Antigone

WELCOME Park Avenue Armory is thrilled to bring Satoshi Miyagi, right now perhaps the most important Japanese director of his generation, and his famed company from Shizuoka Performing Arts Center (spac) to New York in their performance of Sophocles’ Antigone.

Along with his collaborators, Junpei Kiz (Space Designer), Kayo Takahashi (Costume Designer) and Koji Osako (Lighting Designer), the director will transform the Armory’s Wade Thompson Drill Hall into a mythic river that separates the world of the living from that of the dead. The discipline and artistry that Miyagi’s company brings to this production will create a very special experience for New York audiences that can only be achieved at the Armory.

With his startling sense of visual scale and his delicate approach to the human condition, director Satoshi Miyagi unearths this Greek classic in a whole new light. His melding of Eastern philosophies combined with a broad reach of theatrical conventions and presentation styles brings this classic into the new world with a refreshing and exhilarating vision. Today the world is faced with governments in upheaval, everyday lives being disrupted by the chaos of wars, and a sense that only the most boisterous of voices rule with an unjust hand. The beauty of this ancient, yet touchingly modern, story is that a single voice rises above to make love and justice prevail. Satoshi Miyagi brings this message to astounding effect in this ground-breaking production, mixing the principles of Greek tragedy, Japanese Noh theater, Indonesian shadow play, and Buddhist philosophy.

The Armory is indebted to Ambassador Hiroyasu Ando, President of The Japan Foundation, and the staff for their support and collaboration on bringing spac to the Park Avenue Armory.

Rebecca Robertson Founding President & Executive Producer Pierre Audi Marina Kellen French Artistic Director

Cover Photo: © Christophe Raynaud de Lage

ANTIGONE September 25–October 6, 2019 North American Premiere

By Sophocles Translation by Shigetake Yaginuma Satoshi Miyagi Hiroko Tanakawa Junpei Kiz Kayo Takahashi Koji Osako Kyoko Kajita

Director Composer Space Designer Costume Designer Lighting Designer Hair and Makeup

A Production of Shizuoka Performing Arts Center (s pa c ) Adapted by Park Avenue Armory and Presented in Collaboration with The Japan Foundation.

This performance is approximately one hour and forty-five minutes with no intermission.

Performed in Japanese with English supertitles.

OTHER HAPPENINGS Artist Talk: Antigone friday, october 4, 2019 at 6:30pm

Director Satoshi Miyagi is joined by his collaborators in a discussion of the infusion of Japanese Noh theater and other global traditions in the retelling of a classic Greek tragedy.

Armory After Hours

Join us after select evening performances for libations with fellow attendees—and often the evening’s artists—at a special bar in one of our historic period rooms.

Season Sponsors

Production Sponsors

Antigone is presented in collaboration with The Japan Foundation as part of Japan 2019.

The production is also supported in part by a generous gift from Edward Jay Wohlgemuth.

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. The artistic season is also made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Additional support has been provided by the Armory's Artistic Council. armoryonpark.org

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CAST (S = speaker / M = mover)

Maki Honda (S) / Micari (M)

creon

Kazunori Abe (S) / Kouichi Ohtaka (M)

ismene

Yuumi Sakakibara (S) / Asuka Fuse (M)

haemon

Daisuke Wakana (S) / Yoneji Ouchi (M)

tiresias

Soichiro Yoshiue (S) / Takahiko Watanabe (M)

guard

Tsuyoshi Kijima (S) / Katsuhiko Konagaya (M)

priest

Tsuyoshi Kijima

polyneices

Keita Mishima

eteocles

Morimasa Takeishi

chorus

Ayako Terauchi, Fuyuko Moriyama, Haruka Miyagishima, Kenji Nagai, Mariko Suzuki, Miyuki Yamamoto, Moemi Ishii, Momoyo Tateno, Naomi Akamatsu, Ryo Yoshimi, Shunsuke Noguchi, Yu Sakurauchi, Yukio Kato, Yuya Daidomumon, Yuzu Sato

Photo Credit: Š Christophe Raynaud de Lage

antigone

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INTERVIEW WITH SATOSHI MIYAGI What is Antigone?

Please describe the work and why you chose to re-create this play.

How does your version of Antigone reconcile Western (Judeo-Christian) versus Japanese (Buddhist) ideas regarding death and the afterlife?

This production of Antigone that we are presenting at the Armory is a Greek tragedy written by Sophocles approximately 2,500 years ago as performed by a Japanese company from the Shizuoka Performing Arts Center in 2019. These elements seem like they are separated by a lot of geography and time. In fact, for an American audience these things may seem like they are very far away. However, we feel that there are a great many commonalities between ancient Greece and Japan. The polytheistic way of thinking in pre-Christian Greece is actually something very familiar to us in Japan. So we don’t feel that doing Antigone is importing something from Western culture, but something that we can touch quite directly.

I was drawn to this play because I felt that the message of Antigone was very valid for our current times, or rather I sensed that it was a message that was needed in the current moment.

Actually, I don’t think of this as an adaptation at all. Rather I began by thinking about how I could get closer to the original text than other productions.

There is in fact a very distinct contrast. In Christianity when one dies one either goes to heaven or hell. It is clearly divided. Another way to say this is to say that one lives life in the hope of going to heaven and avoiding going to hell when you die. It gives birth to the idea that one derives one’s way of life from the terror of these two distinctly different forms of death. However, in Buddhism and specifically Japanese Buddhism, no matter what you do while you live, when you die everyone becomes a Buddha. So there’s no need to base your life on a fear of going to hell the moment you die. This is a big contrast.

I want to convey to the audience a point of view that doesn’t bifurcate things in this world, and polarize everything into being “of god” or “of the devil.” I’m trying to make those kinds of borders less abrupt—more ambiguous. This was the basis of my direction.

So, specifically to not portray two possible afterlives, as we were talking about, and to make clear that Creon and Antigone and Haemon are all going to become Buddhas in exactly the same way after death. That is one example.

Another thing was to make the border between the living and the dead, between the world of living things and the world of dead things, as ambiguous as possible.

The idea that there is water between the land of the living and the land of the dead is an image shared by both Japan and Ancient Greece.

We have this idea of a border separating two things being defined by water. And there is perhaps nothing that signifies a constantly shape-shifting boundary more aptly than water. If this is how we view the boundary between life and death then we are really seeing it as something ever-changing. In one moment someone could see themselves as of the living and standing beside someone who is dead, but in another moment perhaps they have crossed over and lost any division from the dead. In this way, for a living person the distinction between who is alive and who is dead becomes ambiguous. I wanted to portray this sensibility on stage.

Antigone is someone who is not just seeing the living people around her, but also those who have already died. So she is surrounded not just by the few living people she is with, but with a much larger group of dead people. Antigone was going through life with this feeling, so she was not particularly afraid of going to the land of the dead.

What are the most important themes of the play?

If you consider earthly power, for example military, economic or political power, from a relative point of view—to say it very directly: to look at the world through the eyes of the dead—one sees that the prosperity and riches of the world we live in are devoid of value. So if you take a current conflict such as a war, or someone taking great pride in their wealth, and look at these through the eyes of the dead, they appear as utterly meaningless things that make no difference.

This is perhaps the most important message of the play.

