Ask the Scholar
Document scope · 1 page
Scholar
Ask about this object, its catalog metadata, its source description, or the page inventory.
For page-specific OCR and visual context, open one of the page chats.
Scholar Source Context
Document identity
localId
118569538
label
Personal Notes A-C [Late 1983-May 1985 BENG-BORA]
core
doc
dtoType
document
citationUrl
pageCount
1
Source metadata
id
118569538
contentType
document
title
Personal Notes A-C [Late 1983-May 1985 BENG-BORA]
citationUrl
identifierLocal
137
collections
Records of the White House Office of the Deputy Chief of Staff (Reagan Administration)
Michael K. Deaver's Correspondence Files
thumbnailUrl
largeImageUrl
imageCount
1
hasImages
yes
source
import
hasTranscription
no
Source extras
naId
118569538
coverageEndDate
logicalDate
1985-12-31
year
1985
coverageStartDate
logicalDate
1981-01-01
year
1981
levelOfDescription
fileUnit
recordType
description
ocrSource
nara-archive
Single page context
seq
1
pageIndex
0
type
document
mediaId
0908d0799abacac1
ocrText
Ronald Reagan Presidential Library
Digital Library Collections
This is a PDF of a folder from our textual collections.
Collection: Deaver, Michael: Files
Folder Title: Personal Notes A-C [Late 1983-May
1985 BENG-BORA]
Box: 29
To see more digitized collections visit:
https://reaganlibrary.gov/archives/digital-library
To see all Ronald Reagan Presidential Library inventories visit:
https://reaganlibrary.gov/document-collection
Contact a reference archivist at: [email protected]
Citation Guidelines: https://reaganlibrary.gov/citing
National Archives Catalogue: https://catalog.archives.gov/
MICHAEL K. DEAVER
Ali
Thanks for your mes
will- Engther went well
for the President
Thank you mike unerly
THE WHITE HOUSE
WASHINGTON
His Excellency
Ali Bengelloun
Embassy of Morroco
1601-21st Street, N.W.
Washington, D.C. 20009
Ronald Reagan Presidential Library
Digital Library Collections
This is a PDF of a folder from our textual
collections.
Collection: Deaver, Michael
Folder Title: Personal Notes A-C[Late
1983-May 1985 ARMJ-BENF]
Box: 29
To see more digitized collections
visit: https://reaganlibrary.gov/archives/digital-library
To see all Ronald Reagan Presidential Library inventories
visit: https://reaganlibrary.gov/document-collection
Contact a reference archivist at: [email protected]
Citation Guidelines: https://reaganlibrary.gov/citing
National Archives
Catalogue: https://catalog.archives.gov/
The Ambassador of Morocco
June - 11th 1984
Lee
Dear Mine
ell
just a short note to say
Welcom back to Washington
uls.
Please envey to the Posident
and Mrs Reagan my riacur
Congratalitis for the Inces of their
Europee trip a It Wa Lea by impremile
Cowially Ali
do note
MICHAEL K. DEAVER
Ali
and got buck the from beautiful lun eh
hower yourself hase shut me. aho
Journel
thoughts anto the president Thunk mine
- Inc your generous
THE WHITE HOUSE
WASHINGTON
His Excellency
Ali Bengelloun
Embassy of Morocco
1601 21st Street, N.W.
Washington, D.C. 20009
THE WHITE HOUSE
washington
May 23, 1984
May 23, 1984
Mr. Deaver:
The books entitled "Traditional
Islamic Craft in Moroccan Arch-
itecture hve been sent to the
Gift Unit for appraisal.
nvey to the President
onderful press conference.
They are wonderfully illustrated ificent, and I can assure
many very important
Do you wish to do a note?
or have me draft a letter?
right now is the situation
y - and I am sure that I
ty King Hassan II - that
S, the European nations
ndle this difficult situa-
I told you last Sunday,
ain-check is of course
"yes" - but when? To entice you to visit my country, I
am taking the liberty of sending you two books on Morocco.
Sincerely,
Ali Bengelloun
Ambassador
The Honorable
Michael K. Deaver
The White House
Washington, D.C.
MH
LHE
The Ambassador of Morocco
May 23, 1984
Dear Mike,
I would like to ask you to convey to the President
my appreciation for yesterday's wonderful press conference.
President Reagan's style was magnificent, and I can assure
you that I share his positions on many very important
issues currently facing the world.
Of course, our main concern right now is the situation
in the Gulf. I hope very strongly - and I am sure that I
reflect the feelings of His Majesty King Hassan II - that
the United States, the Gulf states, the European nations
and Japan will act together to handle this difficult situa-
tion.
Coming back to your note, as I told you last Sunday,
my answer to your request for a rain-check is of course
"yes" - but when? To entice you to visit my country, I
am taking the liberty of sending you two books on Morocco.
Gards
Sincerely,
Ali Bengelloun
Ambassador
The Honorable
Michael K. Deaver
The White House
Washington, D.C.
)
THE WHITE HOUSE
WASHINGTON
His Excellency Ali Bengelloun
Morocan Mission - at UN
767 3rd Avenue at 48th Street
New York, New York 10017
MICHAEL K. DEAVER
all
It was so good to see you
again - and Thank you for
the thou ght ful remember an
Best of each to you and mike plaase
stan in touch
washington
His Excellency Ali Bengelloun
Ambassador of Morocco
2900 Cleveland Avenue, N.W.
Washington, D.C. 20008
DO
MICHAEL K. DEAVER
clear ali
unfortunatly - in the light
of day. we discovered Carolyn
has a conflict with The date
me discussed for am insit To
morocco- Can we the mike a
nain - check?
