Dancer Wendy Whelan talks about her work with choreographers Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo on “Restless Creature,” a suite of four duets. At the Parrish Art Museum, curator Alicia Longwell discusses the life and work of American Impressionist William Merritt Chase. Christina Ha presents the arts news from Neue Galerie New York.

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> FUNDING FOR 'NYC ARTS' I MADE POSSIBLE BY ROSALIND P.

WALTER, JACKIE AND JEFFREY BROWN, JODIE AND JOHN ARNHOLD, THE MILTON AND SALLY AVERY ART FOUNDATION, AND ELROY AND TERR CRUMBHOLTZ PROGRAM, AND FROM FUNDS FROM THE NEW YORK CITY CULTURAL AFFAIRS IN PARTNERSHI WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION, EXCELLENCE FIRST REPUBLIC PRIVATE WEALT MANAGEMENT IT'S A PRIVILEGE TO SERVE YOU.

♪♪

> GOOD EVENING AND WELCOME T 'NYC ARTS.

I'M AT THE WNET STUDIOS AT LINCOLN CENTER IT IS OUR PLEASURE TO SHARE WITH YOU THE BEST IN ARTS, CULTURE IN OUR AREA WHETHER IT IS THEATER, DANCE FILM, OR ARTS, CLASSIC O CONTEMPORARY, THIS EVENING W BEGIN OUR PROGRAM INSIDE THE WORLD OF DANCE OF ALL THE ARTS, DANCE IS TH MOST FLEETING.

ITS BEAUTY ONLY EXISTS WHILE IT'S BEING PERFORMED, AND THEN JUST LIVES IN OUR MEMORY FROM THE FIRST DAY A DANCE WALKS ONSTAGE, EVERY DAY BECOMES PRECIOUS BECAUSE MORE THAN ANY OTHER ART FORM, A CAREER I BALLET IS THE SHORTEST LAST WEEK, WENDY WAILEN TOOK HER FINAL BOWS AS A PRINCIPLE DANCER WITH THE NEW YORK CITY BALLET.

BUT EVEN AFTER 30 YEARS WITH THE COMPANY, SHE IS NOT READY FO RETIREMENT LIKE MOST OF THE COMPANY'S DANCERS, SHE STUDIED AT TH SCHOOL OF AMERICAN BALLET THAT TRAINS STUDENTS IN THE RIGOROU ATHLETICISM AND MUSICALITY O THE BALLANCHINE AESTHETIC.

SHE IS THE FIFTH TO LEAVE THIS SEASON WE SPOKE WITH WENDY IN HER UPPER WEST SIDE APARTMENT EARLIER THIS SUMMER ABOUT PAST AND FUTURE PROJECTS ♪♪ [ APPLAUSE ]

I'VE BEEN THINKING ABOUT MY LAST NIGHT FOR PROBABLY MY WHOLE LIFE, YOU KNOW WHAT WOULD I DO?

HOW WOULD I SUM IT UP IN THE END?

THERE HAVE BEEN TIMES IN M CAREER WHERE INSECURITY HA FOLLOWED ME HUGELY BALLET COMPANIES THRIVE ON INSECURITY I MEAN, THAT'S THE FUEL FOR BALLET COMPANY THE FUEL FOR BALLET.

YOU WANT TO BE BETTER THAN WHA YOU THINK YOU ARE, BECAUSE YOU'RE NEVER REALLY GOOD ENOUGH.

AND I TRY TO FIND A WAY TO TAL IT DOWN.

AND I'VE GOTTEN PRETTY GOOD AT IT BUT I THINK THAT IT WILL ALWAY BE THERE, OF COURSE.

I DON'T NECESSARILY WANT TO DO BALLETIC POINT WORK ON STAGE AFTER NEW YORK CITY BALLET I THINK FOR A BALLERINA, THIS IS MY OWN OPINION, NEW YORK CIT BALLET'S POINTE WORK I EXTRAORDINARY.

AND THE CHOREOGRAPHY O BALLANCHINE IS THE PINNACLE OF POINTE WORK.