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ANTIGONE SYNOPSIS The play opens after the two sons of Oedipus, Eteocles and Polyneices, have fought and killed each other in a civil war over the throne of Thebes. Creon, the new king and their uncle, has issued an edict promising an honorable burial to Eteocles; the invader Polyneices will be left unburied to rot on the battlefield. Their two sisters, Antigone and Ismene, meet outside the palace gates. Antigone proposes to bury her brother Polyneices, despite a penalty of death by stoning. Ismene refuses to join her. Women should give way to men and the city’s edicts. Antigone angrily departs to perform the burial rites alone. The chorus of older aristocratic citizens celebrates the Theban victory the forces mobilized by Polyneices.

Creon enters to announce and explain his edict and ask for the chorus’ support. A terrified guard enters to announce the attempted burial of Polyneices’ corpse. Creon angrily sends the guard back to find the culprit or face death. The chorus sings a famous ode on the awesome nature of humanity, which can control and civilize its world except for mortality, yet can also challenge laws. The guard returns with Antigone, whom he has caught performing burial rituals over the body. Antigone defends her action, citing the unwritten laws defended by the gods. Humans have, in her view, no authority over the world of the dead. She will risk death because she has lost all her loved ones.

Creon, furious at his niece’s defiance, decides to punish both sisters with death. He summons Ismene, who falsely confesses to the burial attempt now that she faces losing her sister. Antigone refuses to allow her to own the deed and Creon imprisons the sisters. The chorus meditates on the doomed family of Labdacus.

Creon’s son Haemon, who is engaged to Antigone, enters to try to persuade his father to change his mind and be a more flexible and responsive leader. He cites the views of the ordinary citizens, who admire Antigone’s heroic action. Creon quarrels with his son and threatens to kill Haemon’s fiancée before his eyes. Haemon departs in anger. The chorus persuades Creon to spare the guiltless Ismene but decrees that Antigone will be buried alive in a cave outside the city.

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The chorus sings an ode on the powers of desire and the god Eros.

Antigone enters in a bridal/funereal costume and laments her coming entombment and her failure to marry. The chorus joins her in song as it both admires her piety and disapproves of her disobedience to the King’s edict. She admits disobeying the laws of the city, but hopes that if she acted rightly in the view of the gods, they will punish those who consider her act as impious with the same sufferings. After she leaves, the chorus tries to put her punishment in mythical perspective.

The blind prophet Tiresias enters to convince Creon to bury the bodies of all the enemy war dead because they are ritually polluting the altars of Thebes and the gods are rejecting prayers and sacrifices.

He tells Creon that he should not put the living Antigone in a tomb as it is blasphemous. Creon angrily accuses Tiresias of yielding to bribery. Tiresias departs predicting that Creon will lose a son for his actions. Respecting the advice of the chorus, Creon changes his mind and decides to bury Polyneices and free Antigone. The chorus asks for the help of Dionysus, the god of wine and ecstasy.

Creon completes the burial but arrives too late at Antigone’s cave. She has hanged herself and has been discovered by Haemon, who kills himself over her dead body, thus symbolically completing their marriage. The queen Eurydice hears the news from a messenger and silently enters the palace to commit suicide after cursing her husband. Creon arrives carrying Haemon’s dead body and hears the news of his wife’s death. Creon laments his wife and son, regrets his errors, surrenders his power, and hopes for death. The chorus does not share his lamentation.

Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

ANTIGONE FAMILY TREE LABDACUS

LAIUS

POLYNEICES

MENOICEUS

JOCASTA

CREON

OEDIPUS

JOCASTA

ETEOCLES

ISMENE

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ANTIGONE

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EURYDICE

HAEMON

MEGAREUS

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ANTIGONE ON THE GLOBAL STAGE

BY HELENE FOLEY, PROFESSOR OF CLASSICS, BARNARD COLLEGE Sophocles’ Antigone became an instant classic in fifth-century Athens. Produced not only in Athens but across the Mediterranean, it also provoked controversy. Athens itself passed laws at some point against burying traitors within its territory, yet Athenian funeral orations and a number of other tragedies defended the burial of enemy dead. In the fourth century BCE the Attic orator Demosthenes quoted with admiration Creon’s first speech to the chorus announcing his edict against the burial of Polyneices, whereas Aristotle in his Rhetoric approved Antigone’s defense of the unwritten laws, which he praised as closer to nature.

If Antigone’s stance is in principle defensible for the Greeks, how are we to assess the play’s equally provocative gender conflicts?

Female resistance to traditional gender roles is common in Greek tragedy, if not in life, where Athenian women were largely limited to the household and participation in religious rituals. Within the play itself Creon is outraged by a female challenge. Antigone’s sister Ismene initially refuses to participate in Polyneices’ burial, since women should not resist men or the state. The chorus of older aristocratic citizens acknowledge Antigone’s piety, but, unlike the ordinary citizens mentioned by Haemon, disapprove of her violation of the edict. Tiresias confirms that Creon made a mistake, and the King pays for it with the loss of son, wife, and power. In cases like Antigone, where the interests of the state apparently conflict with those of the family, however, Greek tragedy often chose to confront such difficult controversies through female resisters who are nevertheless punished for their actions.

In recent years Antigone has been produced and reimagined all over the world – in Europe, the Middle East, Asia, Africa, and the Americas – in response to a range of local and global issues.

The question of a state’s rights over physical remains and the treatment of the dead is pertinent today. In South America, for example, numerous versions of Antigone have responded to state refusal to acknowledge those “disappeared” for political resistance by undemocratic regimes. As in ancient Greece, women in many cultures still play a critical role in lamenting and caring for the dead in their families. In Argentina, the Mothers of the Plaza de Mayo still march weekly in Buenos Aires to lament their “disappeared.”

In the U.S. the recent Antigone in Ferguson, by contrast, responded to the body of the African-American Michael Brown, shot and left exposed for many hours by police in Ferguson, Missouri.

Antigone’s intransigence has been interpreted on stage as an act of terrorism, or celebrated as an heroic defense of justice, tradition, cultural memory, and human or even indigenous rights.

New versions have given a larger voice to the more traditional but 6

silenced Ismene or Eurydice or enlarged the role of Haemon and made him an active partner to the heroine, as he seems to have been in Euripides’ lost version of the play. Creon has emerged as a less temperamental and sympathetic defender of order in the aftermath of civil war or an aggressively patriarchal tyrant. The chorus has expanded to include a more diverse group of participants that can even join the resistance. Miyagi’s 2004 version united Antigone and Haemon in opposition to state authority. His new version offers an original interpretation that expands the play’s chorality and its religious dimensions.

Helene P. Foley is Claire Tow Professor of Classics, Barnard College, Columbia University. She is the author of books and articles on Greek epic and drama, on women and gender in Antiquity, and on modern performance and adaptation of Greek drama.

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GREEK TRAGEDY PRODUCED IN JAPAN

BY MAE SMETHURST, PROFESSOR EMERITA OF CLASSICS AND EAST ASIAN LITERATURE Performances of Greek tragedy have been widespread in Japan since World War II. In 1957, during post-Allied occupation debates over whether Japan should join the Western Anti-Communist alliance, students of aesthetics, at the University of Tokyo founded the Greek Tragedy Study Circle. Oedipus was a natural choice as the Circle’s first production not only because Aristotle especially commended it, but also because it had already been performed in Japan, although only in 1895, 1916, and 1933. During the 1970s, director Tadashi Suzuki staged Greek tragedies, followed in the 1980s by Yukio Ninagawa, and in the 1990s until today by Satoshi Miyagi. They each offered a synthesis of traditional Japanese theater forms and modern theater. Noh inspired Suzuki, Ninagawa drew on spectacle from Kabuki, Miyagi turned to Bunraku with its separation of mover and speaker to infuse his performances with a Japanese quality. In his Medea, the actors who move and do not speak are like puppets; a chorus of men do their speaking.

