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Byrd Reunion & Memory Lane

Did you run away and join the circus?  I did.  At least that was how it felt.  I met Robert Wilson (Bob) while I was still in high school.  Some friends took me to a “happening” at New Providence High School.  A rope was being dropped interminably from the ceiling, making a gradual pile of rope center stage.  A man in a fur coat was bouncing on a board suspended between 2 pails.  People walked aimlessly across the stage.
Some in the audience huffed and walked out.  Others joined the performance and walked onto the stage and sat down, becoming part of the performance.
It was the late 60’s.
I was 16 and happened to be the baby sitter of the daughter of Mary (aka Lady Purple, as she always wore purple) a woman who was in Bob’s early work, Deafman Glance.  They invited me to go attend the performance at the Brooklyn Academy of Music and I was hooked.
Bob created theater like none other that had come before.  It was slow motion, dreamlike, more concerned with light–the color of it, the amount of it, the timing of it.  Every aspect of light was specific.  What the actors did on the stage was important as far as what was the story their bodies told.  How was an arm lifted?  How was the head turned or tilted?
I began college in confusion.  What was I doing there?  I felt like a fish out of water.  Again, synchronicity.  Bob Wilson showed up at a neighboring college.  Mel Andringa, one of Bob’s colleagues, was doing a workshop at the college and the entire group was there, the group that worked with Bob, called the Byrd Hoffman School of Byrds.
I joined them for the week of workshops.  Then one said to me, “Bob is invited to perform in France at a theater festival.  Do you want to come?”
So I ran off to join the circus.  I was on the plane a month later and performed with Bob Wilson and the Byrd Hoffman School of Byrds for several years after.  We toured Europe together and made 2 trips to the Festival of Two Worlds in Iran (when the shah was still in power).
I see now that I have lived a charmed life.   This magical experience happened to me and to our group The Byrds.  Bob was the visionary and we added our dreams.
The center of the Byrd School was Bob’s loft at 147 Spring St, NYC.   We met there for rehearsals.  Rehearsals always included open dancing.  This meant discovering the individual unique movement held within each person’s body.  The cast included children to men and women in their 70’s and 80’s.  That was a lot of unique bodies to enjoy, to watch grow and become more confident in their own uniqueness.
Bob encouraged everyone to create plays and dances on their own as well, and perform them in the Byrd loft performance space that was created on the ground floor.  So when we had a reunion, almost 40 years later, on Saturday and Sunday, August 7 & 8, I saw photos of my early performances at the Byrd loft.
I choreographed flights of fancy, dancers as miners emerging onto the stage from a well, children climbing ladders to nowhere, gods and goddesses dancing together in swirls of white fabric.
I enjoyed being reminded of this special time.  Even though we hadn’t seen each other in almost half a century (WOW!), it was easy to pick up where we left off.  Bob Wilson was a gracious host, showing us around his facility in Watermill, Long Island, where we all met and spent a beautiful day.
Bob is recreating those playful times at Watermill.  He’s built an exquisitely beautiful structure to house young artists who come in the summer to experiment with their art, collaborate with Bob, and grow.  There are stages, performance areas under the trees, workshops, gardens, sculptures, art and artifacts from ancient times to modern, pottery, all types of art housed, protected, enjoyed.
It was exciting.
Ann Wilson, senior recorder of all these events, just sent me a questionaire.   This blog attempts to answer her questions.  Her questions are below in quotes:
“a list of what you all did on stage”:
I began as the turtle in the 12 hour play The Life and Times of Sigmund Freud that was performed at the Nance Festival in France.  I was under the turtle shell crawling super slowly across a beach of vermiculite.  It took me about 45 minutes to cross the stage from right to left.  When I was center stage, I released an apple from the mouth of the turtle which floated, suspended by invisible thread, to the sky.
During that show, I was also an ostrich and a dancing Aunt Jemima, in a chorus of @ 30 dancing ostriches and @ 40 dancing Aunt Jemimas.  Sometime during that tour, I blossomed as a dancer and had key dancing roles.
“and a description, mood, feeling, sound, action of your favorite part on stage, when and where if you can remember.”
I can certainly remember my favorite parts onstage.  Charlie and I did a duet through a magical woods, as the moon crossed in the sky and Alan sat at the piano  stage left and played the moonlight sonata.  High above us, in the tree branches, Raymond was suspended on a swing.  Women in white dresses followed us, dancing slowly.  The mood was ethereal.
Another favorite part was when Bob and I did a duet in front of the pyramid in The Life and Times of Joseph Stalin.  Bob was dressed in his white Stalin suit and I wore a white skirt that was fairly transparent, like a cloud.  It was always spontaneous, a mad dance of 2 opposites, a slender girl and a tall gangly man.  It was a dance of explosive energy and the feeling was as if being carried by a storm, and landing as a leaf on the water at the end.
I have a memory of walking along the desert mountains when we performed KA MOUNTAIN AND GUARDENIA TERRACE, outside Shiraz, Iran.  I can feel the warm breeze on my face, feel the sand like soil of the mountain under my feet.  We performed continuously for 7 days and nights.  Each day the performance moved further up the mountain.  On the 7th day, we were at the top, where Noah’s Arc perched.
“Then I would like a brief description of the highlights and wonders of your lives since Byrd days as we are a wonderfull group that has made many contributions to the lives of those around us.”
Tall order.
My life continued to be blessed.
There is no way I could make a list of my life’s highlights without starting with my daughter, Catherine.  I don’t believe there has been a greater joy in my life or in the life of her dad, Michael Galasso.  Catherine has become a choreographer and film maker and looking forward at her work sometimes feels like looking into the past at the exciting time we lived.  Her work of course is different, yet some things are so strikingly similar, that they startle me.