AND ONCE I LEAVE THERE, I LEAV THAT SO AS I WANT TO GO TOWARDS THI NEW CHAPTER, I REALLY WANT T KEEP GOING IN THAT DIRECTION AND NOT LOOK BACK.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

A LOT OF IT IS ABOUT LOSING TH LIGHTNESS.

REALLY PUTTING YOUR WEIGHT O THE GROUND I HAVE ONLY GONE BARE FOOT FOR A YEAR NOW I HAVE -- I NEVER DANCED BAR FOOT BEFORE THAT SO I AM STILL LEARNING HOW T WORK MY SKIN ON THE FLOOR.

I USUALLY WEAR BALLET SHOES FO A PIECE, AND WHEN WE JUST DID IT IN SARATOGA, I THOUGHT I'M GOING TO GO NUDE I'M GOING TO GO BARE FOOT.

AND I DID IT WITH BARE FEET FO THE FIRST TIME, AND IT WAS A WHOLE NEW EXPERIENCE OF DOIN THAT PIECE AND I ENJOYED IT A LOT TWO YEARS AGO, I WAS BEGINNING TO GET TO THIS POINT OF BEING -- I NEED -- I NEED SOMETHING I NEED SOME HYDRATION.

I NEED SOME INSPIRATION.

AND RESTLESS CREATURE CAME ABOUT BECAUSE I HAD BEEN THINKING FO A FEW YEARS ABOUT DOIN SOMETHING LIKE THAT.

THE CHOREOGRAPHERS WERE LINING UP THEY HAD BEEN ON MY MIND A WELL I HAD SEEN KYLE ABRAHAM AN BRIAN BROOKE AND I KNEW THEY WERE BOTH STIL DANCING AND STIL CHOREOGRAPHING AND I THOUGHT, OH, WANT TO DANCE WITH A CHOREOGRAPHER, BECAUSE HAD ALWAYS WANTED TO DANCE WIT HIM.

I LOVE WATCHING HIM MOVE, AND LOVE DANCING NEXT TO HIM AND THAT WAS PARTLY WHY I WA EXCITED TO DO THIS, WAS TO HAV THIS INITIAL NEW ENCOUNTER WIT THESE FOUR REALLY INTERESTIN ARTISTS.

BRIAN BROOKS WAS THE FIRST GUY I WORKED WITH.

AND I KNEW BRIAN WAS LIKE SUPER NICE GUY AND THEN WE GET IN THE STUDIO, AND HE'S SO FREAKING SMART AND HE'S MAKING THIS MOS COMPLEX, MOST INTRICATE, MOS INCREDIBLE PIECE 'FIRST FALL' WAS THE FIRST PIECE OF ALL THE 'RESTLESS CREATURE' WORKS.

AND I LIKE TO SAY THAT THI DANCE IS ONE BODY WITH FOU LEGS, FOUR ARMS, AND TWO HEADS SO THE TWO BRAINS REALLY HAVE TO BE SYNCED.

IF ONE PERSON FORGETS A MOMENT IT BREAKS IT SO THAT CHALLENGE IS REALL HARD I HAD SEEN KYLE ABRAHAM SI YEARS AGO AT FALL FOR DANCE.

AND I WAS LIKE LOOKING AT THIS GUY, BLACK GUY IN A TUTU AND I WAS LIKE, WHAT IS HE MAKING FUN OF US YOU KNOW, I WATCHED HIM, AND I WAS LIKE, WHOA HE'S NOT MAKING FUN OF US.

AND I JUST COULDN'T -- I COULDN'T WRAP MY MIND AROUND WHAT I WAS SEEING HIM DO WIT HIS BODY SO I MET HIM, TOLD HIM HOW MUC I RESPECTED HIM.

AND, GOD, I'D REALLY LIKE TO WORK WITH YOU ONE DAY.

I DON'T THINK HE BELIEVED ME SO WE FINALLY GOT INTO THE STUDIO, AND IT WAS THE HARDEST THING TO DO.

IT WAS CULTURALLY VERY DIFFERENT.

ENERGETICALLY, TEMPERAMENTALLY VERY DIFFERENT FROM ANYTHING I'D EVER DONE.

AND I KNEW IT WAS GOING TO B REALLY HARD FOR ME TO MATCH UP WITH SOMEBODY LIKE THAT.