In his Ku Na’uka Theater Company, Miyagi continued to separate actor and mover in both Greek tragedy and other dramas.

His version of Sophocles’ Antigone in Tokyo in 2004 urged his Japanese audience to come to grips with the intense individuality of Antigone as she challenges established political authority. He created a chorus of multiple Creons, representing state authority, and multiple Ismenes, representing citizens, who compromise rather than directly confront power. Only Antigone and Haemon stand outside these groups and speak for themselves. She buries her brother and as a result dies. In contrast to Sophocles, both actions are represented on stage. Haemon threatens his father with rebellion and dies, again on stage. Miyagi produced his Antigone to challenge his audience. Keeping both traditional Japanese theater and Western theater in mind, his production aimed to speak to the Japanese through a play that introduces issues such as duty versus human feeling, principle versus political expediency, higher moral values versus the demands of the state.

Although he created a strong dichotomy between those who are right and those who are wrong, Miyagi said that in this 2004 production he was most interested in Antigone’s words telling Creon that the great principle which should guide us is that of loving all human beings. This sentiment led to his new version of Antigone in Avignon two years ago. He flooded the stage with water on which the actors as ghosts appear. The actors walk/float on the river Sanzu during the performance, only to disappear beneath the water, which is the beginning and end of all existence, the underworld. The chorus members speak and carry the instruments as residents of the world below. Their three choral passages perform armoryonpark.org

the bon odori, a festival dance to appease the dead. In the last scene the entire cast, removing the wigs they had donned on their first appearance to become members of the living world, including Creon and Tiresias, return to the underworld. These ghosts had returned to relive their lives, i.e. the story of the Antigone, which they acted out on stage, but go back to the world of ghosts.

The play is presented as a Buddhist celebration for the dead.

In the Avignon production, a second set of actors speak for the main characters, Antigone, Haemon, Creon, and Ismene. Now two actors play each role, as speaker and mover. Sometimes, as in Noh, the chorus also speaks the actors’ lines. Miyagi also splits the movers into two by projecting their shadows on the wall. The interaction of the shadows becomes its own dramatic piece, as when the shadows of Antigone and Haemon touch before they die. Before her death, Antigone delivers her final speech atop the platform and facing away from the audience: “If the gods want it this way, I will realize my faults, but if these people are to blame, may their suffering not be so great as mine?” The Sophoclean text was rendered in 2004: “If these men are wrong, may their suffering be no more than what they unjustly inflict on me.” The difference in tone between the first and the second Antigone is striking. Miyagi’s new Antigone is no longer tragic, but a festival to appease the spirits of the dead. The full cast finally disappears into the underworld, all Buddhas, both those who inflict harm and those inflicted. At the end the priest returns and launches lanterns floated on the water to appease the dead as in every bon odori festival.

Mae J. Smethurst, University of Pittsburgh Prof. Emerita of Classics and East Asian Literature, has authored multiple works focusing on ancient literary theory, drama, lyrical poetry, and comparative theatre. Awardwinning titles include. The Artistry of Aeschylus and Zeami (Hitomi Arisawa Prize) and Dramatic Representations of Filial Piety (JapanUnited States Friendship Commission Prize).

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CREATIVE TEAM SATOSHI MIYAGI (DIRECTOR)

Born in Tokyo in 1959, Satoshi Miyagi is the General Artistic Director of Shizuoka Performing Arts Center (spac). After studying aesthetics at the University of Tokyo under Yushi Odashima, Moriaki Watanabe, and Hachiro Hidaka, he founded the Ku Na’uka Theater Company in 1990 and soon began staging plays overseas as well as in Japan. As a result, Miyagi’s work—in which he often fuses contemporary textual interpretations with physical techniques and patterns of Asian theater—has long been acclaimed both at home and far beyond. Indeed, in 2004 he received the 3rd Asahi Performing Arts Award, and the next year the 2nd Asahi Beer Art Award.

Since taking up his position with spac in April 2007, Miyagi has staged many of his own works—including Medea, the Hindu epic Mahabharata, and Peer Gynt—and has invited artists from abroad to present pieces casting a keen eye on the modern world as they see it.

In line with his aim to make theater “a window to the world,” he has also started a new spac-based project aimed at the youth of Shizuoka.

In July 2014, Miyagi was invited to Festival d’Avignon in southern France, where he received excellent reviews for his open-air version of Mahabharata staged in a huge stone quarry named La Carrière de Boulbon.

Following that landmark achievement, the festival extended the honor of inviting Miyagi to present a Buddhist interpretation he created of the ancient Greek mythological tragedy Antigone as its prestigious opening program for 2017.

On that occasion, which was the first time an Asian play had ever been selected to launch the festival, Miyagi’s exalted “stage” was the open-air Cour d'Honneur du Palais des Papes (the Honor Court of the Palace of Popes). By the play’s end, those towering medieval stone walls were ringing out with long and splendid standing ovations welcoming the work’s director and creator along with spac’s actors and staff receiving rave reviews from more than 60 European media outlets.

In 2018, he received the 68th Minister of Education, Culture, Sports, Science and Technology's Art Encouragement Prize of Drama and the "Chevalier de l'Ordre des Arts et des Lettres" from the Ministry of Culture of France.

HIROKO TANAKAWA (COMPOSER)

Hiroko Tanakawa is a composer and music director for theatrical works.

She was in charge of the music of Mahabharata 2014 and Antigone 2017, which were both invited to Avignon Festival, Mahabharata Senki at Kabuki Theater Tokyo in 2017, and Révélation in 2018, all directed by Satoshi Miyagi. In addition, she has been working in workshops at elementary and junior high schools, special needs schools, children’s nursing homes, etc. and also at her own project “Table Theater”. Tanakawa has not received formal musical education, so she can be seen as an outside artist in this field.

KAYO TAKAHASHI (COSTUME DESIGNER)

Kayo Takahashi studied graphic design at Musashino Art University in Tokyo, graduating in 1992, and has worked as a costume designer for the theater directed by Satoshi Miyagi since 1994. Takahashi is a costume designer for various musicians' promotional videos and concerts, as well as movies and events in Tokyo and assistant costume designer for the ballet at the Nagano Olympics opening ceremony in 1998. Her creations are based on the deep concept inspired by the story, the actors, the director and the energy of the space in the theater. She always tries new challenging ways to express her creations.

The costumes in Mahabharata and Antigone have the essence of Japanese classic culture, origami and paper craft. Additionally, she designs props and masks for stage productions. Her most recent works are The White Hare of InabaNavajo at the Musée du quai Branly (2016), Mahabharata (2014) and Antigone (2017) at Festival d’Avignon, Mugen Noh Othello at Japan Society in New York (2018). Also, she designed the Kabuki costumes for Mahabharata Senki at Kabukiza Theater in Tokyo and the opera costumes for Rusalka by Antonín Dvořák at Nissay Theater in Tokyo (2017.) Takahashi now lives in Hawaii.

KOJI OSAKO (LIGHTING DESIGNER)

Born in 1961 in Kagoshima Pref., Japan. Koji Osako began theater during his university life when he met Satoshi Miyagi. He learned lighting design from Yoshito Sakamoto and Yoshiaki Kuroo at the theater space of the University of Tokyo, where many theater artists like Hideki Noda, Koharu Kisaragi, and Yasuyuki Tsutsumi had worked. In 1990, he joined the establishment of the Ku Na’uka Theater Company with Miyagi. He often works on temporary sites such as outdoor spaces and warehouses. In 2016, he received the jaled Prize, Japan Association of Lighting Engineers & Designers Excellence Award, for his work on Mahabharata directed by Satoshi Miyagi at Sumpujo Park in Shizuoka, Japan.

