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<dd>**********************************************************************************************************************************************************<br>
<br>
</dd>
<dd>Contact Information: <br>
</dd>
<dd> Laura Ortman (White
Mountain Apache) <br>
</dd>
<dd> 281 Flatbush Ave. #2D<br>
</dd>
<dd> Brooklyn, New York 11217
USA<br>
</dd>
<dd> (347)416-2168<br>
</dd>
<dd>
<a moz-do-not-send="true" href="mailto:lauraortman@gmail.com">lauraortman@gmail.com</a><br>
<br>
<br>
</dd>
<dd>For Immediate Release (as of 10/26/08):<br>
<br>
</dd>
<dd>THE COAST ORCHESTRA, AN ALL-NATIVE AMERICAN CLASSICAL ENSEMBLE
DEBUTS FOR TWO EAST COAST PERFORMANCES TO THE 1914 SILENT FILM IN THE
LAND OF THE HEAD HUNTERS BY FAMED PHOTOGRAPHER EDWARD S.
CURTIS.<br>
<font size="2"><br>
</font></dd>
<dd><font size="2">SCREENING DATES AND TIMES ARE</font>:<br>
</dd>
<dd>SUNDAY, NOVEMBER 9th at the NATIONAL GALLERY OF ART,
Washington, D.C.
at 6:30pm<br>
</dd>
<dd>FRIDAY, NOVEMBER 14th at the AMERICAN MUSEUM OF NATURAL
HISTORY, New
York, NY at
7:00pm  
;
<br>
</dd>
<dd>The Coast Orchestra is an all–Native American Orchestra of
classically trained musicians founded by White Mountain Apache
violinist
Laura Ortman in 2008. The Coast Orchestra was invited by Rutgers
University in May 2008 to perform the original score for a newly
restored
print of the Edward S. Curtis directed film In the Land of the Head
Hunters (1914). Their premiere performance will be in Washington,
D.C., on November 9, 2008, at the National Gallery of Art, in
collaboration with the Smithsonian National Museum of the American
Indian. Then, on November 14, 2008, Rutgers will bring the performance
to
the American Museum of Natural History in New York City, where the film
will be screened on opening night of the Margaret Mead Film and Video
Festival. <br>
<br>
</dd>
<dd>The mission of The Coast Orchestra is to promote classically
trained
Native American musicians and to perform music about Native Americans.
In
this case, the Coast Orchestra is performing music by the non-Native
composer of Curtis's film, John J. Braham. Although arguably created
with
good intentions, the score is based on fantastical ideas and
Hollywoodesque themes about Native people. The Coast Orchestra wants to
reinterpret this romanticized and stereotypical score from a
contemporary
context, and specifically from a Native perspective. We also believe
that
the time is long overdue for a classically-trained Native orchestra to
present live music. <br>
<br>
</dd>
<dd>The Coast Orchestra members come from Alaska, Arizona, New York
and
Washington D.C., and represent thirteen nations. Members hail from
music
schools including Juilliard, Eastman and Oberlin. Members have
performed
at Lincoln Center, Carnegie Hall, The New Museum of Contemporary Art,
Alice Tully Hall, the Tribeca Film Festival, the National Museum of the
American Indian and the Pordenone Silent Film Festival, among other
world-class venues and festivals. (See Biographies below for more
background information on individual musicians).<br>
<br>
<br>
</dd>
<dd>FOR MORE INFORMATION ABOUT THE COAST ORCHESTRA please visit
<a moz-do-not-send="true"
href="http://www.myspace.com/thecoastorchestra">www.myspace.com/thecoastorchestra</a>
and check out interviews and
articles on WNYC/NPR's Studio 360 and in Native Peoples
Magazine<br>
<br>
<br>
</dd>
<dd>The Coast Orchestra members are:<br>
<br>
</dd>
<dd>Timothy Long Choctaw /
Creek
<br>
</dd>
<dd>Steven Alvarez Mescalero Apache / Yaqui /
Athabascan
<br>
</dd>
<dd>Tim Archambault Kichesipirini
<br>
</dd>
<dd>Dawn Avery
Mohawk
<br>
</dd>
<dd>Elaine Benavides Mescalero Apache / Yaqui /
Comanche
<br>
</dd>
<dd>Don Harry Delaware / Anadarko of
Oklahoma
<br>
</dd>
<dd>Lisa Long Muskogee /
Creek-Choctaw
<br>
</dd>
<dd>Laura Ortman White Mountain
Apache
<br>
</dd>
<dd>George Quincy
Choctaw
<br>
</dd>
<dd>Vince Redhouse
Navajo
<br>
</dd>
<dd>Heidi Senungetuk
Inupiat
<br>
<br>
</dd>
<dd>Timothy Long (Choctaw/Creek) is our conductor and also a
pianist who is enjoying a flourishing career in the US and abroad.