AND HE WAS VERY QUIET IN REHEARSAL.

KIND OF RESERVED AND PULLE BACK AND NOT SO CONNECTING.

AND THAT TOOK A LITTLE WHILE AND I THINK THAT CAME WITH TRUST.

JOSHUA BEAMISH AND I, WE MET I BALLET CLASS AND I LEARNED THAT I WAS EXACTLY 20 YEARS OLDER THAN HIM ON THA DAY.

I REALLY DIDN'T KNOW HE WAS CHOREOGRAPHER AT FIRST AND I JUST THOUGHT HE WAS THIS KID TAKING BALLET CLASS.

THEN I SAW HIM DO HIS WORK I WAS LIKE, OH, HE'S NOT JUST BALLET KID HE'S PRETTY SERIOUS.

AND HE PRETTY MUCH HAS THI SPECTACULAR MOVEMENT VOCABULAR LIKE NOBODY I'VE EVER SEEN AND I DIDN'T EVEN KNOW ALEJANDRO UNTIL OUR FIRST REHEARSAL.

I DIDN'T KNOW HIM AT ALL WE WENT TO THE STUDIO, AND W JUST WORKED FOR FIVE HOURS I THINK HE AND I PLAYED THE MOST IN THE STUDIO, AND WE TRIE EVERYTHING WITH CHOREOGRAPHY, ESPECIALL WHEN SOMETHING IS BEING MADE, IT HELPS ME REMEMBER THINGS BY SORT OF HAVING AN IMAGE OF WHAT I HAPPENING, WHAT'S THE IMAGE.

AND IT'S THE VERY FIRST THING IN ALEJANDRO'S AND MY PIECE IS HE BRUSHES UP MY BODY, AND I FEEL LIKE HE'S PAINTING SO I FEEL LIKE I'M HIS INSTRUMENT, AND HE'S THE CREATOR.

I DON'T NEED TO CONTRIBUTE T THE PROCESS.

BUT I THINK JUST BEING A INSPIRATION TO SOMEBODY IS A AUTOMATIC CONTRIBUTOR.

AND SOME CHOREOGRAPHERS WILL ALLOW ME TO CONTRIBUTE MORE, LIKE THE RED DRESS THAT ONE CAME ABOUT BECAUSE HAD BEEN DOWN IN CHELSEA, AND WALKED UP THE STREET TO A THRIFT SHOP AND I WALKED IN, AND I WAS LOOKING AROUND I LOVE USED CLOTHING I SAW THIS RED DRESS I WAS LIKE, OH, I WOULD LOVE T WEAR THAT ON STAGE SO I BOUGHT IT AND I JUST THOUGHT, ONE DAY, I'M GOING TO PLAY WITH THIS RE DRESS, AND I'M GOING TO DO SOMETHING WITH THIS RED DRESS.

AND JOSH TOOK IT AND WE KEPT I IN AND IT'S A LOT OF FUN TO WEAR.

I CAN SAFELY SAY THERE ARE N CLASSICAL MOVES, BUT THERE ARE A LOT OF MOVES I HAD NEVER SEEN.

BUT EACH CHOREOGRAPHER, IT'S PART OF THEIR VOCABULARY OH, YEAH, INTO A PAUL YO CUNNINGHAM AND I'M LIKE, WHAT AND ALEJANDRO, LET'S DO A KOALA, WHICH I WRAP AROUND HIM.

AND I LEARNED THAT WAS THE WAY THEY TALKED ABOUT IT IN THEI STUDIO SPACE, AND I LEARNE THEIR VOCABULARY I WAS LOOKING FOR CHEMISTRY WITH EACH PARTNER I WAS LOOKING FOR WHAT MAKES U CLICK.

WHAT ENERGIZES US.

WHAT IS IT ABOUT OUR PERSONALITIES THAT BRINGS TH BEST OUT IN EACH OTHER THAT PREDICTED WHAT THE PIECES BECAME ABOUT DEFINITELY DIFFERENT THAN BALLET PARTNERSHIP BUT THAT WAS WHAT I HOPED FO TOO.