KYOKO KAJITA (HAIR AND MAKEUP)

As a hair and makeup artist, Kyoko Kajita works with Japanese singers, including Bibari Maeda and Chiyoko Shimakura, as well as in theatrical performance settings and for studio and onsite photo shoots. In 2000, she established her own office, Les Cinq Sens, of which she is currently President.

She also works on fostering the future generation of hair and makeup artists by working as a lecturer. In 2003, she met director Satoshi Miyagi, and since then she has worked on hair and makeup for almost all of Miyagi-directed works staged in Japan and abroad, including Miyagi’s masterpieces Mahabharata and Antigone. In recent years, she has expanded her activities to Japanese historical dramas, musicals, and television.

JUNPEI KIZ (SPACE DESIGNER)

Born in 1969 in Aichi Pref. After graduating with a Master of Architecture degree from the University of Tokyo in 1996, Junpei Kiz started his career as an architect at Kume Sekkei Inc. In 2006, he established his own office, Kiz Architects, Japan.

Since 2016, he has worked as lecturer at Meiji University, Japan. His works are innovative, memorable designs to bring out the full potential of every site from streetscapes and architecture to parks and greenery. His representative works of stage design are Antigone in Festival d’Avignon 2017, at Cour d’Honneur du Palais des Papes, directed by Satoshi Miyagi; Mahabharata in Festival d’Avignon 2014, at La Carrière de Boulbon, directed by Satoshi Miyagi. He received the ac a National Arts Festival Excellence Award in 2017, among many others.

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Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

CAST ASUKA FUSE

Asuka Fuse joined Ku Na’uka Theater Company in 2002 followed by s pa c in 2006. She has appeared in numerous s pa c productions, including Yashagaike (Yuri), Hamlet (Ophelia), Peer Gynt (Solveig), and The Winter’s Tale (Perdita/mover, Hermione/speaker) which were directed by Satoshi Miyagi. She has also performed in Blasted (Cate) and The Glass Menagerie (Laura) directed by Daniel Jeanneteau, Miss Julie (Christine) directed by Frédéric Fisbach, The Juggler’s Tale (Eli) directed

by Yudi Ahmad Tajudin, and Intérieur (Marie), directed by Claude Régy.

AYAKO TERAUCHI

Ayako Terauchi became a member of Ku Na’uka Theater Company in 1997, followed by spac in 2011. She has performed in multiple works directed by Satoshi Miyagi such as Mahabharata, The Castle Tower (Kuhei/mover), Medea and Révélation. Some of her other major appearances include L’Illusion Comique (Lise), directed by Frédéric Fisbach and The Blind, directed by Daniel Jeanneteau.

DAISUKE WAKANA

Daisuke Wakana completed the course of nnt Drama Studio (New National Theater, Tokyo), and first joined spac in 2013, appearing in The Golden Coach directed by Satoshi Miyagi. His following appearances in spac productions include Black Lizard, Mefisto For Ever, and The Winter’s Tale, all directed by Miyagi, Don Quixote directed by Kazuki Harada, and Takaki Kanomono directed by Kanji Furutachi.

KATSUHIKO KONAGAYA

Katsuhiko Konagaya joined spac in 2011. The main spac productions he has performed in are A Midsummer Night’s Dream, The Winter’s Tale, both directed

by Satoshi Miyagi, Our Town (Charles Webb) directed by Tomohiko Imai, Don Quixote (Sancho Panza) directed by Kazuki Harada, The Blind directed by Daniel Jeanneteau, L’Illusion Comique directed by Frédéric Fisbach, and Yotaro au pays des Yôkais directed by Jean Lambert-wild. Konagaya also works actively with various directors outside spac including Hitoshi Uyama in the Shakespeare series at the New National Theater, Tokyo and Giorgio Barberio Corsetti in The Threepenny Opera in Tokyo Festival 2018, among others.

KAZUNORI ABE

Kazunori Abe has appeared in every production of the Ku Na’uka Theater Company since its founding in 1990. He later followed Miyagi to spac in 2009. In addition, Abe organizes his own acting workshops and has performed in his own solo series since 1998. Abe is best known for his performances in Miyagi-directed productions including The Castle Tower (Tomi-hime/speaker), Tristan und Isolde (Tristan/speaker), Macbeth (Macbeth), Mahabharata (Narrator), Othello (Othello), Mefisto For Ever (Kurt Köpler), The Winter’s Tale (Leontes/speaker), and Révélation. He has also performed in various productions at spac, including Blasted (Soldier) and The Glass Menagerie (Tom) both directed by Daniel Jeanneteau and Miss Julie (Jean) directed by Frédéric Fisbach. His trademark speaking style, which utilizes his whole body, has been recognized both within Japan and internationally.

KEITA MISHIMA

FUYUKO MORIYAMA

Fuyuko Moriyama joined Ku Na’uka Theater Company in 2006 and later spac in 2012. Her major appearances at spac are Peer Gynt, The Grimm Fairy Tales: The Girl Without Hands, A Midsummer Night’s Dream, Mahabharata, Othello, and The Life of Gusuko Budori, all directed by Satoshi Miyagi. She also was directed by Yudi Ahmad Tajudin in The Juggler’s Tale, by Jean Lambert-wild in Yotaro au Pays des Yôkais, and by Giorgio Barberio Corsetti in The Threepenny Opera (Celia Peachum).

Keita Mishima has worked with spac since its founding, following his earlier work with Acting Company Mito. He has collaborated with various directors such as Tadashi Suzuki, Satoshi Miyagi, Tomohiko Imai, Shuji Onodera, Kazuki Harada, Jo Kanamori, Omar Porass, and Jean Lambert-wild. He has performed in more than 70 cities in Japan and abroad. His representative works are Don Juan (Don Juan), Don Quixote (Don Quixote), Our Town (Professor Willard), Robinson and Crusoe (Crusoe), Captain Izumi Iwatani (Izumi Iwatani), Mahabharata (Monk), and Medea, among others.

KENJI NAGAI

HARUKA MIYAGISHIMA

Haruka Miyagishima started her career with the role of Juliet in Romeo and Juliet directed by Omar Porras in 2016. She also performed in spac productions directed by Satoshi Miyagi such as Mahabharata, The White Hare of InabaNavajo, Lucrezia Borgia, and also The Metamorphosis directed by Shuji Onodera, and Yotaro au Pays des Yôkais directed by Jean Lambert-wild.

Kenji Nagai joined spac in 2000. He has performed main roles in numerous spac productions such as Cyrano de Bergerac (Christian) directed by Tadashi Suzuki and Yashagaike (Akira), Two Ladies (Koichi), and The Grimm Fairy Tales: The Girl Without Hands (Prince), all directed by Satoshi Miyagi. He also appeared in The Juggler’s Tale directed by Yudi Ahmad Tajudin and Romeo and Juliet directed by Omar Porras.

KOUICHI OHTAKA

Kouichi Ohtaka joined Ku Na’uka Theater Company and made his stage debut in Satoshi Miyagi’s production of Elektra in 1995, and later followed Miyagi to spac in 2009. He has appeared in Miyagi’s The Castle Tower (Zushonosuke/ mover), Medea (Jason/speaker), Mahabharata (Nala), Black Lizard (Kogoro Akechi), and The Winter’s Tale (Leontes/mover). He has also performed in various productions at spac, including Blasted (Ian) directed by Daniel Jeanneteau, L’Illusion Comique directed by Frédéric Fisbach and The Metamorphosis directed

by Shuji Onodera.