THE WHITE HOUSE
The Ambassador of Morocco
May 9, 1984
Dear Mrs. Deaver,
Carolyn
I was so glad to see you both last Friday
and so pleased to hear about your forthcoming
visit to Morocco.
Hoping that you have not changed your
mind about your visit to Morocco starting
June 12, I already conveyed this good news to
General Moulay Hafid Alaoui, Minister of Protocol,
Chancellery and the Royal House. He would be
very pleased to organize a good program for your
visit.
I hope to hear from you or from Mike very
soon on this matter. In the meantime, please
find enclosed some brochures which might be
helpful for your visit.
Sincerely,
Warm required
Ali Bengelloun ad
Ambassador
get
Mrs. Michael Deaver
The White House
Washington, D.C.
alyn
dates
to
main cheek?
can we the a
mike
MICHAEL K. DEAVER
grant Mumb for The note any
the photographs In always
great to hem The news from The
home front. many Thunks nick
THE WHITE HOUSE
WASHINGTON
Mr. Grant Bennett
Grant Bennett Accountants
4601 H Street
Sacramento, California 95819
To Grant Bensett
Hira best was
Road Reagon
A
Friend and the President
Twile -
and where they work 1983
KEEP HIM FREE
M
'''
AR SAVINGS STAMPS
50
FOOD
SOCIDE
GOLD
M
HO
the
HOLT
GRANT BENNETT ACCOUNTANTS
A PROFESSIONAL CORPORATION
GRANT BENNETT, CPA
JANICE B. WILSON, CPA
K with
LAWRENCE A. N\EYER, CPA
EDWARD F. MORAN III, CPA
Thuary 17, 1984
Dear mike
The petures are great !!! l
could not have Veen mne delighted then
when l received them. Thank you fn
"intruding" on your Tusy day. I thnight l did you
would n interested in steing what
with pretures. you know, Vetter to than must must
people, if you are going spend VETTER
of you waking hours in one place, it you
surren ding myself with pleasant merchetem,
make ynussel compatable. l do by
theough pictures. It helps! no questim,
but what ru visit to Washington
and to steyme, and your recent "additim"
my pleasant 4601 H STREET memories. By the (916) 452-3771 way, since
to my nick wall has added to maintaining
SACRAMENTO, CA 95819
GBA
taking the pictures, l have made same
changes and you and you pal are
now abre my derk and Venealth
flag. Jorks much Vetter. In case you
didn it recall, the the
preture group is one of the Rodiak Bears
and the Pribilof Seals from a slick
fishing trip of cryple years ago.
The good life in California continues
finally had the cauage 'X leak the Iffece
during tax stasm for a week / Look
Came and all the kids & Sun Valley
In a ski trip Was greate Susik, rur
oldert daughter lines in Challis, Idaho
with her husband and jrentd us. was
truly great to ZE with all the keds and
Enjoy a week of shing. as you gine older, to
it nemes mnk and mnk difficult
get Everyme together on neutrul ground, or.
In that matter, anywhere If my
GBA
partness well let me, l il try that
again smetime. l sure hope you grt
to do these things now and then mike
keep up the good work, mike It must
WE trugh as heel goin 100 miles yes
hour, but you are stringly the
right guy at the right time.
Hope you Can put up with these
Smerhat chatsy letters but l know
l enjoy hearing from friends about
their goings - on. at least monthlarely,
it slows Shows down the 100 MPH.
Thanks again for th pectures. they
are a shortpper It added immensely
to my "oval office"
Regards
THE WHITE HOUSE
Post Mr. and Mrs. Berger Benson
San Mateo, CA 94401
Office Box 5425
$
Berg / Camble
where loes time go - If sems like
yes Tuday we were shootm lunds in
maxico. Fmially went on a goose
shoot - saw a lot of pirch - never got
a shot- going back in Junes alls
well although were looking Jornary menny Chrn to
trom
some Time off in the frimes. whe
12/16/83
MICHAEL K. DEAVER
Unuil
Enjoy!
mike
THE WHITE HOUSE
WASHINGTON
Mr. and Mrs. David Berkley
2857 Fourth Avenue
Sacramento, California 95819
THE WHITE HOUSE
WASHINGTON
Mrs. Rudy Bialuski
Giselle's Travel
2000 Watt Avenue
Sacramento, CA 95825
MICHAEL K. DEAVER
givelle
munhs for your will
Inc And the Contacts on to
the Prevident are our best
to you at Analy nine
MAIN OFFICE:
2000 Watt Avenue, Sacramento CA 95825
LANAI CENTER / 5667 FREEPORT BOULEVARD / sacramento, CALIFORNIA 958
iselle's
TELEPHONE 916 / 421-66
TELEX 3773
TRAVEL
INC.
note
September 25, 1984
Mr. and Mrs. Mike Deaver
4521 Dexter Street, N.W.
Washington, D.C. 20007
Dear Carolyn and Mike:
It was SO good to get your letter and both Rudy and I did a doubletake
looking at the picture of your two young people. They almost look like
grown-ups. We are getting older.
Do you know we got a granddaughter on June 6? We couldn't be more
thrilled.
My purpose of writing to you today is to tell you of something that
happened to us four or five times on a recent trip by car through
Czechoslavakia and Poland.