ALL THESE CHOREOGRAPHERS EXPRESS INTIMIDATION DANCING WITH ME BUT YET I WENT TO THEM BECAUSE I WAS SO ENAMORED AND IN AWE O THEM SO I WAS INTIMIDATED OF THEM A WELL I MEAN, I TRIED TO EMULATE THEM.

AND I TRIED TO GO INTO THEIR WORLD.

I DIDN'T ASK THEM TO COME INTO MY WORLD AND MAKE ME A WENDY WHALEN BALLET.

I WANTED THE CHALLENGE I WANTED TO FIGHT FOR SOMETHING.

I WANTED TO FEEL WHAT IT FEELS LIKE TO CLIMB AGAIN.

AND I DID.

WHEN BRIAN AND I STARTED TWO YEARS AGO, IT WAS SORT OF LIKE I WANTED TO GO TO THE OTHER SIDE I OPENED THE DOOR, AND HE WA STANDING THERE LIKE THIS, COME ON YEAH, IT'S FUN OVER HERE COME ON OVER AND I WAS HUGELY EMOTIONAL T HAVE THAT KIND OF WELCOMING, YOU KNOW, FROM SOMEBODY LIKE THAT.

AND THAT IT WAS OK AND THAT YOU'RE GOING TO B ARTISTICALLY SATISFIED OVER HERE TOO.

ALL I WANT TO DO IS WORK I WANT TO BE IN THE STUDIO I WANT THESE COLLABORATIONS TO HAPPEN I WANT TO THRIVE IN MY ART FORM AND AS LONG AS THAT'S HAPPENING, I'M HAPPY.

♪♪

HELLO WELCOME TO LINCOLN CENTER, WHERE ALL YEAR ROUND NEW YORKERS AND GUESTS FROM AROUND THE WORLD VISIT THIS CULTURAL MECCA WHER THE THEATERS ARE OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILM THIS WEEK AT LINCOLN CENTER, THE RETURN OF LEONARD PLODKIN, CONDUCTING A NEW PREMIERE OF 'FLUTE CONCERTO.

THE PROGRAM WILL ALSO INCLUD AARON COPELAND LEONARD PLODKIN RETURNS OCTOBE 30 THROUGH NOVEMBER 1.

FOR DETAILS, PLEASE VISIT OU WEBSITE.

FOR MORE INFORMATION, YOU CA VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

> AND NOW THIS WEEK' CURATOR'S CHOICE

> I'M ALISHA LONGWELL.

I'M THE CHIEF CURATOR HERE A THE PARISH ART MUSEUM.

OUR BUILDING IS IN WATERMILL NEW YORK IT'S JUST TO THE EAST OF SOUTH HAMPTON VILLAGE ON LONG ISLAND'S EAST END THIS IS THE FIRST TIME THA WE'VE HAD DEDICATED SPACE TO SHOW OUR PERMANENT COLLECTION, AND TO HAVE A DEDICATED GALLER TO THE WORK OF WILLIAM MERIT CHASE.

IT'S NOTABLE FOR ITS RANGE O WORK FROM ALL PERIODS, ESPECIALLY FROM THE SCHENNACOC PAINTINGS FROM WHERE HE WA HERE, AND IS THE LARGEST COLLECTION CHASE HAD A LONG AND RIC RELATIONSHIP TO THE EAST END O LONG ISLAND.

YOU MIGHT EVEN SAY HE STAKED HIS CLAIM TO THIS LANDSCAPE EARL ON, AND THAT HE SAW MORE POSSIBILITIES IN IT THAN THE UNTUTORED EYE.

HE ONCE SAID THAT HE COULD FIN PICTORIAL GOLD IN THE DRAW O THE HILLS.

IT WAS IN MANY WAYS A SCRUBB ONE THAT HAD BEEN OVERLOOKED B MANY OTHER ARTISTS HE FIRST CAME OUT TO EASTERN LONG ISLAND IN 1881 TO SKETCH.

CHASE ADOPTED NOT SO MUCH WHAT YOU MIGHT CALL THE TECHNIQUES OF THE FRENCH IMPRESSIONISTS BU CERTAINLY THEIR IDEAS OF COMIN OUT AND PAINTING MODERN LIFE IN 1891, TWO CIVIC MINDED WOME IN THE SOUTH HAMPTON ARE DECIDED THEY'D LIKE TO START A PLAINAIRE SCHOOL OF ART.