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MAKI HONDA

Maki Honda graduated from Tamagawa University’s Department of Literature with a degree in theater and joined the Ku Na’uka Theater Company in 1998.

She later joined spac in 2007. Honda is best known for her roles in A Midsummer Night’s Dream (Helena), Medea (Jason/mover), The Castle Tower (Zushonosuke/ speaker), The Winter’s Tale (Paulina/speaker), Mahabharata (Empress Dowager), and Révélation, all directed by Miyagi. She has also appeared in other spac productions such as Our Town (Emily Webb) directed by Tomohiko Imai.

MARIKO SUZUKI

Mariko Suzuki joined spac in 2012. Her major appearances in Satoshi Miyagi’s works are Yashagaike, A Midsummer Night’s Dream, Black Lizard, and The White Hare of Inaba-Navajo. She has also performed in The Juggler’s Tale (Princess Eli), directed by Yudi Ahmad Tajudin, The Metamorphosis directed by Shuji Onodera, and Romeo and Juliets, directed and choreographed by Jo Kanamori.

MICARI

Micari made her stage debut in Shuji Terayama’s production of Bluebeard’s Castle and went on to become one of the principal members of the Ku Na’uka Theater Company. Some of her best-known performances are from her roles in Salome (Salome/mover), Elektra (Elektra/mover), Turandot (Turandot/mover), The Castle Tower (Tomi-hime/mover), Tristan und Isolde (Isolde/mover), A Streetcar Named Desire (Blanche), Medea (Medea/mover), and Mahabharata (Damayanti). She also appeared in spac’s rendition of The Winter’s Tale (Hermione/mover, Perdita/ speaker), The Grimm Fairy Tales: The Girl Without Hands (Girl), The Life of Gusuko Budori (Gusuko Budori), and Révélation (Inyi/mover), among others. Her unique stage presence has been praised by Japanese and international audiences alike.

Miyuki Yamamoto joined spac in 2012. Her major appearances in Satoshi Miyagi’s works are Mahabharata (Varuna/speaker), Mefisto For Ever (Angela), The Winter’s Tale (Mamillius/speaker), The White Hare of Inaba-Navajo, and Révélation. She has also performed in Romeo and Juliet (Romeo), directed by Omar Porras, Don Quixote and A New Interpretation of the Tale of Genji, both directed by Kazuki Harada.

MORIMASA TAKEISHI

Morimasa Takeishi joined spac in 2003. He has performed in numerous productions directed by Miyagi including Hamlet (Hamlet), Peer Gynt (Peer Gynt), The Grimm Fairy Tales: The Girl Without Hands (Devil), and The Winter's Tale (Autolycus/mover). He has also collaborated with various directors in spac productions such as Our Town directed by Tomohiko Imai, The Metamorphosis directed by Shuji Onodera, Romeo and Juliet directed by Omar Porras, L’Illusion Comique directed by Frédéric Fisbach, and Romeo and Juliets directed and choreographed by Jo Kanamori.

NAOMI AKAMATSU

Naomi Akamatsu joined Ku Na’uka Theater Company in 2001 and subsequently spac in 2011. Her major stage appearances at spac are Mahabharata (Kesini/ mover), Medea, A Midsummer Night’s Dream, Chushingura, Black Lizard, The Winter’s Tale, and The White Hare of Inaba-Navajo, all of which were directed

by Satoshi Miyagi.

Ryo Yoshimi joined spac in 2003. He has performed in multiple works directed

by Satoshi Miyagi such as Mahabharata, Hamlet, Peer Gynt, A Midsummer Night’s Dream, The Winter’s Tale, and Révélation. He has also collaborated with various guest-directors in spac productions including Our Town directed by Tomohiko Imai, Oedipus the King and The Metamorphosis, both directed by Shuji Onodera, Don Juan and Romeo and Juliet, both directed by Omar Porras.

SHUNSUKE NOGUCHI

Moemi Ishii joined spac in 2009. Her major appearances in Satoshi Miyagi’s works are Mahabharata (Sunanda/mover), A Midsummer Night’s Dream, Medea, The Castle Tower, and Révélation. She has also performed in Don Juan directed

by Omar Porras, Our Town (Wallace "Wally" Webb) directed by Tomohiko Imai, and The Imaginary Invalid (Louison) directed by Seiji Nozoe.

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Momoyo Tateno joined s pac in 1998 following her career at Acting Company Mito and sco t (Suzuki Company of Toga). She has appeared in numerous productions directed by Tadashi Suzuki, including Dionysus and Ivanov, and in the following productions directed by Satoshi Miyagi: Medea, The Castle Tower, Yashagaike, and Mahabharata, among others. She has also performed in Our Town (Myrtle Webb), directed by Tomohiko Imai, Don Juan and Romeo and Juliet, both directed by Omar Porras, Oedipus the King and The Metamorphosis, both directed by Shuji Onodera.

RYO YOSHIMI

MIYUKI YAMAMOTO

MOEMI ISHII

MOMOYO TATENO

Shunsuke Noguchi completed the course of nnt Drama Studio (New National Theater, Tokyo), and first joined spac in 2008, appearing in Hamlet (Laertes) directed by Satoshi Miyagi. He has performed in various productions of spac thereafter, including Our Town (George) directed by Tomohiko Imai, L’Illusion Comique directed by Frédéric Fisbach, The Juggler’s Tale directed by Yudi Ahmad Tajudin, The Metamorphosis directed by Shuji Onodera, and Romeo and Juliets, directed and choreographed by Jo Kanamori.

Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

SOICHIRO YOSHIUE

Soichiro Yoshiue is one of the founding members of the Ku Na’uka Theater Company and has participated in almost all of its productions, while also working actively with other theater companies. He joined spac in 2009. Yoshiue is known for his appearances in The Castle Tower (Shunobanbo/mover), Medea (Messenger/speaker), The Winter’s Tale (Camillo/speaker), Mefisto For Ever (Fatty), and Révélation, all directed by Satoshi Miyagi. He has also appeared in Our Town, directed by Tomohiko Imai, Intérieur (the old man), directed by Claude Régy, and Yotaro au Pays des Yôkais, directed by Jean Lambert-wild.

YUKIO KATO

Yukio Kato became a member of Ku Na’uka Theater Company in 2000 and subsequently joined spac in 2010. He has appeared in multiple productions directed by Satoshi Miyagi, including Mahabharata, A Midsummer Night’s Dream, Peer Gynt, Medea, and Révélation. He has also appeared in Don Quixote (Nicolas) directed by Kazuki Harada, L’Illusion Comique (Dorante) directed by Frédéric Fisbach, and The Blind directed by Daniel Jeanneteau.

YUUMI SAKAKIBARA

TAKAHIKO WATANABE

Takahiko Watanabe joined spac in 2010 after a long and wide-ranging career in play, dance, Butoh, movies and more. His major stage appearances at spac are A Midsummer Night’s Dream, Mefisto For Ever, Mahabharata, all directed

by Satoshi Miyagi, L’Illusion Comique directed by Frédéric Fisbach, Takaki Kanomono (Masayoshi Inohara), directed by Kanji Furutachi, and Yotaro au pays des Yôkais directed by Jean Lambert-wild. While working as an actor at spac, Watanabe will present The Good Person of Szechwan, written by Bertolt Brecht, by his own direction in December 2019 as one of the season programs of spac.