One of Rudy's far-fetched cousins, who is a retired Colonel from the
Polish Air Force pointed out a carpet in his living room on which he
knelt on a daily basis to pray for Mr. Reagan and his reelection. An
old lady (whose photo we took and have in our possession) begged us
to write to Mr. Reagan on behalf of her to let him know that she too
was praying for him every day. Several other people told us they were
convinced that Poland would be under Russian occupation by now if it
hadn't been for our President.
In this world, seemingly doomed by very liberal media, it is interesting
to find that when people are really in trouble they know full well
where the truth lies.
I'd like you to let the President know if you can. It was also interesting
to see that the churches we visited were chuckful of people weekdays and
Sundays to the point where people couldn't kneel in service as common
in Roman Catholic and Greek Orthodox churches.
We wish you well.
Love, fill x Rudy
HICK
SYSTEMS TRAVEL
AIR . SEA LAND TOURS CRUISES SIGHT SEEING CAR RENTAL HOTELS RESORTS
THE WHITE HOUSE
WASHINGTON
Mr. Frederick K. Biebel
485 Ocean Avenue
Stratford, Connecticut 06497
Friel
2.
many Thanks for all your help
and pupport. I'm way guateful for
all your done and look forward
to a great 1984. mary Christmas. mike
12/19/83
THE WHITE HOUSE
WASHINGTON
Mr. Charles R. Black
Alexandria, 8416 Virginia 22308
Blakiston Lane
Charlie
and I hope 1984 is a special
many Thanks for all your help
you for ace of us. I look forward
to working with you and wish
you Christmas and your Family a very merry
Cheers. Kaih
12/19/83
THE WHITE HOUSE
WASHINGTON
Mr. Anthony A. Bliss
Metropolitan Opera Association
Lincoln Center
New York, New York 10023
MICHAEL K. DEAVER
Jany
a Belated Thank you
Jen your note and affer of the
aptra - now that In "escaping"
magne mill have more Time
since we plan To stay in Washington
mury Thanks mike
MET
Metropolitan Opera Association, Lincoln Center, New York, New York 10023 (212) 799-3100
Anthony A. Bliss, General Manager
January 3, 1985
Mr. Michael K. Deaver
note
Assistant to the President
Deputy Chief of Staff
The White House
Washington, D.C.
20500
Dear Mike:
The radio has just announced your impending retirement from the
Washington scene. I am sorry to see you go but I certainly
understand the need to get back to private life even if it is
only a temporary return.
I am writing to re-emphasize our desire to have you here at the
Opera House and particularly if you contemplate returning to
California where you will be even further out of reach. If we
can't get you to the opera, perhaps we can involve you in the
Joffrey in Los Angeles.
Just to add a little pressure, I am sending a copy of this letter
to Carolyn in hopes that she can twist your arm better than I can.
Best wishes for a wonderful New Year and for whatever you take up
if, as, and when you leave the White House.
Sincerely,
Anthony Song A. Bliss
AAB/af
Cable Address: Metopera, New York
+
MICHAEL K. DEAVER
Jony
Thanks for the s Checkules and
the kind invitation In men grateful
and will let you know when I Can
tohe you up on the after
Chens / mike
THE WHITE HOUSE
WASHINGTON
Mr. Anthony A. Bliss
General Manager
Metropolitan Opera Association
Lincoln Center
New York, New York 10023
2/14/84
MET
Metropolitan Opera Association, Lincoln Center, New York, New York 10023 (212) 799-3100
Anthony A. Bliss, General Manager
February 7, 1984
docard
Mr. Michael K. Deaver
Assistant to the President
Deputy Chief of Staff
The White House
Washington, D.C. 20500
Dear Michael:
Here are the schedules I promised you. Don't forget I almost always
have two seats in my box in New York up to the last minute. Please
do not hesitate to call me if you find yourself in New York and
would like to see the opera.
Best wishes,
Song
Anthony A. Bliss
AAB:eg
Enclosure
Cable Address: Metopera, New York
Schedule for Washington, D.C.
April 23, 1984 - May 5, 1984
I
Monday, April 23
Peter Grimes
Tuesday, April 24
Francesca da Rimini
Wednesday, April 25
Ernani
Thursday, April 26
Die Walkuere
Friday, April 27
Die Entfuehrung aus dem Serail
Saturday, April 28-Mat.- - Tosca
Saturday, April 28-Eve.- Rinaldo
II
Monday, April 30
Die Walkuere
Tuesday, May 1
Ernani
Wednesday, May 2
Francesca da Rimini
Thursday, May 3
Entfuehrung aus dem Serial
Friday, May 4
Peter Grimes
Sat., May 5-Mat.
Rinaldo
Sat., May 5-Eve.
Tosca
ropolitan Opera
83-84 Season
onday
Sep 26 Les Troyens (first) Opening Night
3 Monday C
Dec 5 Tristan und Isolde (first) 7:00 p.m.
7:00 p.m.
5 Tuesday E
Dec
6 Ernani*
2 Tuesday B
Sep 27 La Fille du Régiment (first)
2 Wednesday B
Dec
7 Carmelites
2 Wednesday B
Sep 28 La Forza del Destino (first)
4 Thursday D
Dec
8 Don Giovanni
5 Thursday E
Sep 29 Les Troyens 6:30 p.m.
4 Friday D
Dec
9 Ernani*
3 Friday C
Sep 30 La Bohème (first)
3 Sat. Mat.
Dec 10 Carmelites 1:00 p.m.
5 Sat. Mat.
Oct 1 La Forza del Destino
2 Sat. Eve. B
Dec 10 Tristan und Isolde 7:00 p.m.