Engagements for 2009 and beyond include debuts at Shreveport Opera and
Orlando Opera, return engagements at Wolf Trap Opera, Opera Colorado
and
Opera Theatre of Saint Louis, and the Companion Star Ensemble in
Sweden.
During the 2007-08 season his operatic conducting engagements included
Jake Heggie's Dead Man Walking at the University of Colorado at
Boulder,
Don Pasquale at Opera Colorado, Madame Butterfly at Opera Theatre of
Saint Louis and Ariadne auf Naxos at Wolf Trap Opera. Past seasons
reflect the diversity of Mr. Long's vast repertoire. These performances
have included Mark-Anthony Turnage's powerful adaptation of the Oedipus
story, Greek, at Stony Brook Opera, Don Giovanni at the Théâtre
Municipal
de Castres in France, Le Nozze di Figaro at Boston Lyric Opera, Conrad
Susa's Transformations for the Maryland Opera Studio, Peter Maxwell
Davies' Miss Donnithorne's Maggot with the Stony Brook Contemporary
Chamber Players; and The Music Teacher, an off-broadway play/opera by
Wallace Shawn and Allen Shawn for The New Group. During his long
association with Opera Theatre of Saint Louis, Mr. Long has conducted
performances of Rigoletto, Romeo and Juliet, The Barber of Seville,
Hansel and Gretel, The Mikado, and Madame Butterfly. For three years,
Mr.
Long served as assistant conductor to Robert Spano at the Brooklyn
Philharmonic where he served as a cover conductor and conducted the
orchestra for their 9/11 Memorial Concert in October of 2001. He
was also an associate conductor at New York City Opera for two years.
He
is a member of the Thlopthlocco Tribal Town of the Creek Nation of
Oklahoma. <br>
<br>
</dd>
<dd>Laura Ortman (White Mountain Apache), violinist and founder
of the Coast Orchestra, is a musician of several New York bands
including
the Dust Dive, Stars Like Fleas and Silver Summit. She has toured
extensively in Europe, the U.S. and Canada. A former musician of the
Native American duo National Braid, they went on to compose an original
score for violin, electric guitar and samplers to the 1929 silent film
"Redskin" by Victor Scherzinger. They performed their
soundtrack as a live accompaniment to the film at the Tribeca Film
Festival in New York, Pordenone Silent Film Festival in Italy, Febio
Fest
in Prague and at the Native Cinema Showcase in Santa Fe, New Mexico.
They
were also invited to perform "Redskin" at the Louvre in Paris.
Laura also plays the electric guitar, piano, musical saw, samplers
and organ and composes music for film. She graduated from the
University
of Kansas with a Bachelor of Fine Arts where she studied painting,
sculpture and performance art. <br>
<br>
</dd>
<dd>Steven Alvarez (Mescalero Apache/Yaqui/Athabascan), the Coast
Orchestra's percussionist and tympanist, graduated from San Jose
State University with Bachelor of Arts degrees in Music and History and
a
minor in Philosophy. He works professionally as a percussionist,
vocalist, stage actor, film and stage producer and music educator. He
is
producing a film on the Alaskan Native and Inuit games and performs a
theater piece that couples live storytelling and singing with film. As
a
percussionist, he worked with the Monterey Symphony and the Santa Cruz
Symphony Orchestras and was a guest artist for the Anchorage Festival
of
Music (AFM) in 1997 and then served as AFM's Executive Director for
three
seasons. As a guest artist for the Monterey Jazz Festival, he performed
with jazz artist Bobby Hutcherson and has shared the stage with Lloyd
Bridges, Doc Sevrinson and Jethro Tull. Steven's 15 years of musical
teaching experience ranges from elementary through high school. He also
served as an adjunct instructor at the University of Alaska. Steven is
a
founding director of Theater Artists United (TAU), an Anchorage based
theater company. He performs with the Anchorage Symphony Orchestra, the
Anchorage Opera and Anchorage Concert Chorus. Steven has performed as a