Yuumi Sakakibara joined Ku Na’uka Theater Company in 1996, followed by spac in 2010. Her major appearances at spac are Mahabharata (Indra/ speaker, Karkotaka/mover), The Castle Tower (Kame-hime/mover), Medea (the son), Peer Gynt (Åse), Black Lizard (Hina), all directed by Satoshi Miyagi. She has also worked with domestic and foreign directors such as Seiji Nozoe (The Imaginary Invalid), Shuji Onodera (The Metamorphosis), Omar Porras (Don Juan), Yudi Ahmad Tajudin (The Juggler’s Tale) and Giorgio Barberio Corsetti (The Threepenny Opera, in Tokyo Festival 2018).

YUYA DAIDOMUMON TSUYOSHI KIJIMA

Tsuyoshi Kijima joined spac in 1998 following his career at Acting Company Mito, the resident troupe of Art Tower Mito. He appeared in numerous productions directed by Tadashi Suzuki, including Dionysus (Pentheus, the main role) performed at the 1st Theater Olympics in Athens. He has also performed in Miyagi-directed productions including Hamlet (Claudius), A Midsummer Night’s Dream (Oberon), Mahabharata (Bhima/Chasseur), and further works with prominent directors in Japan and abroad such as Jo Kanamori, Omar Porras, Jean Lambert-wild, Daniel Jeanneteau and Claude Régy.

YONEJI OUCHI

Yoneji Ouchi joined Ku Na’uka Theater Company in 1999 and later at spac in 2007. Some of his major appearances at spac include Mahabharata (Varshuneya), The Winter’s Tale (Florizel/mover), Lucrezia Borgia (Gennaro), all directed by Satoshi Miyagi. He has also performed in Run, Moeros! (Moeros), directed by Masahiro Yasuda, Romeo and Juliet (Lady Capulet, Apothecary), directed by Omar Porras, Romeo and Juliets, directed and choreographed by Jo Kanamori, The Blind directed by Daniel Jeanneteau, and Yotaro au pays des Yôkais, directed

by Jean Lambert-wild.

YU SAKURAUCHI

Yu Sakurauchi joined Ku Na’uka Theater Company in 2000 and later joined spac in 2010. The main spac productions she has performed in are Mahabharata, The Castle Tower, Yashagaike, A Midsummer Night’s Dream (Otemoto), Medea, and The Winter’s Tale (Emilia/mover, Dorcas/mover). She has also performed in L’Illusion Comique (Rosine) directed by Frédéric Fisbach.

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Yuya Daidomumon became a member of Ku Na’uka Theater Company in 2001 and later spac in 2009. He has performed in the following productions directed by Satoshi Miyagi for spac: A Midsummer Night’s Dream (Demetrius), Mahabharata (Rituparna), The Castle Tower (Kame-hime/speaker), Othello (Iago), and Révélation. He has also performed in Run, Moeros! directed by Masahiro Yasuda and The Juggler’s Tale directed by Yudi Ahmad Tajudin.

YUZU SATO

Yuzu Sato joined spac in 2009. She has appeared in multiple productions directed

by Satoshi Miyagi, including Hamlet, Peer Gynt, A Midsummer Night’s Dream, Mahabharata, Black Lizard, The Winter’s Tale, and The White Hare of Inaba-Navajo.

Shizuoka Performing Arts Center (spac ) was founded in 1995 by the Shizuoka prefectural government and commenced its fullfledged activities in 1997 under the direction of Tadashi Suzuki, its first General Artistic Director. As a pioneer of publicly funded performing arts organizations in Japan, spac retains its own staff of actors, technical and production staff, who are based at its own venues and facilities. The mission of spac is not only to create original productions, but also to invite progressive artistic companies and creators to Shizuoka and to develop human resources seeking expression through the performing arts. Since April 2007, when he was appointed as the General Artistic Director, Satoshi Miyagi has led spac in a buoyant new phase of development and expansion.

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ANTIGONE PRODUCTION STAFF Assistant Director, Masaki Nakano Technical Director, Mahito Horiuchi Stage Manager, Atsushi Muramatsu Assistant Stage Managers, Yukio Haraikawa, Takahiro Yamada Lighting Operator, Masayuki Higuchi Sound, Koji Makishima, Soichiro Migita Wardrobe, Chigusa Sei Supertitle Operator, Takako Oishi English Supertitle Translations, Leon Ingulsrud, William Snow, Corey Turpin, Yoshiji Yokoyama Administrators, Yoko Narushima, Takako Oishi, Junichi Yoneyama Audio Consultant, Mark Grey Audio Supervisor, Simon Nathan Lighting Supervisor, Aaron Copp Associate Lighting Supervisor, Caitlin Rapoport Lead Technicians, Victoria Bek, Vaneik Echeverria, Dave “Tater” Polato, Stephen Pucci Don Cieslik Kevin Semancik Company Managers, Kanako Morita, Janet Rucker Production Assistants, Ray Jordan Achan, Cat Hickerson Special thanks to All Nippon Airways (ana), bnw Rigging, Five ohm Productions, Masque Audio, Premier Stagehands, 4wall Entertainment.

The Japan Foundation, established in 1972, is Japan’s only institution dedicated to carrying out comprehensive international cultural exchange programs throughout the world. The mission of the Japan Foundation is to promote international cultural exchange and mutual understanding between Japan and other countries in the areas of arts & culture, Japanese-language education as well as Japanese Studies and intellectual exchange. The Foundation maintains its headquarters in Tokyo and operates through a network of 25 overseas offices in 24 countries worldwide. The Foundation is represented by two offices in the United States—one in New York and the other in Los Angeles.

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Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Lissa Frenkel, Managing Director Susan Neiman, Chief Financial and Administration Officer artistic planning and progr amming Michael Lonergan, Producing Director Avery Willis Hoffman, Program Director Seth Shepsle, General Manager, Programming Darian Suggs, Associate Director, Public Programs Jessica Wasilewski, Senior Producer Jenni Bowman, Producer Samantha Cortez, Production Coordinator design and collections Kirsten Reoch, Director of Design and Construction David Burnhauser, Collection Manager development Melanie Forman, Chief Development Officer Charmaine Portis, E xecutive Assistant to the Chief Development Officer Matthew Bird, Deputy Director of Development Allison Kline, Director of Foundation and Government Relations Rachel Cappy Risso-Gill, Director of Individual Giving Anthony Merced, Database and Website Development Manager Jennifer Ramon, Manager of Individual Giving Melissa Stone, Manager of Special Events Surina Gangwani, Senior Coordinator Special Events Katie Burke, Individual Giving Coordinator Calvin Sauveur, Database Assistant education Cassidy L. Jones, Chief Education Officer Monica Weigel McCarthy, Director of Education Aarti Ogirala, Associate Director of Education Chelsea Emelie Kelly, Associate Director of Youth Corps Pip Gengenbach, Education Manager Drew Petersen, Education Special Projects Manager Sharlyn Galarza, Education Assistant Nancy Gomez, Paola Ocampo, Arts Education Interns teaching artists: Kate Bell, Donna Costello, Alexander Davis, Asma Feyijimni, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Vickie Tanner teaching associates: Emily Bruner, Ashley Ortiz, Leigh Poulos, Neil Tyrone Pritchard, Catherine Talton