2 Sat. Eve. B
Oct 1 La Fille du Régiment
2 Monday B
Dec 12 Ernani*
5 Monday E
Oct
3 La Bohème
3 Tuesday C
Dec 13 Carmelites
3 Tuesday C
Oct
4 Les Troyens 6:30 p.m.
Wednesday
Dec 14 Fidelio (first)
4 Wednesday D
Oct
5 La Fille du Régiment
3 Thursday C
Dec 15 Tristan und Isolde 7:00 p.m.
2 Thursday B
Oct
6 La Bohème
3 Friday C
Dec 16 Carmelites (last)
Friday
Oct 7 La Forza del Destino
2 Sat. Mat.
Dec 17 Ernani* 1:30 p.m.
3 Sat. Mat.
Oct
8 La Fille du Régiment 1:30 p.m.
3 Sat. Eve. C
Dec 17 Fidelio
in
3 Sat. Eve. C
Oct
8 Les Troyens 7:00 p.m.
4 Monday D
Dec 19 Tristan und Isolde 7:00 p.m.
3 Monday C
Oct 10 La Forza del Destino
2 Tuesday B
Dec 20 Ernani*
5 Tuesday E
Oct 11 La Fille du Régiment
5
2 Wednesday
Dec 21 Fidelio
3 Wednesday C
Oct 12 Les Troyens 6:30 p.m.
ga
Thursday
Dec 22 Hansel and Gretel (first) 7:00 p.m.
5 Thursday E
Oct 13 Peter Grimes (first)
2 Friday B
Dec 23 Ernani*
2 Friday B
Oct 14 La Fille du Régiment
en
6
5 Sat. Mat.
4 Sat. Mat.
Oct 15 La Bohème
Dec. 24 Tristan und Isolde 1:00 p.m.
Sat. Eve.
Dec 24 No Performance
4 Sat. Eve. D
Oct 15 La Forza del Destino
2 Monday B
Oct 17 Les Troyens 6:30 p.m.
Monday
Dec 26 Hansel and Gretel 7:00 p.m.
4 Tuesday D
4 Tuesday D
Dec 27 Fidelio
Oct 18 Peter Grimes
5 Wednesday E
Oct 19 La Fille du Régiment
4 Wednesday D
Dec 28 Ernani* (last)
3 Thursday C
Oct 20 La Forza del Destino
Thursday
Dec 29 Hansel and Gretel 7:00 p.m.
Friday
Oct 21 La Bohème
Friday
Dec 30 Tristan und Isolde 7:00 p.m.
Sat. Mat.
Dec 31 Hansel and Gretel
Sat. Mat.
Oct 22 Centennial Gala
Sat. Eve.
wike
Sat. Eve.
Oct 22 Centennial Gala
Dec 31 Fidelio (New Year's Eve)
4 Monday D
Oct 24 La Fille du Régiment (last)
Monday
Jan 2 Hansel and Gretel (last) 7:00 p.m.
3 Tuesday C
Oct 25 La Forza del Destino
4 Tuesday D
Jan
3 Tristan und Isolde 7:00 p.m.
3 Wednesday C
Oct 26 Peter Grimes
5 Wednesday E
Jan
4 Fidelio
4 Thursday D
Oct 27 La Traviata (first)
4 Thursday D
Jan
5 Mahagonny (first)
4 Friday D
Oct 28 La Forza del Destino
4 Friday
Jan
6 La Bohème
2 Sat. Mat.
Oct 29 La Bohème
4 Sat. Mat.
Jan
7 Fidelio (last) 1:30 p.m.
2 Sat. Eve. B
Oct 29 Peter Grimes
3 Sat. Eve. C
Jan
7 Tristan und Isolde 7:00 p.m.
5 Monday E
Oct 31 La Traviata
4 Monday D
Jan
9 Mahagonny
5 Tuesday E
Nov 1 La Forza del Destino
Tuesday
Jan 10 La Bohème (2 Monday B)
2 Wednesday B
Nov 2 La Bohème
4 Wednesday D
Jan 11 Tristan und Isolde 7:00 p.m.
2 Thursday B
Nov 3 Don Giovanni (first)
2 Thursday B
Jan 12 Macbeth (first)
4 Friday D
Nov 4 Peter Grimes
2 Friday B
Jan 13 Mahagonny
4 Sat. Mat.
Nov 5 La Traviata
5 Sat. Mat.
Jan 14 La Bohème 1:30 p.m.
Sat. Eve.
Nov 5 La Bohème
4 Sat. Eve. D
Jan 14 Tristan und Isolde (last) 7:00 p.m.
2 Monday B
Nov 7 Don Giovanni
5 Monday E
Jan 16 Macbeth
Tuesday
Nov 8 La Traviata
2 Tuesday B
Jan 17 La Bohème
4 Wednesday D
Nov 9 Peter Grimes
3 Wednesday C
Jan 18 Mahagonnv
5 Thursday E
Nov 10 Don Giovanni
Thursday
Jan 19 (Premiere Benefit) 7:30 p.m.
2 Friday B
Nov 11 La Traviata
3 Friday C
Jan 20 Macbeth
3 Sat. Mat.
Nov 12 La Bohème
5 Sat. Mat.
Jan 21 Mahagonny
4 Sat. Eve. D
Nov 12 Peter Grimes
Sat. Eve.
