In 1980, Bill Irwin and I did a show for the Baltimore International Theatre Festival; it contained many of the bits that later became The Regard of Flight. Murdoch was the name of our putative theatrical company, which also included Michael O’Connor.  He was elsewhere for this gig.

For “Murder in the Library,” Michele Larsson and I wrote a half-hour radio detective show, by scrupulously following the formulas in a writers’ manual.  We recorded it with a fine cast, and Michele choreographed a solo dance to it.  This was in San Francisco, in 1980.

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.