For “Why Girls Too Must Know the Steps,” a dance by Moya Devine and Barbara Roesch, I was called upon to portray Arthur Murray.  I don’t know if I was the best choice for the role, but who is?  This was in San Francisco, back in 1980.

Doug and Eddie appear in Ventriloquism, a portfolio by Laurie Simmons, published by Editions Ilene Kurtz in 1986.

It’s a piano piece; it’s rebarbative; play it!

The Regard of Flight was produced at Lincoln Center in 1987.  Since the Vivian Beaumont is classed as a Broadway house, this was officially my Broadway debut, as Mel Gussow noted in the New York Times (5/10/87).

A bit of quiet three-part counterpoint.

I joined “Bob Berky and friends” for this romp through the sculpture garden of the Museum of Modern Art.  I wrote a waltz for the occasion; the guards yelled at us for touching the sculptures.

A piano reduction of a score I wrote for a dance by Naomi Gruen, long ago.

This was my first foray into Forteana, reading selections from Charles Fort for the Virginia Matthews Dance Company, back in San Francisco in 1985.  And lo, Janice Ross of the Oakland Tribune approved, even if she got Fort’s name wrong (2/11/85).

The Courtroom never really got past the “work-in-progress” level, and Bill never revived it after its run in 1985.  What an ensemble that was!  It got mixed reviews, but The New Yorker was happy.