Jan 21 La Bohème (last)
on
3 Monday C
Nov 14 La Traviata
2 Monday
Jan 23 Rinaldo*
2 Tuesday B
Nov 15 Peter Grimes
4 Tuesday
Jan 24 Mahagonny
3 Wednesday C
Nov 16 Don Giovanni
5 Wednesday E
Jan
25 Macbeth
3 Thursday C
Nov 17 La Traviata
5 Thursday
Jan 26 Rinaldo*
Friday
Nov 18 Ernani* (Premiere-Guild Benefit)
4 Friday
Jan 27 Mahagonny (last)
5 Sat. Mat.
Nov 19 Peter Grimes (last)
3 Sat. Mat.
Jan 28 Macbeth
2 Sat. Eve. B
Nov 19 Don Giovanni
4 Sat. Eve.
Jan 28 La Traviata
5 Monday E
Nov 21 Ernani*
5 Monday
Jan 30 Stravinsky (first)
5 Tuesday E
Nov 22 Don Giovanni
3 Tuesday C
Jan 31 Macbeth
5 Wednesday E
Nov 23 La Traviata
2 Wednesday
Feb
1 La Traviata
2 Thursday B
Nov 24 Ernani*
2 Thursday
Feb
2 Stravinsky
4 Friday D
Nov 25 Carmelites (first)
3 Friday
Feb
3 Rinaldo*
2 Sat. Mat.
Nov 26 Don Giovanni
2 Sat. Mat.
Feb 4 La Traviata (last) 1:30 p.m.
3 Sat. Eve. C
Nov 26 La Traviata
3 Sat. Eve.
Feb
4 Macbeth
4 Monday D
Nov 28 Carmelites
2 Monday
Feb
6 Stravinsky
4 Tuesday D
Nov 29 Don Giovanni
4 Tuesday
Feb
7 Rinaldo*
2 Wednesday B
Nov 30 Ernani*
4 Wednesday
Feb 8 Les Troyens 6:30 p.m.
5 Thursday E
Dec 1 La Traviata
3 Thursday C
Feb
9 Macbeth
3 Friday C
Dec 2 Don Giovanni
2 Friday
Feb 10 Tannhäuser (first) 7:30 p.m.
4 Sat. Mat.
Dec 3 Carmelites
4 Sat. Mat.
Feb 11 Rinaldo*
4 Sat. Eve. D
Dec 3 Ernani*
3 Sat. Eve.
Feb 11 Stravinsky
Monday
Feb 13 Les Troyens 6:30 p.m.
2 Monday
Mar 19 Manon Lescaut (first)
Tuesday
Feb 14 Rinaldo*
2 Tuesday
Mar 20 La Forza del Destino
Wednesday
Feb 15 Tannhäuser 7:30 p.m.
4 Wednesday
Mar 21 Abduction
Thursday D
Feb 16 Macbeth (last)
3 Thursday
Mar 22 Francesca da Rimini*
Friday
Feb 17 Stravinsky
4 Friday
Mar 23 Manon Lescaut
Sat. Mat.
Feb 18 Les Troyens (last) 12:30 p.m.
3 Sat. Mat.
Mar 24 La Forza del Destino (last)
Sat. Eve.
Feb 18 Rinaldo*
2 Sat. Eve.
Mar 24 Abduction
Monday
Feb 20 Arabella (first)
3 Monday
Mar 26 Francesca da Rimini*
Tuesday
Feb 21 Stravinsky
3 Tuesday
Mar 27 Abduction
Wednesday
Feb 22 Rinaldo*
3 Wednesday
Mar 28 Manon Lescaut
Thursday
Feb 23 Tannhäuser 7:30 p.m.
4 Thursday
Mar 29 Francesca da Rimini*
Friday
Feb 24 Arabella
3 Friday
Mar 30 Don Carlo (first) 7:00 p.m.
Sat. Mat.
Feb 25 Stravinsky
2 Sat. Mat.
Mar 31 Abduction
Sat. Eve.
Feb 25 Rinaldo* (last)
4 Sat. Eve.
Mar 31 Manon Lescaut
Monday C
Feb 27 Tannhäuser 7:30 p.m.
Tuesday
Feb 28 Arabella
4 Monday
Apr 2 Don Carlo 7:00 p.m.
Wednesday
Feb 29 Don Giovanni (Thursday 3)
5 Tuesday
Apr 3 Francesca da Rimini*
Thursday
Mar 1 Stravinsky (last)
2 Wednesday
Apr 4 Abduction
Friday
Mar 2 Arabella
4 Thursday
Apr 5 Don Carlo 7:00 p.m.
Sat. Mat.
Mar 3 Tannhäuser 1:30 p.m.
3 Friday
Apr 6 Manon Lescaut
3 Sat. Mat.
Sat. Eve.
Mar 3 Don Giovanni
Apr 7 Francesca da Rimini* (last)
3 Sat.Eve.
Apr 7 Billy Budd (first)
Monday
Mar 5 Arabella
Tuesday
Mar 6 Tannhäuser 7:30 p.m.
3 Monday
Apr 9 Don Carlo 7:00 p.m.
Wednesday
Mar
7 Don Giovanni
2 Tuesday
Apr 10 Billy Budd
Thursday
Mar 8 Arabella
5 Wednesday
Apr 11 Manon Lescaut
Friday
Mar 9 Francesca da Rimini* (Premiere-Guild
5 Thursday
Apr 12 Abduction (last)
Benefit)
4 Friday
Apr 13 Don Carlo 7:00 p.m.
Sat. Mat.
Mar 10 Don Giovanni (last) 1:30 p.m.
4 Sat. Mat.
Apr 14 Billy Budd
Sat. Eve.
Mar 10 Tannhäuser (last) 7:30 p.m.