solo artists at the Kennedy Center and at the NMAI's Classical Native
Series in Washington D.C.and serves as the Director of Cultural
Education
& Strategic Initiatives for the Alaska Native Heritage
Center.<br>
<br>
</dd>
<dd>Tim Archambault (Kichesipirini) our Native flute player,
studied music theory at Brown University and holds a bachelor's degree
in
Architecture from the Rhode Island School of Design. His recent
premiere
recording of David Yeagley's (Comanche) Wessi vah-peh with the Polish
National Radio Symphony Orchestra was released by Opus One in December
2007. His repertoire consists of early 20th-century American Indian
flute
music and new compositions by American Indian composers. Tim was the
first flute player in history to perform the old "warble"
technique within the context of new classical compositions by David
Yeagley at the Smithsonian's Museum of the American Indian Classcial
Native Series in November 2006. In 2007 Tim composed a solo cello piece
for Dawn Avery's (Mohawk) "North American Cello Project" which
helped win a Common Ground Grant from the First Nations Composers
Initiative. His current projects include a solo album of David
Yeagley's
compositions entitled "Suite Tragique" dedicated to the
Kichesipirini Algonquin First Nation, a collaborative piece utilizing
traditional Anishinaabeg notation with Navajo composer Raven Chacon and
an orchestral work recorded with Lyrichord records entitled "The
Choctaw Diaries" by Choctaw composer George Quincy.<br>
<br>
</dd>
<dd>Dawn Avery (Mohawk) the Coast Orchestra's cellist, has
performed with musical luminaries from Luciano Pavarotti to Sting
and has spent years honing her musical talents, collaborating and
performing with John Cage, Glen Velez, Joanne Shenandoah, David
Darling,
Ustad Sultan Kahn, Sussan Deyhim, Karsh Kale, Baba Olatunji, Reza
Derakshani, John Cale, Jeff Ball, Ron Warren, and Mischa Maisky. Avery
has performed at the Montreux, Copenhagen, Helsinki and Banlieu Bleu
Jazz
Festivals in Europe. <br>
</dd>
<dd>She's played uptown at Lincoln Center and Carnegie Hall, as
well as
in New York's thriving downtown music stages like the Knitting Factory,
La Mama and Thread Waxing Space. Dawn specializes in the performance of
Native American music with her own ensemble OKENTI, indigenous
classical
music with her cello, voice and percussion group named CELLOVISION! and
is in a Persian Duo with Reza. As an educator, Dawn helps to nurture
future generations of musicians as Professor of Music at Montgomery
College. She has collected awards for her works from the American Dance
Festival at Duke University, NYU, Meet the Composer, the Maryland Flute
Association and the Arts & Humanities Council of Montgomery County
in
Maryland.<br>
<br>
</dd>
<dd>Elaine Benavides (Mescalero Apache/Yaqui/Comanche) on oboe,
offers a wide range of musical abilities of composition, producing,
mastering and editing. Elaine is primarily a vocalist, instrumentalist
(drums, flute, oboe, harp), urban street dancer, modern, belly dancer,
a
fire-performance artist, stilt walker, fencer and aerialist. After
Juilliard she created soundtrack music for independent films and music
labels, ranging from classical, marching, spiritual, indigenous,
cultural, underground, urban, pop, educational and historical
performances. After attending School of Visual Arts, and Fashion
Institute of Technology, as a sculptor, graphic and visual artist, she
created and directed off-Broadway shows creating and designing
costumes,
fashion styling, painting sets for music videos, using the craft to
construct props and design for many magazines. She also works with
legendary radio and TV celebrities, filmmakers, photographers and
designers. <br>
<br>
</dd>
<dd>Don Harry (Delaware/Anadarko of Oklahoma), on tuba, attended
the University of Houston and Indiana University. Don is the Principal
tuba of the Buffalo Philharmonic and a member of the Eastman Brass.