CHASE WAS A VERY WELL KNOW TEACHER AT THE ART STUDENT LEAGUE HE WAS A RENOWNED PORTRAIT PAINTER.

AND HE READILY ACCEPTED THEI INVITATION TO COME OUT AND I 1891 BE THE FOUNDING DIRECTOR.

BY THE NEXT SUMMER, A HOUSE HA BEEN BUILT FOR HIM THIS BEAUTIFUL DUTCH COLONIA REVIVAL, SHINGLE STYLE, THAT'S VERY, VERY FAMOUS HERE ON TH EAST END AND HIS WHOLE FAMILY CAME OUT.

HE TAUGHT HERE UNTIL 1902.

AND THEN THE FAMILY CONTINUED TO USE THE HOUSE REALLY UP TO CHASE'S DEATH IN 1916.

THE WILLIAM MERIT CHASE ARCHIVES IS A REPOSITORY OF DOCUMENTS LETTERS, AND MOST ESPECIALLY 600 PHOTOGRAPHS THAT REALLY DOCUMENT THE ARTIST'S LIFE.

MANY OF THE PHOTOGRAPHS WERE W KNOW TAKEN BY MRS. CHASE SHE WAS AN AVID PHOTOGRAPHER THEY GIVE AN EXTRAORDINARY GLIMPSE INTO WHAT YOU MIGHT CALL A GILDED AGE SUMMER, BUT REALL MORE IMPORTANTLY INTO CHASE' LIFE AND WORK.

THESE PHOTOGRAPHS PARTICULARLY ARE EXTREMELY IMPORTANT BECAUS MANY OF THE SAME SCENES THAT CHASE DEPICTED ARE VISIBLE I THE PHOTOGRAPHS.

CHASE IS INDELIBY ASSOCIATED WITH THE PAINTINGS HE DID HERE IN THE SHINACOCK HILLS HE REALLY DID FIND PICTORIAL GOLD IN THIS SCRUBBY LANDSCAPE I THINK ONE OF THE MOS INTERESTING THINGS ABOUT THA PAINTING IS, OF COURSE, TH PRESENCE OF THE HOUSE THEY LIVED IN THE THREE DAUGHTERS.

IT IS A COMPLETE LOOK AT THE ARTIST AND HIS LIFE, I THINK HAVING THE DOMESTIC REALM, THE LANDSCAPE REALM.

THERE'S NO BETTER ENTRY INTO THE LIFE OF WILLIAM MERIT CHASE THAN THIS PAINTING HERE, ALICE IN THE SHINACOCK STUDIO HIS OLDEST DAUGHTER WAS OFTE DEPICTED BY CHASE IN HIS PAINTINGS.

ALICE IS REALLY A SURROGATE FO THE VIEWER, INVITING US INTO THE RARIFIED ATMOSPHERE OF THE ARTIST'S STUDIO.

WHILE THE NOMINAL SUBJECT OF THE PAINTING IS THE STUDIO, THE TRUE THEME IS PAINTING ITSELF HERE WE SEE SO MANY OBJECTS THAT BECOME A SELF PORTRAIT FOR THE ARTIST THE PAINTING ON THE EASEL.

THE LUMINOUS GLOW OF THE BRICK-A-BRAC THAT HE COLLECTED HIS UPENDED PAINT BRUSHES.

THE SKETCH IN THE UPPER LEFT AND THE LIGHT COMING THROUGH THE STUDIO WINDOW.

IT'S A COMPLEX FUSION OF ART WITH FAMILY, LANDSCAPE, AND TH MATERIAL WORLD I THINK CHASE WAS VERY MUCH STUDENT, YOU MIGHT SAY, OF THE LIGHT HERE ON THE EAST END HE WAS EXTRAORDINARILY AWARE O THE LIGHT AT ALL TIMES, AND HI PAINTING IS INFUSED WITH THA PERCEPTION WE WOULD WELCOME YOUR VISIT WHEN YOU'RE OUT ON THE EAST END O LONG ISLAND.