A painting of H.H. Dudjom Rinpoche from the wall of Padma Samye Ling Temple

I have been blessed with great teachers and mentors.  I had the privilege of working closely with the artist, Les Levine for many years and we have remained close friends.
He introduced me to the Tibetan Nyingma teachers, H.H. Dudjom Rinpoche and Dilgo Khentse Rinpoche.  I then became a student of the late Khenchen Palden Rinpoche and Khempo Tsewang Rinpoche.

H. H. Khenchen Palden Sherab Rinpoche 2009

I was able to study directly with Dr. John Upledger, the founder of CranioSacral Therapy (CST) and that study guides my professional life today.  As founder of Well On The Way LLC, a holistic healing center in Westchester County, NY, I am grounded by CST.  It is the center therapy around which my other tools developed.
I grew in my therapeutic work, adding many manual specialties and learning them directly from their originators, Dr. Bruno Chikly and Lymph Drainage Therapy (LDT) and Dr. Jean Pierre Barral and Visceral Manipulation Therapy (VM).  Judith Aston revealed the mysteries of the body’s mechanical movement to me, how to balance it and create harmony.
Lastly, I have added nutritional work and have the honor of representing the great humanitarian and scientist, Dr. Myron Wentz, and his ground-breaking products.  Dr. Wentz won the coveted Albert Einstein Award for his contributions to medicine.  He has built 3 hospitals, including an Aids Hospital in Uganda and another in Cambodia.

Elizabeth Pasquale with Dr. Myron Wentz in San Diego, 2008

I wonder sometimes what the universe is preparing me for, as it seems to educate me in these various disciplines, always giving me the best teachers, men & women far ahead in their fields.  What plans does the universe have for me, that it is preparing me so well?

Once in a lifetime

Hi from Salt Lake City

by Elizabeth Pasquale on August 26, 2010[edit]

It’s the first day of USANA Convention and the one thing that sticks in my mind above all the amazing things that were said this morning is this:  Patti Rooney:  “It’s once in a lifetime one gets to work with a man the caliber of Dr. Myron Wentz.”

Dr. Wentz is a visionary, the founder of USANA Health Sciences and Sanoviv Medical Center, and the builder of health centers in Uganda and Cambodia.  And I get to work with him, represent him, and carry out his mission of ending disease.

I can’t begin to tell you how my heart sings to accept this challenge.

I count my blessings of the great men I’ve had the honor of calling my mentors, the men who have caused me to rethink my life and start in a new direction.  My life has been many times blessed.