youth corps: Shaun Cromwell, Jessica Ubah, Maver Mendez Garabito, Gabriel Price, Fatoumata Diallo, Silas Rodriguez, Dorsen Sween, Amadou Tidiane Barry, Dorine Franck, D’alessandro Espejo Risco, Widlany Ferol, Andrew Duer, Tata Jabbie, Ashley Guerrero Soriano, Brianna Trivino, Isayya Dail executive office Lori Nelson, Executive Assistant to the President Nathalie Etienne, Administrative Assistant, President’s Office facilities and oper ations Wayne Lowery, Director of External Operations Rich Vartigian, Director of Facilities Joseph Sanders, Facility Manager Darrell Thimoleon, Office Manager William Say, Superintendent Reginald Hunter, Chief Engineer porters Leandro Dasso, Mayra DeLeon, Mario Esquilin, Olga Cruz, Cristina Moreira, Carlos Goris, Wayne Gillyard, Robert Rodriguez, Ruben Morales, Ron Schrouder finance Alexander Frenkel, Controller Khemraj Dat, Accountant infor mation technology Dion Bullock, Chief Information Officer Oku Okoko, Network Engineer marketing and communications Lesley Alpert-Schuldenfrei, Director of Marketing Nick Yarbrough, Digital Marketing Manager production Paul King, Director of Production Claire Marberg, Production Manager Nicholas Lazzaro, Technical Director Lars Nelson, Technical Director Brandon Walker, Technical Director ticketing and event management Courtney F. Caldwell, Director of Rentals & Event Operations Stephanie Mesquita, Rentals Associate Cheyanne Clarke, Box Office Manager Monica Diaz, Box Office Supervisor Turna Mete, Box Office Supervisor Terrelle Jones and Daniel George, House Manager Anai Ortiz, Naomi Santiago, Front of House Interns

teaching assistants: Nancy Gomez, Stephanie Mesquita, Paola Ocampo, Biviana Sanchez, Naomi Santiago armoryonpark.org

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ABOUT PARK AVENUE ARMORY Part American palace, part industrial shed, Park Avenue Armory supports unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to experience, and audiences productions that cannot be done elsewhere in New York City. Since its first production in September 2007, the Armory has presented and commissioned immersive performances, installations, and crossdisciplinary collaborations in its vast Wade Thompson Drill Hall that defy traditional categorization and challenge artists to push the boundaries of their practice. Such has been its impact that recently The New Yorker said that “The Armory programming is essential to New York life.”

Programmatic highlights from the Armory’s first 12 years include Bernd Alois Zimmermann’s harrowing Die Soldaten, in which the audience moved “through the music”; Ernesto Neto’s sprawling and gauzy Anthropodino; the event of a thread, a site-specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company across three separate stages; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; an immersive Macbeth set in a Scottish heath with Kenneth Branagh; Bach’s St. Matthew Passion staged by Peter Sellars and performed by Sir Simon Rattle and the Berliner Philharmoniker; Heiner Goebbels’ De Materie with floating zeppelins and a flock of 100 sheep; Flexn and Flexn Evolution, electrifying programs by the D.R.E.A.M. Ring dancer/activists led by Reggie “Regg Roc” Gray and Peter Sellars; an acclaimed The Hairy Ape, directed by Richard Jones and starring Bobby Cannavale; Simon Stone’s award-winning Yerma, starring Billie Piper; Nick Cave’s The Let Go, an immersive, multi-sensory dance-based town hall; William Kentridge’s devastating The Head & the Load; Sam Mendes’ The Lehman Trilogy; and Hito Steyerl’s Drill.

In its historic period rooms, the Armory offers more intimate performances and programs, including its acclaimed Recital Series, which showcases musical talent from across the globe in the restored Board of Officers Room. Performers in the Series have included Christian Gerhaher, Nadine Sierra, Igor Levit, Barbara Hannigan, and Lawrence Brownlee. In the newly restored Veterans Room, the Artists Studio series has featured outside-the-box artists like Raashad Newsome, Ryuchi Sakamoto, Miya Masaoka and Roscoe Mitchell, in a program curated by the extraordinary artist/ jazz phenom Jason Moran. The series ref lects the bold improvisational approach of the room’s original design team, led by

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Louis Comfort Tiffany and Stanford White early in their careers.

The Armory also offers a series of performances and conversations called Interrogations of Form, which explores a range of themes and relevant topics on the state of culture in America today. Daylong symposia, talks, and performance events have convened artists, scholars, cultural leaders and social trailblazers such as Carrie Mae Weems, Theaster Gates, Ta-Nehisi Coates, Toshi Reagon, Lil’ Buck, Mira Nair, Elizabeth Alexander, Damian Woetzel, Lynn Nottage, Hank Willis Thomas, George Bearskin, Beedoskah Stonefish, and Tony Kushner.

The Armory’s Artist-in-Residence Program supports artists across genres in the creation and development of new work for the Armory. Current artists-in-residence include: two-time Pulitzer Prize-winning playwright Lynn Nottage; Obie winner and Pulitzer short-listed playwright Branden Jacobs-Jenkins in collaboration with Carmelita Tropicana (playwright/performance artist); social practice artist Theaster Gates; Reggie “Regg Roc” Gray and the D.R.E.A.M. Ring (dancer/choreographer); vocalist and composer Sara Serpa; Tony Award-winning set designer and director Christine Jones and choreographer Steven Hoggett; and Tony Award-winning set designer Mimi Lien.

Park Avenue Armory is a national landmark, built between 1877 and 1881 by the Seventh Regiment, a volunteer unit of the National Guard that included the economic leaders of New York.

It has “the single most important collection of nineteenth century interiors to survive intact in one building”, according to the New York City Landmarks Preservation Commission. The 55,000-squarefoot Wade Thompson Drill Hall, with an 80-foot-high vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $210-million renovation designed

by Herzog & de Meuron with Platt Byard Dovell White Architects.

The Armory has restored four historic rooms including the Veterans Room and the Board of Officers Room, causing Roberta Smith of The New York Times to write: “The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination”.

Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

ARTS EDUCATION OTHER AT THE ARMORY HAPPENINGS By using its unique assets—a magical ruined palace setting and world-class artists developing site-specific, non-traditional work– the Armory has developed a creativity-based Arts Education program that gives students from underserved nyc public schools the tools to think outside the box and trust their own judgments. Students are exposed to the work and creative process of world-class artists from many disciplines; they explore epic works with experienced Teaching Artists; and they express their own interpretation in a second art form through workshops in schools or at the Armory. Armory Arts Education programs are offered to New York City public schools at no cost to students and schools, and are developed in alignment with the nys Next Generation Learning Standards and the nyc Blueprint for the Arts.

The 2019-2020 school year launches with Antigone, inviting over 800 New York City public middle and high school students to attend the student matinee on October 2nd. With its rich characters and complex moral and philosophical debate, Antigone is a staple of English Language Arts curriculum and the production is an ideal complement to classroom study.

All students attending the matinee will engage with this complex source material through pre-visit workshops in school, learning about the story of Antigone and the art forms of this production.

In post-visit workshops, students will create their own artwork in response to the themes of “personal duty” and “justice” using music, visual art, movement, and theater.

At the Armory’s Partner Schools, students will take this exploration further through multi-disciplinary, semester-long residencies that connect the production to school curricula and goals. Students from Partner School Bronx Envision Academy will also participate in a special workshop taught by members of spac , investigating the specific movement and theater techniques that informed the creation of this production.

The classics of the dramatic canon are commonly thought to transcend time and place, inviting contemporary audiences to find common ground with past generations and distant societies.

Satoshi Miyagi and spac ’s gorgeous interpretation of the play takes this learning a step further, finding universality and transcendence through specificity—adapting a timeless story through a unique blend of Japanese Noh theater, Indonesian shadow play, and Buddhist philosophy. With this inspiration, students will translate Antigone’s themes and ideas to their own specific place and time, discovering moments of shared humanity and learning important lessons that can be applied to future studies.