2 Sat.Eve.
Apr 14 Manon Lescaut
Monday
Mar 12 Abduction (first)
5 Monday
Apr 16 Billy Budd
Tuesday
Mar 13 Francesca da Rimini*
5 Tuesday
Apr 17 Manon Lescaut
Wednesday
Mar 14 Arabella
4 Wednesday
Apr 18 Don Carlo 7:00 p.m.
Thursday
Mar 15 La Forza del Destino
2 Thursday
Apr 19 Billy Budd
Friday
Mar 16 Abduction
Friday
Apr 20 Manon Lescaut (last)
Sat. Mat.
Mar 17 Arabella (last)
2 Sat. Mat.
Apr 21 Don Carlo (last) 1:00 p.m.
Sat. Eve.
Mar 17 Francesca da Rimini*
4 Sat.Eve.
Apr 21 Billy Budd (last)
*New Production
**Subscription performance: the series day and number for this
performance are listed after the opera title.
Stravinsky consists of Le Sacre du Printemps, Le Rossignol and
Oedipus Rex.
Met Ticket Service (212) 362-6000
Met Subscription Department (212) 362-2080
Met Mail Orders (212) 362-3399
Metropolitan Opera Guild (212) 582-7500
All evening performances begin at 8 p.m., all matinees at 2 p.m.,
rinting of The Pocket Calendar is made possible
except as noted.
a special grant from Peat, Marwick, Mitchell & Co.
Met Family Performances and Benefits are printed in red.
METIS:
CENTENNIAL
THE WHITE HOUSE
WASHINGTON
Mr. Stuart Marshall Bloch
Ingersoll & Bloch
1401 16th Street, NW
Washington, DC 20036
MICHAEL K. DEAVER
stir - Thanks again we
enjoyed both plays I did
sujvey ma Rainery more Than
Curolyn - 2 Thought it was
great many Jhmnks for
are your kundrenes wike
Visdom of StuBloch 10/25/84
e: "The essence is execution,"
bear Mike,
L
Julia and 2 would
's 'Ma Rainey's' Oper
very much like to have
Levee, by contrast, has yet to
that a black man can't name his
terms if he's going to sell his mu
you and carolyn join
a white world. As he plots his f
career, he deceives himself int
lieving that a shoeshine and 1
his
schemes.
*) under sTand that beiween now and
then will be busy hours a day.
experient "Mave/ment' in R-Bderection!
Tom smile will win white backer
us in N+C, After NOV.
Inevitably, the promised door
portunity slams, quite literall
to see our new play-
Levee's face, and the sound has I
lent ring that reverberates thr
the decades. Levee must confror
just the collapse of his hopes bu
"Ma Rainey's Black
destruction of his dignity. Ha
played the white man's game and
to its rigged rules, he is left with
than nothing: Even as fails to
Bottom." is in a very
himself to whites, Levee has sole
his own sense of self-worth.
Mr. Dutton's delineation of
tragic downfall is red-hot. A t
important State /nent
actor a year out of Yale, he is at
as jazzy as his music. With his I
terous wisecracks and jumpy sp
on Pace- relations and
Bert Andrews
er's stance, he seems ready to
eresa Merritt in "Ma Rainey's
into the stratosphere envisioned il
ack Bottom."
fantasies of glory. But once he C
lands, the poison of self-hatred
human relations in
ages his massive body and dist
ecording the Blues
his thundering voice. No longer
to channel his anger into his musi
directs it to God, crying out th
our country in the 1920's.
AINEY'S BLACK BOTTOM, by August WII-
; directed by Lloyd Richards; costumes by
black man's prayers are doome
phne Pascucci; setting by Charles Henry
Clennahan; lighting by Peter Maradudin;
be tossed "into the garbage.' As
you
sic direction by Dwight Andrews; sound by
Dutton careens about with
Nebozenko; production stage manager,
rtimer Halpern; associate producers, Bart
checked, ever escalating turbule
rman, Hart Productions and William P.
he transforms an anonymous Chi
Perhaps, we could make
er. The Yale Repertory Theater production
sented by Ivan Bloch, Robert Cole and Fred-
bandroom into a burial ground 1
ck M. Zollo. At the Cort Theater, 138 West
race's aspirations.
h Street.
tyvant
John Carpenter
a week-end of it at
Lou Criscuolo
Joe Seneca
to
Robert Judd
Drag
Leonard Jackson
Mr. Dutton's fellow band mem
Charles S. Dutton
are a miraculous double-threat
our N+C apart meno and
ainey
Theresa Merritt
Mae
Aleta Mitchell
semble: They play their instrum
ster
Scott Davenport-Richards
eman
Christopher Loomis
nearly as convincingly as they
their juicy monologues. Aleta M
see avother play Lescage or as well,
ell and Lou Criscuolo, as Ma's 8
chewing lover and harried V
ce of the singer's traditional ar-
manager, are just right, and S
gement.