As a teen, it was Robert Wilson, the visionary theater director who changed my world from suburban New Jersey to encompassing the glove.  In my twenties to now, it was the Nyingma lamas, Dilgo Khentse Rinpoche and Khenchen Palden Sherab.  In my professional life it was first Dr. John Upledger, founder of CranioSacral Therapy, who I had the honor to train under.  Now Dr. Wentz.

My question might be Why Me?  What greatness does the universe expect of me, that it has given me so many visionaries to direct my path?  Once in a lifetime would be a phenominal gift.

What greatness do I expect of myself to be given these blessings?

A great mentor, Warner Berger & I in Nepal May 2010

I don’t know why this stuff works…

Most of you know I’m a holistic health care provider.  What that means is that people often show up when the doctors have told them they have no more treatments for them, or the person doesn’t like the suggested traditional treatment option.

Then I do the best I can with therapies with unfamiliar names, like craniosacral therapy, lymph drainage therapy, various other energy therapies.  And I use potent nutritional vitamin formulations.

You know, I don’t know  why this stuff works, even though I’ve been doing it since 1995.  I also don’t know how electricity works, and I’ve been flippin’ the switch my whole life.  I don’t know if these vitamins are the best in the world.  All I know is,  I’ve witnessed some amazing healings.

For instance, take one little lady I know, we’ll call her Cathy.  Cathy was almost 15 years old when I first met her.  She arrived with some of her loving family, mom who brought everybody, and 2 younger sisters.  Cathy was walking with a cane and could hardly make it up my 3 steps….


CranioSacral Therapy

CranioSacral Therapy

CranioSacral Therapy

Schedule an appointment at Well On The Way®

CST was pioneered and developed by osteopathic physician John E. Upledger ( following extensive scientific studies from 1975 to 1983 at Michigan State University, where he served as a clinical researcher and Professor of Biomechanics.

CST is a gentle, hands-on method of evaluating and enhancing the functioning of a physiological body system called the craniosacral system – comprised of the membranes and cerebrospinal fluid that surround and protect the brain and spinal cord.

Using a soft touch generally no greater than 5 grams, or about the weight of a nickel, practitioners release restrictions in the craniosacral system to improve the functioning of the central nervous system.

By complementing the body’s natural healing processes, CST is increasingly used as a preventive health measure for its ability to bolster resistance to disease, and is effective for a wide range of medical problems associated with pain and dysfunction.

CST is an effective treatment for:

  • Migraine Headaches
  • Chronic Neck and Back Pain
  • Motor-Coordination Impairments
  • Colic
  • Autism
  • Central Nervous System Disorders
  • Orthopedic Problems
  • Traumatic Brain and Spinal Cord Injuries
  • Scoliosis
  • Infantile Disorders
  • Learning Disabilities
  • Chronic Fatigue
  • Emotional Difficulties
  • Stress and Tension-Related Problems
  • Fibromyalgia and other Connective-Tissue Disorders
  • Temporomandibular Joint Syndrome (TMJ)
  • Neurovascular or Immune Disorders
  • Post-Traumatic Stress Disorder
  • Post-Surgical Dysfunction

Lymph Drainage Therapy

Lymph Drainage Therapy

Lymph Drainage Therapy

Lymph Drainage Therapy (LDT) is an original hands-on method of lymphatic drainage developed by Bruno Chikly, MD, of France. Created out of his award-winning research on the lymphatic system, LDT takes traditional lymph drainage techniques and adds a level of precision consistent with recent scientific discoveries.

Using exacting anatomical science and distinctive manual processes, LDT enables practitioners to detect the specific rhythm, direction, depth and quality of the lymph flow anywhere in the body. From there they can use their hands to perform Manual Lymphatic Mapping (MLM) of the vessels to assess overall circulation and determine the best alternate pathways for draining body-fluid stagnations.

What this means to you is you can benefit from a relaxing massage that does you worlds of good. You may need simply stress relief or you may need breast or prostate health intervention. Either way, Lymph Drainage Therapy is an enjoyable way for you to reach your health goals.

Watch a video about Lymph Drainage Therapy

Schedule an appointment at Well On The Way®

Well On The Way
The Natural Way To Well Being

Ossining Office

191 Main St., 2nd Floor, Ossining, New York 10562
(914) 762-4693

White Plains Office

222 Westchester Ave Suite 103, White Plains, New York 10604
(914) 762-4693