COME TO THE MUSEUM IN WATERMILL, NEW YORK, JUST TO THE EAST O SOUTH HAMPTON VILLAGE.

> HI, I'M CHRISTIA HA.

FOR THE NEXT TWO WEEKS, WE'LL BE HERE AT THE NEUE GALLERY NEW YORK A REMARKABLE EXHIBITION HAS JUST OPENED WITH A VERY CONCENTRATE FOCUS.

THE PORTRAITURE OF AUSTRIA ARTIST EGONE SCHIELE AT THE START OF THE LAST CENTURY, HIS REINVENTION OF TH FORM WAS CONSIDERED RADICAL.

NOW OVER 100 YEARS AFTER HE WA AT THE FOREFRONT OF THE MODERN ART MOVEMENT, HE CONTINUES TO BE A CONTROVERSIAL FIGURE THE 16-YEAR-OLD SCHIELE WA ACCEPTED INTO THE ACADEMY OF ART IN 1906.

HERE WE SEE A LARGE SELECTION OF THE YOUNG STUDENT'S WORKS.

SCHIELE SOON DEVELOPED HIS OWN STYLE, CHALLENGING THE STATU QUO OF THE REPRESSIVE OLD GUAR IN WHICH EVEN THE USE OF CHARCOALS AND OILS WAS FORBIDDEN.

LARGE SCALE OILS OF HI FATHER-IN-LAW AND SISTER DOMINATE THE FIRST GALLERY THE 1909 PORTRAIT OF GERTRUD SCHIELE IS CONSIDERED A DIRECT REFERENCE TO A WORK BY HIS MENTOR, GUSTAV KLIMT, ON VIE PERMANENTLY HERE AT THE NEUE SCHIELE WITHDREW FROM 1909 EXPRESSIONISM WAS GAININ POPULARITY, AND HE SHARED THAT VIEW WITH FELLOW ARTISTS MANY BECAME SUBJECTS, INCLUDIN COMPOSER ARNOLD SHOWNBERG, AND MAX WINEBERG HERE, THE DISPLACEMENT OF TH SITTER, THE DISPROPORTIONATE HEAD, THE HANDS AS IF SEEN THROUGH AN X-RAY, ARE AL CONSIDERED BREAKTHROUGH ELEMENTS IN SCHIELE'S EVOLVING STYLE.

EGONE SCHIELE, PORTRAITS, IS O VIEW THROUGH MID JANUARY OF NEXT YEAR DOWNTOWN IN GREENWICH VILLAGE AT THE CENTER FOR ARCHITECTURE, THE FOURTH ANNUAL OCTOBER FESTIVAL IS NOW IN FULL SWING IT'S A 31-DAY CELEBRATION OF BUILDINGS AND ENVIRONMENTS CELEBRATING THE DIVERSITY OF DESIGN AND HISTORY THAT IS METROPOLITAN NEW YORK.

THE OCTOBER LOUNGE IS YOUR FIRST STOP TO GET IN ON ALL TH ACTIVITIES, INCLUDING TH BUILDING OF THE DAY, NOONTIM GUIDED TOURS WITH V.I.P. ACCESS.

COMING UP, FOUR WORLD TRAD CENTER IN MANHATTAN, TIMES SQUARE RECONSTRUCTION, GREENWOOD CEMETERY GARDENS IN BROOKLYN AND CAPPING OFF THE MONTH IS THE STAR LITE INSTALLATION AT TH MUSEUM OF THE CITY OF NEW YORK AT MOMA, WE TAKE A STROL THROUGH LATE 19th CENTURY PARIS.

IT'S BROUGHT TO LIFE BY TH FAMOUS POSTERS OF HENRI TOULOUSE LETREK WE MOVE THROUGH OVER 100 EXAMPLES OF HIS BEST-KNOWN WORKS, ORGANIZED AROUN ENTERTAINMENT.

THEY FEATURE THE EVOCATIVE CAFES, CONCERTS AND DANCE HALL FILLED WITH ABILITY ACTORS DANCERS, AND SINGERS OF TH TIME THIS IS A PERFORMER PORTRAYE MANY TIMES BY THE ARTIST HIS LANDMARK SERIES L, DEPICTING PROSTITUTES DURING NONWORKIN HOURS, MARKS HIS GREATES ACHIEVEMENT IN LITHEOGRAPHY.