Since
1997 he has served as an Associate Professor of Tuba, Eastman School of
Music. He has also taught at Baldwin-Wallace Conservatory, Lanston
University and Juilliard. As well as serving as principal tuba for the
Oklahoma City Symphony, Don has taught and performed at the Eastern
Music
Festival and Winter Festival of Campos de Jordao, Brazil. He has also
performed as an Extra Musician with the New York Philharmonic, Boston
Symphony, Toronto Symphony, Orchestra de Paris, Chautauqua Symphony,
Aspen Festival Orchestra, the New York Pro Philharmonia, Keith Brion's
New Sousa Band, and the Rochester Philharmonic. He has had solo
performances with the Colorado Philharmonic, Buffalo Philharmonic, USMA
Band at West Point, US Army Band, Mansfield University, SUNY Fredonia,
SUNY Buffalo, Creative Associates, Sousa Live at Wolf Trap, Indiana
University, UCLA, Ringgold Band and Keith Brion's new Sousa Band 7/04
and
The Harvey Phillips Northwest Big Brass Bash. Don is also caretaker of
the Edward A. Jablonsky Award for excellent progress in tuba study at
the
Eastman School of Music.<br>
<br>
</dd>
<dd>Lisa Long (Muskogee/Choctaw-Creek) on flute, began flute
studies at the age of 10 in Seminole, Oklahoma and continued her
studies
with Barbara Davis, a former student of Walfrid Kujala, at Oklahoma
City
University, where she was principal flutist for numerous orchestral,
operatic, and musical theatre performances. Long regulary performs
as a chamber musician and soloist.<br>
<br>
</dd>
<dd>George Quincy (Choctaw) our pianist, has two degrees from The
Juilliard school and later taught there, became Musical Advisor to
Martha
Graham and went on to compose, orchestrate and conduct music for
Theater,
Dance, Film, Opera, Television and Concert. His music has been
performed in Carnegie Hall, Weill Hall, Alice Tully Hall and many
theaters in New York City. THE NEW YORK 5, a chamber music group
specializing in Mr. Quincy's music, played two concerts at the American
Indian Wing of the Smithsonian in Washington DC in October of 2006.
POCAHONTAS AT THE COURT OF JAMES I, part 2, by George Quincy, was
presented by the Queen's Chamber Band at Merkin Hall in
New York City. He has received awards from ASCAP in 1997, 1998, 1999,
2000, 2001, 2002, 2003, 2004, 2005, 2006 and 2007 and many from Meet
the
Composer. He is featured in the Juilliard Journal and is completing a
recording for Native Flute and orchestra entitled CHOCTAW
DIARIES.<br>
<br>
</dd>
<dd>Vince Redhouse (Navajo) is the Coast Orchestra's saxophonist,
was born and raised in Monterey, California and began playing woodwinds
at the age of 7. Vince had his first two albums nominated for Grammy's.
Most of the recognition that he has gained is from what he's done on
the
Traditional Native flute, although the tenor saxophone was always his
first voice and sound.<br>
<br>
</dd>
<dd>Heidi Senungetuk (Inupiat) playing Violin I for the Coast
Orchestra, earned a Bachelor of Music degree in performance at the
Oberlin Conservatory of Music. A fellowship student at the University
of
Michigan School of Music, Heidi received her Master of Music degree in
violin performance with highest honors. During her studies she
performed
at summer festivals as a scholarship student, including the Aspen Music
Festival, the National Repertory Orchestra, and the Kent/Blossom Music
Festival. She has been a member of the Louisiana Philharmonic Orchestra
of New Orleans, the Tulsa Philharmonic, and the Honolulu Symphony
Orchestra. She was also a faculty member at the Punahou School in
Hawaii. She also spent six summers performing chamber music in the
Rocky
Mountains with the Breckenridge Music Institute. Heidi appeared in
recital at the Rasmuson Theater of the National Museum of the American
Indian in Washington, D.C. as part of the premiere Classic Native
concert
series in 2006. In Inukjuak, Canada, she performed a series of George
Rochberg's "Caprice Variations" at the Inuit Artist World Show
Case. As a member of the Bunnell Street Gallery in Homer, Heidi has
performed for audiences on both sides of Kachemak Bay to raise funds
for
arts in education. In 2007 Heidi was a guest artist with the Hiland
Correctional Center Women's Orchestra, the only orchestra of it's kind
in
the United States.<br>
<br>
<br>
</dd>
<dd>
ABOUT IN THE LAND OF THE HEAD HUNTERS (1914) quoted from
<a moz-do-not-send="true" href="http://www.curtisfilm.rutgers.edu">www.curtisfilm.rutgers.edu</a>
<br>
<font size="1"><br>
</font></dd>
<dd><font size="1">"In 1914, famed photographer Edward S. Curtis
(1868-1952)
produced a melodramatic, silent film entitled In the Land of the Head
Hunters. This was the first feature-length film to exclusively star
Native North Americans (eight years before Robert Flaherty's Nanook of
