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All th e new s o f arts, politics and neiahborhoo d events, delivered riaht toyour m ailbox 52 tim es a year. M ake sure yo u %u2019re part o f th e action.TO SUBSCRIBE, USE CO U PO N ON PAGE 14BAM Plans To Put 2 ,0 0 0 Year OldEpic Into Brand New Majestic SpaceBY ARTHUR KRO EBERT h p R rn n k ly n A nartpm y n f M ucir* w ill hncf anine-hour theatrical version of a 2000-yearold Indian epic next fall, and the productionwill inaugurate a new 900-seat theater twoblocks form the main Academy building,Academy officials announced Monday.British director Peter Brook, who has beenworking with an international team of actorssince 1983 on the day-long dramatization ofthe %u201cM ahabharata,%u201d will bring an Englishversion of his production to the BrooklynAcademy%u2019s Next Wave Festival in 1987. Theproduction, which premiered in French at the1985 Avignon Festival, will first visit LosAngeles for the month-long Los AngelesFestival in September. After its BAM run,opening Oct. 13,1987, it will tour several othercountries, concluding in India in March 1988.BAM will present %u201c Mahabharata%u201d at theMajestic Theater, a derelict formervaudeville- and movie-house on Fulton St.and Rockwell PI. in Fort Greene. BAM President Harvey Lichtenstein said the Majesticwill be renovated with $4 million from the City%u2019s capital budget.The Majestic and the Strand Theatre,another old Fulton St. vaudeville house, wereacquired by the City in 1984 and targeted forrenovation to create a downtown Brooklyn%u201carts district.%u201d The Strand%u2019s conversion intotwo floors of rehearsal and office space isscheduled for completion later this fall, butthe Majestic had languished for lack of funds.Lichtenstein said Nov. 3 that the Majesticcould be remade to order for%u201cM ahabharata,%u201d which Brook described asunsuitable for a proscenium stage. ButLichtenstein also said the Academy plans tomake the theater available both forAcademy-sponsored projects and for productions by other groups.One such group is the Celebrate Brooklynperforming arts series, whose coordinator,Burl Hash, said he had a commitment fromBAM officials for several engagements in the1988-89 season.Hash, who in the past was critical of whathe called BAM%u2019s insufficient commitment toproviding performance and workshop spacesto local arts groups, praised Monday%u2019s announcement%u201cWe got what we wanted,%u201d he said. %u201c Andthere%u2019s no question that without someone likePeter Brook the Majestic would never havehappened.%u201dLichtenstein said 900 seats will be installedin a horseshoe shape for %u201cM ahabharata,%u201d butthat the space will be designed for conversionto a 300-seat auditorium smaller scale productions.%u201cIt is important that this space beavailable not only for Academy events but forother groups as well,%u201d Lichtenstein said. Hesaid BAM is negotiating with its technicalLichtenstein said that the Majesticcould be remade to order foruM ahabharata, %u201d described asunsuitable for a proscenium stage.crew unions to reduce labor costs for productions staged by outside groups.The City has not yet allocated the $4 millionrequired for renovation, but both Lichtenstein and Brooklyn Borough PresidentHoward Golden said negotiations withseveral City departments are already underway.Brook said his %u201c Mahabharata%u201d is an attempt to present the central story of the Indian epic, a 15,000-page collection of folklore,philosophy and legend set down in its presentform between 200 B.C. and 200 A.D.The international cast will try to create %u201c asimple, direct, human relationship to them aterial,%u201d Brook said. %u201c We want this to besomething close and near.%u201d Although thetroupe spent several weeks in India observing various Indian dance and theatricalstyles, Brook said the purpose was %u201c not so asto copy them but so as to be opened up by contact with them.