Date June 19, 1975
Completed
Advanceman Peter Sorum
& ADDRESS
SALUTATION
DESCRIPTION
Woody Allen
Dear Woody:
930 5th Avenue
FORD LIBRARY
Served as an escort to Mrs. Ford at the
Theatre. Also remember Diane Keaton
New York, N.Y. 10021
marge W.
GERALD
in the letter.
Victor Hugo
Dear Victor:
Presented Mrs. Ford with a painting of an
101 E. 63rd Street
egg at Halson's party
New York, N. Y.
Barron Hilton
Dear Barron:
Head of Hilton Corporation. Met Mrs. Ford
Las Vegas Hilton
at the Waldorf entrance and escorted her
Las Vegas, Nevada
to her suite.
Mr. Frank Wangeman
Dear Frank:
Welcomed Mrs. Ford to the Waldorf and
The Waldorf Astoria
escorted her to her room. Gave her a
New York, N. Y. 10022
Waldorf Astoria Cookbook.
Mr. Eugene Scanlan
Dear Gene:
Welcomed Mrs. Ford to the Waldorf. Put
Vice President and Manager
flowers and other items in the suite with
The Waldorf Astoria
his compliments. Also signed the cookbook.
New York, N. Y. 10022
boge
$15.00
BALLET GUIDE
FORD
LIBRARY
GERA
Walter Terry
BALLET GUIDE
Background, Listings, Credits, and
Background, Listings, Credits,
Descriptions of More than Five Hun-
and Descriptions of More Than
dred of the World's Major Ballets.
Five Hundred of the World's
Major Ballets
by Walter Terry
The dean of dance critics presents a
treasury of more than 500 ballets
danced around the world.
Each ballet is listed alphabetically
with choreographic, musical and
scenic credits plus the titles of com-
panies which produced them, along
with dates, places, and principal
dancers for the first performance.
There are synopses of all the major
ballets and pertinent historical com-
ments. Some of this material, particu-
larly from the Soviet Union, is
available here for the first time.
Included also are a capsule history
of ballet, a guide to "How to Look at
Ballet," and a glossary of ballet terms.
With photographs to illustrate the
highlights, this volume is one of the
most important additions to the li-
brary of ballet literature in recent
years.
$15.00
BALLET GUIDE
FORD
LIBRARY
GERA
Walter Terry
BALLET GUIDE
Background, Listings, Credits, and
Background, Listings, Credits,
Descriptions of More than Five Hun-
and Descriptions of More Than
dred of the World's Major Ballets.
Five Hundred of the World's
Major Ballets
by Walter Terry
The dean of dance critics presents a
treasury of more than 500 ballets
danced around the world.
Each ballet is listed alphabetically
with choreographic, musical and
scenic credits plus the titles of com-
panies which produced them, along
with dates, places, and principal
dancers for the first performance.
There are synopses of all the major
ballets and pertinent historical com-
ments. Some of this material, particu-
larly from the Soviet Union, is
available here for the first time.
Included also are a capsule history
of ballet, a guide to "How to Look at
Ballet," and a glossary of ballet terms.
With photographs to illustrate the
highlights, this volume is one of the
most important additions to the li-
brary of ballet literature in recent
years.