the North). An epic story of love and war set before European contact,
it
featured non-professional actors from Kwakwaka'wakw (Kwakiutl)
communities in British Columbia—a people already famous then for their
spectacular visual culture and performances. The film had gala openings
in New York and Seattle in December 1914, where it was accompanied by a
live orchestral score composed by John J. Braham (1848-1919), best
known
for his work with Gilbert and Sullivan. Curtis supplied Braham with
c.1910 wax-cylinder recordings of Kwakwaka'wakw songs; despite
advertising claims, however, little if any of this source material made
it into the score. Critics wrote in rapturous terms about the power and
beauty of the film, the Seattle Sun calling it a "great
production—like a string of carved beads, too rare to be
duplicated." And yet, Head Hunters was a financial failure, quickly
overlooked and barely preserved. In 1947, a single copy arrived at the
Field Museum after being picked out of a Chicago dumpster; these
damaged
and incomplete reels were re-edited by Bill Holm and George Quimby and
released in 1974 as In the Land of the War Canoes, featuring a new
soundtrack recorded by Kwakwaka'wakw consultants at the time. At some
point, a few deteriorating clips from another copy found their way to
the
UCLA Film & Television Archive, and the all-but-forgotten score was
filed under another name at the Getty Research Library.<br>
<br>
</font></dd>
<dd><font size="1">When it was first screened in 1914, In the Land
of the Head Hunters
entered into a field crowded with "Indian pictures." From the
beginning, Native Americans were not merely represented by the motion
picture industry, but played a central role in its emergence. One of
the
first studio short films was the Edison Company's twenty-second Sioux
Ghost Dance (1894). Filmed at Edison's studio in West Orange, New
Jersey,
it featured Oglala and Brulé Sioux who were touring in Brooklyn at the
time with Buffalo Bill's Wild West Show. This short was followed by
hundreds of others featuring Native American actors, many of whom had
been involved with Buffalo Bill while others were brought in specially
for the occasion.<br>
<br>
</font></dd>
<dd><font size="1">What Head Hunters brought to this mix was a
desire to elevate the
Indian movie to a new level of artistry, as well as a desire to portray
Native American life outside the stereotypes established for it by the
prior two decades of filmic representation—not to mention the even
longer
history of Native American representation since the 1830s in dime
novels
and Wild West shows. The mere fact that Curtis chose a picturesque but
not stereotypical First Nations group—lacking the ready-made Indian
icons
of feathered headdresses, horses, tomahawks, and tipis—suggests his
desire to avoid those clichés, even as he indulged in others (head
hunting, sorcery, vision quests). Perhaps this denial of audience
familiarity also in part explains its box-office failure.<br>
<br>
</font></dd>
<dd><font size="1">Technically, Curtis's film is remarkable not
only for the quality and
originality of its production, but also for the hyperbole of the
advertising for it, which was clearly aimed at distinguishing it from
other films in the market. Everything about the film—from the identity
of
its actors to the source for its musical score—were vigorously claimed
to
be "authentic." It was a six-reel film, which was fairly long
for the time, and it was shot entirely on location in British Columbia.
It featured innovative moving camera shots. Its sequencing demonstrated
Curtis's basic understanding of principles of narrative continuity. The
original advertising for the film stressed the significance of what was
called "the Hochstetter process," supposedly a natural color
process that had been used in the making of the film. Although
technical
analysis indicates that it had, in fact, been tinted and toned in the
standard way in the studio, the coloring of the Kwakwaka'wakw costumes
and homes, as well as of the pacific coast landscape, is quite complex
for the time."</font><br>
<br>
</dd>
<dd>
<br>
</dd>
<dd>
End quote from the Coast Orchestra founder, Laura Ortman:<br>
<br>
</dd>
<dd>"I was very excited when I found out about the Curtis film's
restoration, about its tour through the U.S., and how Rutgers was
looking
for classical ensembles to perform the original score alongside the
film.
Because of the great experience I had performing a live soundtrack to
Victor Scherzinger's silent film Redskin (1929), I realized gathering a
large group of classically trained Native American musicians would make
an even more powerful performance and musical accompaniment to the
film.
