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.

I put on An Attractive Production at Dance Theater Workshop in 1985.  It was a busy year, and I was also moving back and forth between NYC and San Francisco.  I’m surprised I got it on its feet at all.  Still, it seems to have gone well.

Young Eddie and I got a nice mention in The New Yorker, for one of those club shows I was doing back in 1989.