Scott Davenport-Richards, as
of your choice. IP. suvday mothe Park.
et even as the battle is joined be-
erstwhile Little Lord Faunteroy
en emblematic representatives of
young nephew. It's one of
generations of black music, we're
evening's more grotesquely amu
Keep up the gread work tours'l
st into a more profound war
gags that Ma imperiously insist
ut identity. The African national-
having the boy, a chronic stutt
and call After 11/6/84.*
among the musicians, the pianist
recite a spoken introduction on
stuBioch
edo (Robert Judd), argues that,
record.
done sold ourselves to the white
Miss Merritt is Ma Rainey in
шай in order to be like him." We soon
Like his real-life heroine, the legend-
ny's "raçe" division. Mr. Wilson
nate. A singing actress of both with
realize that, while Ma's music is from
power, she finds bitter humor in
ary singer Gertrude (Ma) Rainey,
gives us Ma (Theresa Merritt) at the
the heart, her life has become a sad,
character's distorted sense of
Mr. Wilson articulates a legacy of un-
height of her fame. A mountain of
ludicrous "imitation" of white star-
When she barks her outrageous
peakable agony and rage in a spell-
glitter and feathers, she has become
dom. Levee's music is soulful, too,
mands to her lackeys, we see a S
binding voice.
a despotic, temperamental star,
but his ideal of success is having his
business monster who's come a
The play is Mr. Wilson's first to ar-
Continued on Page C3
"name in lights"; his pride is in-
way from her roots. Yet the roots
vested in the new shoes on which he's
still be unearthed. In a rare refle
blown a week's pay.
moment, she explains why she S
the blues. "You don't sing to feel
Ma, at least, senses the limits of her
ter," Miss Merritt says tend
success. Though she acts as if she
"You sing because that's a way o
owns the studio, she can't hail a cab in
derstanding life."
the white city beyond. She knows that
The lines might also apply to
her clout with the record company be-
play's author. Mr. Wilson can't r
gins and ends with her viability as a
the broken lives he unravels in
commercial product: "When I've fin-
Rainey's Black Bottom." But, lik
ished recording,' she says, "it's just
heroine, he makes their suffering
like I'd been some whore, and they
art that forces us to understand
roll over and put their pants on.'
won't allow us to forget.
FRIDAY, OCTOBER 12, 1984
L
Theater:
Stage: Wilson's 'Ma Rainey's' Open
Wilson's
Continued From Page CI
Levee, by contrast, has yet to le
that a black man can't name his d
'Ma Rainey's'
terms if he's going to sell his musi
complete with a retinue of flunkies, a
a white world. As he plots his fut
fancy car and a kept young lesbian
career, he deceives himself into
lover.
lieving that a shoeshine and Un
Opens
The evening's framework is a
Tom smile will win white backers
Paramount-label recording session
his schemes.
that actually happened, but whose de-
Inevitably, the promised door of
tails and supporting players have
portunity slams, quite literally,
been invented by the author. As the
Levee's face, and the sound has a
action swings between the studio and
lent ring that reverberates thro
the band's warm-up room
the decades. Levee must confront
by Charles Henry McClennahan as if
just the collapse of his hopes but
they might be the festering last-
destruction of his dignity. Hav
chance saloon of "The Iceman Co-
played the white man's game and
meth" Ma and her four accompa-
to its rigged rules, he is left with
nying musicians overcome various
than nothing: Even as fails to
mishaps to record "Ma Rainey's
himself to whites, Levee has sold
Black Bottom" and other songs. Dur-
his own sense of self-worth.
ing the delays, the band members
Mr. Dutton's delineation of
smoke reefers, joke around and remi-
tragic downfall is red-hot. A bu
nisce about past gigs on a well-trav-
actor a year out of Yale, he is at f
eled road stretching through whore-
as jazzy as his music. With his b
houses and church socials from New
Orleans to Fat Back, Ark.
terous wisecracks and jumpy spr
Charles S. Dutton in a scene
Bert Andrews
er's stance, he seems ready to 1
The musicians' speeches are like,
from August Wilson's "Ma
Theresa Merritt in "Ma Rainey's
into the stratosphere envisioned in
improvised band solos. - variously
Rainey's Black Bottom."
fizzy, haunting and mournful. We
Black Bottom."
fantasies of glory. But once he cr
lands, the poison of self-hatred
hear how the bassist Slow Drag
ages his massive body and dist
(Leonard Jackson) got his nickname
Recording the Blues
his thundering voice. No longer a
Bert Andrews
at a dance contest, but also about how
to channel his anger into his music
a black preacher was tortured by
MA RAINEY'S BLACK BOTTOM, by August WII-
directs it to God, crying out tha
being forced to "dance" by a white
son; directed by Lloyd Richards; costumes by
rive in New York, and it reached
black man's prayers are doome
vigilante's gun. Gradually, we come
Daphne Pascucci; setting by Charles Henry
By FRANK RICH
here, via the Yale Repertory Thea-
to know these men, from their elusive
McClennahan; lighting by Peter Maradudin;
be tossed "into the garbage." As
music direction by Dwight Andrews; sound by
Dutton careens about with
ter, under the sensitive hand of the
pipe dreams to their hidden scars, but
Jan Nebozenko; production stage manager,
ATE in Act I of "Ma Rainey's
man who was born to direct it, Lloyd
so deftly are the verbal riffs orches-
Mortimer Halpern; associate producers, Bart
checked, ever escalating turbuler
Berman, Hart Productions and William P.
Black Bottom," a somber,
Richards. On Broadway, Mr. Rich-
trated that we don't immediately no-
Suter. The Yale Repertory Theater production
he transforms an anonymous Chic
ards has honed "Ma Rainey's" to its
presented by Ivan Bloch, Robert Cole and Fred-
bandroom into a burial ground for
aging band trombonist (Joe
tice the incendiary drama boiling un-
erick M. Zollo. At the Cort Theater, 138 West
Seneca) tilts his head heaven-
derneath.