%u201dThe American tour of %u201cM ahabharata%u201d willbe underwritten by large grants from theFord and Rockefeller Foundations, the National Endowment for the Arts, and variousothe'- private sources.Musicians%u2019 Strike Cancels BrooklynPhilharmonic%u2019s Opening ConcertBY DAVID L .L . LASKINDue to the continuing strike by freelanceclassical musicians, the Brooklyn Philharmonic season-opening performance of%u201cSongs of Innocence and Experience,%u201d set torun November 7-9 as part of the BrooklynAcademy of Music%u2019s Next Wave Festival, hasbeen postponed until January 9-11, 1987, asthe Festival%u2019s closing event.This is the first time a labor dispute has interfered with a m ajor performance in boththe Philharmonic%u2019s 33 years and the fourseasons of the Next Wave.According to Philharmonic ManagerMaurice Edwards, %u201c This isn%u2019t nearly asdevastating as it could have been. We%u2019vemanaged to get all the performers back forJanuary.%u201d The performance of WilliamBolcolb%u2019s %u201cIllumination%u201d on the poetry ofWilliam Blake involves some 200 performers,including the orchestra, rock, jazz and folkmusicians, four choruses and nine soloists.Edwards said the postponement will cost thePhilharmonic extra, %u201c but only in minor administrative areas and flying in one of thesoloists.%u201dA letter will be sent to subscribers andticketholders to %u201cSongs of Innocence and E x %u00adperience%u201d announcing the postponement andadvising them of their options, which includeattending the corresponding January perform ance, returning tickets or exchanging themfor another Philharmonic performance Edwards says. %u201cWe%u2019ll have a busy January,%u201dhe quipped, referring to the scheduled Command Performance Series concerts January2 4 and Meet the Modems concerts onJanuary 15 and 16.If the strike is settled, the next performance of the Philharmonic will be November28, and includes a salute to Virgil Thompsonand a guest performance by Pianist Alexander Toradze. The orchestra will also playthe music of Philip Glass in Robert Wilson%u2019s%u201cthe CIVIL warS: a tree is best measured whenit is down,%u201d running December 14-20 at theNext Wave, regardless of the strike. According to Phil Bither, assistant director forthe festival, the orchestra is contractedseparately for those performances so theywill not be affected if the strike continues.%u201cThis should have no negative affect on thesignificance of the performance,%u201d Bithersaid. %u201cIn fact, it tops the festival off with amagnificent performance.%u201dThe freelance, or %u201csingle-engagement,%u201dmusicians have been on strike since October10 against a consortium of 10 orchestral institutions, including the Brooklyn Philharmonic. Two pre-season performances by thePhilharmonic at Brooklyn College andCelebrate Brooklyn, have already beencancelled because of the strike. The institutions are signatories to a collective bargaining agreement with the American Federationof Musicans, Local 802, that expired inSeptember. The musicians resoundingly rejected an offer from management October27, and a six-hour negotiating session October30 has left both sides %u201clicking their wounds,%u201daccording to Bernard Plum, chief negotiatorfor the orchestras.%u201cThere%u2019s absolutely nothing happening;the end is not in sight,%u201d Plum said. %u201cThereare no discussions scheduled within the consortium or with the union %u2014 we%u2019ve bothdrawn the line and we%u2019re at a draw .%u201dAccording to Judy West of Local 802, %u201cwefelt there was nothing substantially new offered in the latest negotiations. We%u2019re readyto go back into the talks at any time, butwe%u2019re going to hold the line until the musicians are offered what they%u2019re worth. We%u2019llkeep striking and picketing and building support for the musicians,%u201d she said.The current per-performance wage %u2014 thefocus of negotiations %u2014 is $86. The union hasbeen asking for an increase over three yearsto $90, $98 and $109. The offer rejected by themusicans was for $90, $95 and $100. As thesmall difference between these proposalsbecomes more and more conspicuous, bothsides admit that other issues are playing alarge role in the standstill. Plum says that%u201cthe lower per-performance offer was morethan made up for with increases in otherareas,%u201d such as transportation, cartage andpremiums to principal players. But Westfeels that %u201cthe musicians need to see astronger commitment from the orchestras inall aspects of their work,%u201d citing the aboveissues along with benefits and job security.Page 4, T H E P H O E N IX , N ovem ber 6, 1986