> TWO REVIVALS ON BROADWAY ARE NOW PLAYING.

ONE CELEBRATES LOVE AND TH PASSAGE OF TIME THROUGH TH MEANS OF AN OLD-FASHIONED LOVE LETTER THE OTHER, AN ODE TO OUR OWN NEW YORK CITY.

IN 'ON THE TOWN,' THREE SAILOR ARE LOOKING FOR LUCK AND LOVE ON THEIR ONE-DAY LEAVE IN THE BIG APPLE.

THE ORIGINAL 1946 'ON THE TOWN GREW OUT OF A BALLET, 'FANCY FREE.'

THE SAILORS AND THE WOMEN WH STEAL THEIR CAST ARE JOINED BY ANOTHER 19 ♪ NEW YORK, NEW YORK ♪ ♪ IT'S A HELL OF A TOWN ♪♪

AWARD-WINNING STARS OF STAG AND SCREEN TAKE THEIR TURNS IN THE FIRST REVIVAL OF A.R GARNY'S 'LOVE LETTERS.

A ONE-TIME FINALIST FOR PULITZER PRIZE, IT FEATURES JUST TWO CHARACTERS, SIDE-BY-SIDE WHO READ ALOUD THE NOTES AND LETTERS CONNECTING 50 YEARS OF PERSONAL HISTORY

I'M WRITING BECAUSE WHEN TELEPHONED, YOU JUST HUNG UP O ME ONE THING ABOUT LETTERS, YOU CAN'T HANG UP ON THEM.

YOU CAN TEAR UP LETTERS THOUGH ENCLOSED ARE THE PIECES.

UPCOMING STARS TO APPEAR AR CAROL BURNETT WITH BRIAN DENNEHY, ALLEN ALDEN AND CANDICE BERGEN, STACEY KEEP AND DIAN RIG, ANGELICA HOUSTON AND MARTIN SHEEN.

> ON THE UPPER EAST SIDE, TH SOUND OF THE CLARION CHOIR ON THE PROGRAM IS THE PREMIERE OF A 1923 MASTERPIECE, STEINBERG'S 'PASSION WEEK.

11 MOVEMENTS CONTRAST SOARIN MEDITATIONS ON THE STATIONS OF THE CROSS.

THE RUSSIAN CHORAL WORK WA COMPOSED AND CONCEALED FOR DECADES, AND SO THE PERFORMANC THIS EVENING IS A TRUE TESTAMENT TO THE TRANSCENDENCE OF MUSIC, DESPITE THE HISTORY OF ARTISTI SUPPRESSION.

THE CLARION CHOIR PERFORMS O TUESDAY, OCTOBER 28.

> AND THAT'S THE 'NYC ARTS NEWS I'M CHRISTINA HA

> WE HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING SEE YOU NEXT TIME.

> NEXT WEEK ON 'NYC ARTS,' A LOOK AT THE SACRED LOOPS, TH ART OF ASSAD ALAHI AT TH METROPOLITAN MUSEUM OF ART

HE BEGAN HIS LIFE UNDER HIS FATHER'S TUTELAGE, LEARNING TO PLAY THE INSTRUMENT BY WATCHING.

AND RIGHT AWAY THEY RECOGNIZED THAT HE WAS A PRODIGY.

AND A TOUR OF THE EXHIBITIO SEBASTIAN DELGADO, GENESIS, AT THE INTERNATIONAL GALLERY OF PHOTOGRAPHY.

> FUNDING IS MADE POSSIBLE B ROSALIND P. WALTER, ELYSE, JAZZY AND JEFFREY BROWN, JODIE AND JOHN ARNHOLD, AND ELROY AN TERRY CRUMBHOLTZ FOUNDATION.

THIS PROGRAM IS MADE POSSIBLE BY FUNDS IN PARTNERSHIP WITH TH CITY COUNCIL ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY.

COORDINATION EXCELLENCE FIRST REPUBLIC PRIVATE WEALT MANAGEMENT IT'S A PRIVILEGE TO SERVE YOU.

REDGRAVE 'TAIL! SPIN!.