It seemed like a perfect opportunity to gather a group of Native people
to be involved in this film—a film which is all about Native people.
Plus
it gives classically trained Native musicians a unique opportunity to
unite. I am hopeful that this historic gathering of such talented
Native
people inspires more classically trained Native musicians to join the
Coast Orchestra. I hope that we may grow and become a community that
supports creative endeavors like this one, performing work by Native
composers, and touring places where no one has ever heard of or seen a
Native American orchestra. Already, to have gathered as many people as
we
have—with all their amazing talents that they've worked so hard on
their
entire lives—is an accomplishment we'll have the rest of our lives to
be
proud of. It's very rewarding to see that all of those violin lessons
are
breaking out of the practice room and into something much
bigger!" --Laura Ortman (White Mountain Apache, Brooklyn, New
York)<br>
<br>
</dd>
<dd>Ticketing information:<br>
<br>
</dd>
<dd>FOR Washington, D.C. on November 9th at the National Gallery of
Art:<br>
</dd>
<dd>The 6:30 p.m. screening is in the East Building Auditorium (4th
Street) at the National Gallery of Art. The National Gallery of Art,
located on the National Mall between 3rd and 7th Streets at
Constitution
Avenue NW, is open Monday through Saturday from 10:00 a.m. to 5:00 p.m.
and Sunday from 11:00 a.m. to 6:00 p.m.
<a moz-do-not-send="true" href="http://www.nga.gov">www.nga.gov</a><br>
<br>
</dd>
<dd>FOR New York City on November 14th at the American Museum of
Natural
History:<br>
<br>
</dd>
<dd>The 7:00 p.m. screening is held at the American Museum of
Natural
History. Entrance for screenings is on 77th Street between Central Park
West and Columbus Avenue.
<a moz-do-not-send="true"
href="http://www.amnh.org/programs/mead/">www.amnh.org/programs/mead/</a><br>
<br>
</dd>
<dd>Subway: Take the B or C train to 81st Street – Museum of
Natural
History (B is weekdays only), or the 1 train to 79th Street.<br>
<br>
</dd>
<dd>Bus: Take the M79, M7, M11, M86, M10, M104.<br>
<br>
</dd>
<dd>Tickets are not refundable.<br>
<br>
</dd>
<dd>Programs are subject to change. Please check our website for
the most
current schedule and updated information.<br>
<br>
</dd>
<dd>Films are shown in a number of different program formats,
ranging
from a single full-length movie to multiple short films. Ticket prices
are per program. Tickets may be purchased in advance for any program on
the Festival schedule. Each program is identified by a program code.
Please refer to the program code when ordering tickets. <br>
</dd>
<dd>Order Tickets<br>
<br>
</dd>
<dd>
<h3><b>BY PHONE</b></h3>
<br>
<br>
</dd>
<dd>Call 212-769-5200<br>
</dd>
<dd>Monday-Friday, 9 am - 5 pm; Saturday, 9am - 4 pm<br>
</dd>
<dd>Have your credit card, membership category, and program codes
ready
when you call. American Express, Visa, MasterCard, and Discover are
accepted. A service charge applies.<br>
<br>
<br>
</dd>
<dd>
<h3><b>ORDER TICKETS ONLINE</b></h3>
<br>
<br>
</dd>
<dd><a moz-do-not-send="true"
href="http://www.amnh.org/programs/mead/2008/november-14">Click
here</a> to see the schedule and order tickets. A service charge
applies.<br>
<br>
<br>
</dd>
<dd>
<h3><b>ORDER TICKETS AT THE MUSEUM</b></h3>
<br>
<br>
</dd>
<dd>Mid-October – November 14: Tickets may be purchased during
Museum
hours at the Advance Group Sales desk in the Theodore Roosevelt Rotunda
(Central Park West at 79th Street entrance), and at the Rose Center for
Earth and Space (81st Street entrance). No service charge. <br>
<br>
</dd>
<dd>November 14-16: During the festival, tickets may be purchased
at the
77th Street entrance only, between Central Park West and Columbus
Avenue,
one hour prior to show. No service charge. <br>
<br>
</dd>
<dd>General Public: $10<br>
<br>
</dd>
<dd>Members/Students/Seniors: $9</dd>
</dl>
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