P: Are they connected with the construction of the Alice Tully Hall [chamber music
 recital hall, Lincoln Center for Performing Arts, New York City] and Lincoln
 Center?

R: Oh, I think so. Of course, they had sent us a list of all the things [they were involved
 with]. They really are not architects, they are the guys who consult with you on
 theater equipment, seating, orchestra pit, acoustics, you name it.

P: The accessories.

R: Right. So we had a number of people apply to be our consultants, but on the basis
 of what we learned down here, on the basis of the interviewing, we picked Brannigan
 and Lorelli. [It was] the best thing we ever did. He was marvelous. Brannigan and
 Lorelli, Inc. of New York. But Bob [Rowe] read books, we traveled to all kinds of
 places, we met with architects, picked a local firm, and went about the business of
 building the theater. I give Bob Rowe cards and spades for bringing it in on budget
 with everything we needed.

P: Well, I have always credited you and Jon Mills, so we will add Rowe now. It is a
 trio rather than a duo who is responsible for that.

R: There would have been no sense in talking about it without Jon.

P: Throughout, did you get University cooperation?

R: Yes. I have to say, Marshall [Criser] was great, Bob Bryan was great.

P: Nobody ever said, "Who is going to pay for the deficit?"

R: No. They all knew about the bed tax and we agreed that that would go into it. We
 pledged that totally. And like the University, we got a certain amount of square
 footage money to take care of a new building. We also pledged that we would put
 every cent of that [square footage money] into the building along with all receipts,
 plus the $200,000. I think that would have taken care of it. What happened, of
 course, is that the University took over the building so they get the money for the
 upkeep and maintenance. What they do with it, who knows?

P: Who cares as long as it is kept. We do not care where it is so long as it is being
 taken care of and continues to operate every year.

R: But Sam, that was a dream that came true.

P: I want to ask about another dream, perhaps, that came through that you are the
 godfather of and that is the Spring Arts Festival. Were you not the one who birthed
 that?


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