48th Street.
race's aspirations.
finest form. What's more, the direc-
Sturdyvant
John Carpenter
ward to sing the blues. The setting is
tor brings us an exciting young actor
That drama is ignited by a conflict
Irvin
Lou Criscuolo
a dilapidated Chicago recording
Charles S. Dutton along with his
between Ma and her young trumpeter
Cutler
Joe Seneca
Toledo
Robert Judd
studio of 1927, and the song sounds as
extraordinary dramatist. One won-
Levee, played by Mr. Dutton. An am-
Slow Drag
Leonard Jackson
Mr. Dutton's fellow band meml
bitious sport eager to form his own
Levee
old as time. "If I had my way," goes
ders if the electricity at the Cort is
Charles S. Dutton
Ma Rainey
are a miraculous double-threat
Theresa Merritt
the lyric, "I would tear this old build-
the same that audiences felt when
jazz band, Levee mocks his employ-
Dussie Mae
Aleta Mitchell
semble: They play their instrum
ng down."
er's old "jugband music" and cham-
Sylvester
Scott Davenport-Richards
Mr. Richards, Lorraine Hansberry
Policeman
Christopher Loomis
nearly as convincingly as they
Once the play has ended, that lyric
and Sidney Poitier stormed into
pions the new dance music that has
their juicy monologues. Aleta Mi
has almost become a prophecy. In
Broadway with "A Raisin in the Sun"
just begun to usurp the blues among
ell and Lou Criscuolo, as Ma's g
'Ma Rainey's Black Bottom," the
black audiences in the urban North.
a quarter-century ago.
chewing lover and harried W
Already Levee has challenged Ma by
place of the singer's traditional ar-
writer August Wilson sends the entire
As "Ma Rainey's" shares its direc-
rangement.
manager, are just right, and S
history of black America crashing
tor and Chicago setting with "Rai-
writing a swinging version of "Ma
Scott Davenport-Richards, as I
Rainey's Black Bottom" that he ex-
Yet even as the battle is joined be-
erstwhile Little Lord Faunteroy
down upon our heads. This play is a
sin," so it builds on Hansberry's
pects the record company to use in
tween emblematic representatives of
young nephew. It's one of
searing inside account of what white
themes: Mr. Wilson's characters
two generations of black music, we're
evening's more grotesquely amu
racism does to its victims - and it
want to make it in white America.
thrust into a more profound war
loats on the same authentic artistry
about identity. The African national-
gags that Ma imperiously insist
And, to a degree, they have. Ma Rai-
as the blues muşic it celebrates. Har-
ist among the musicians, the pianist
having the boy, a chronic stutt
ney (1886-1939) was among the first
owing as "Ma Rainey's" can be, it is
black singers to get a recording con-
Toledo (Robert Judd), argues that,
recite a spoken introduction on
record.
also funny, salty, carnal and lyrical.
tract - albeit with a white compa-
"We done sold ourselves to the white
Like his real-life heroine, the legend-
man in order to be like him.' We soon
Miss Merritt is Ma Rainey is
ny's "race" division. Mr. Wilson
ary singer Gertrude (Ma) Rainey,
gives us Ma (Theresa Merritt) at the
realize that, while Ma's music is from
nate. A singing actress of both wi
height of her fame. A mountain of
the heart, her life has become a sad,
power, she finds bitter humor il
Mr. Wilson articulates a legacy of un-
character's distorted sense of
peakable agony and rage in a spell-
glitter and feathers, she has become
ludicrous "imitation" of white star-
inding voice.
a despotic, temperamental star,
dom. Levee's music is soulful, too,
When she barks her outrageou
but his ideal of success is having his
mands to her lackeys, we see a
The play is Mr. Wilson's first to ar-
Continued on Page C3
business monster who's come a
"name in lights"; his pride is in-
way from her roots. Yet the root
vested in the new shoes on which he's
still be unearthed. In a rare refle
blown a week's pay.
moment, she explains why she
the blues. "You don't sing to fee
Ma, at least, senses the limits of her
ter," Miss Merritt says ten
success. Though she acts as if she
"You sing because that's a way
owns the studio, she can't hail a cab in
derstanding life.'
the white city beyond. She knows that
The lines might also apply
her clout with the record company be-
play's author. Mr. Wilson can't
gins and ends with her viability as a
the broken lives he unravels ir
commercial product: "When I've fin-
Rainey's Black Bottom. But, 1:
ished recording," she says, "it's just
heroine, he makes their sufferir
like I'd been some whore, and they
art that forces us to understar
roll over and put their pants on."
won't allow us to forget.
MICHAEL K. DEAVER
Stuart
Thanks minutes for The
tuchets to Star lift Express. It
was very interesting but 2 really
cant ru why its sucha sell out -Fal
short of Cats if With again- - many mike Than
THE WHITE HOUSE
WASHINGTON
Mr. Stuart Bloch
Ingersoll and Bloch
1401 16th Street, N.W.
Washington, D.C. 20036
EIIZABETHIDEN BOARD
Dear Mr. Deaver,
I am very sorry to hear
that you are in the hospital
If you feel up to it, try a
piece of this canot cake. 2 am
convinced that it has restorative
powers. I ate one of these every
MICHAEL K. DEAVER
Elizabeth
How chil you know They're
trying to failen me up? 2 can
handly wait to get hack to work.
Look furned to seeing you soon
many Thanks.
mike
ELIZABETH IDEN BOARD
Dear Mr. Deaver,
I am very sorry to hear
that you are in the hospital
If you feel up to it, try a
piece of this canot cake. 2 am
convinced that it has restorative
ate one of these every
week while training for the
)
Marise coups marathon.
Please take care of yourse
when you are better I will be
very in terested to hear your opinion
on the television coverage of the
Inaugural.
are Spicabet my best,