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HISTORIC INTERIORS TOURS Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.

MALKIN LECTURE SERIES Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries This year, we focus on popular culture and entertainment, ranging from the spectacle of Madison Square Garden to the dancehalls of the Bowery.

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NEXT AT THE ARMORY BLACK ARTISTS RETREAT 2019: SONIC IMAGINATION october 11–12, 2019

Theaster Gates, a charismatic figure in the contemporary art world, with a practice bridging aesthetics, urban planning, and activism, hosts his renowned Black Artists Retreat for the first time outside of Chicago. Gates welcomes black artists and allies from Chicago, New York, and beyond for a weekend of communion, celebration, and multi-disciplinary exploration of this year’s theme: sonic imagination.

JUDGMENT DAY

december 5, 2019–january 11, 2020

After dazzling Armory audiences in 2017, visionary director Richard Jones returns with a new adaptation of Ödön von Horváth's seldomperformed, penultimate play by Pulitzer Prize finalist and Obie Award-winning playwright Christopher Shinn, which explores the tension between responsibility, conscience, and guilt.

RECITAL SERIES “Since its restoration and reopening in 2013, the Armory's spectacular yet intimate Board of Officers room has become one of the city's most essential recital venues” —New York Magazine Hear thrilling North American and New York debuts and artists that are bridging the gap between classic and contemporary musical works in the chamber canon in the austerely elegant Board of Officers Room, with the pristine acoustics and intimate scale originally intended by many composers while invoking the salon culture of the Gilded Age.

INTERROGATIONS OF FORM “The Park Avenue Armory has two consistent modes: The first is to overwhelm; the second is to inspire a quiet conviction that you’re missing something amazing in another part of the building. Both struck with full force…filling the gilded, schizo-baroque rooms and halls with a dazzling mix of artists, thinkers, and impresarios” —Artforum Held in our historic period rooms, these insightful conversations throughout the year feature artists, scholars, cultural leaders, and social trailblazers who gather to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art.

Upcoming Events:

artist talk: judgment day thursday, december 12, 2019 at 6:00pm

Director Richard Jones and his fellow creative team members discuss adapting Ödön von Horváth’s play for the stage and mounting it in an unconventional space.

sunday salon: dance sunday, december 15, 2019 at 3:00pm

With ballet at a crossroads, a new generation of pioneering artistic directors gather for an afternoon salon to explore what 21st century beauty looks like in a field that has often looked backward for inspiration. The salon includes conversations, a demonstration, and the seeds of future collaborations. This salon is presented in partnership with Dance Theater of Harlem.

Upcoming Recitals:

barbar a hannigan, stephen gosling, sae hashimoto, jack quartet & the emerson string quartet october 15 & 17, 2019

“New Yorkers should be getting more regular and varied doses of such an extraordinary performer in her prime.”

—New York Magazine

leila josefowicz & john novacek november 21 & 22, 2019

“[A] violinist extraordinaire…the model musical citizen, doing her part to help the art form evolve.”

—The Washington Post 16

For more information and to purchase tickets, please visit armoryonpark.org.

Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

JOIN THE ARMORY FRIEND $100

CHAIRMAN’S CIRCLE STARTING AT $2,500

$70 is tax deductible » Invitation to the opening night preview for visual art installations » Free admission for you and a guest to visual art installations » Discounts at local restaurants and hotels » 10% discount on merchandise sales » Discount on Armory Guided Tours » Members only pre-sale or preferred access for performance tickets » 20% discount on Members Subscription Packages

Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and vip receptions with world-class artists and access to priority seating.

AVANT-GARDE STARTING AT $350

Sponsored by showtime®, The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and vip events.

SUPPORTER $250

$200 is tax deductible All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Two free tickets to guided tours *** » Discount on tickets to the Malkin Lecture Series, Artists Talks and Public Programs*

EDUCATION COMMITTEE STARTING AT $5,000

The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts. Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

ASSOCIATE $500

$370 is tax deductible All benefits of the Supporter membership plus: » Members concierge ticket service » Free admission for two additional guests (a party of four) to Armory visual art installations » Two complimentary passes to an art fair**

BENEFACTOR $1,000

ARTISTIC COUNCIL

$780 is tax deductible All benefits of the Associate membership plus: » Recognition in printed programs » No wait, no line ticket pick up at the patron desk » Handling fees waived on ticket purchases* » Invitation for you and a guest to a private Chairman’s Circle event » Two complimentary tickets to select programs in our historic period rooms*

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The Artistic Council is a leadership group to champion and support groundbreaking “only at the Armory” productions with the world’s most sought-after artists. Members receive the closest look behind the scenes at how works are brought to life through monthly events that include intimate discussions with artists, private performances, and special travel opportunities. This group is by invitation only and is generously supported by Cartier.

For more information about membership, please call 212-616-3958 or e-mail members@armoryonpark.org.

For information on ticketing, or to purchase tickets, please call the Box Office at 212-933-5812 *Subject to ticket availability **Certain restrictions apply ***Reservations required

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BOARD OF DIRECTORS Chairman Emeritus Elihu Rose, PhD Co-Chairs Adam R. Flatto Amanda J.T. Riegel President Rebecca Robertson

Vice Presidents Ken Kuchin Pablo Legorreta Emanuel Stern Secretary Gwendolyn Adams Norton Treasurer Harrison M. Bains

Vice Chair Wendy Belzberg Founding Chairman, 2000–2009 Wade F.B. Thompson

Marina Abramović Abigail Baratta Emma Bloomberg Martin Brand Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Marc de La Bruyère Emme Levin Deland Thomas J. DeRosa Sanford B. Ehrenkranz David Fox Andrew Gundlach Marjorie L. Hart

E dward G. Klein, Major General nyng (Ret.) Mary T. Kush Ralph Lemon Heidi McWilliams Joel Press Genie H. Rice Janet C. Ross Joan Steinberg Mimi Klein Sternlicht Deborah C. van Eck Peter Zhou

Adam R. Flatto Barbara and Andrew Gundlach Janet Halvorson Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Mary T. Kush Almudena and Pablo Legorreta Christina and Alan MacDonald Jennifer Manocherian Kim Manocherian Gwen and Peter Norton Lily O’Boyle Slobodan Randjelović and Jon Stryker Amanda J.T. and Richard E. Riegel

Susan and Elihu Rose Janet C. Ross Sana H. Sabbagh Stacy Schiff and Marc de La Bruyère Diane and Tom Smith Sanford L. Smith Brian S. Snyder Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach Peter Zhou and Lisa Lee

Director Emerita Angela E. Thompson

ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field Caryn Schacht and David Fox Heidi and Tom McWilliams

SUPPORTERS $1,000,000 +

Charina Endowment Fund Citi Empire State Local Development Corporation Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs New York State Assemblymember Dan Quart and the New York State Assembly

Benigno Aguilar and Gerald Erickson Abigail and Joseph Baratta Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand Elizabeth Coleman Hélène and Stuyvesant Comfort Mary Cronson Emme and Jonathan Deland Leslie and Thomas DeRosa Jennie L. and Richard K. DeScherer Krystyna Doerfler Lisa and Sanford B. Ehrenkranz Caryl S. Englander

Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.

The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick / Belzberg Charitable Trust Anonymous

$500,000 to $999,999

Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Marina Kellen French

Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Adam R. Rose and Peter R.McQuillan Donna and Marvin Schwartz Emanuel Stern

Leonard and Judy Lauder Fund The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation

$100,000 to $249,999 $250,000 to $499,999

American Express Michael Field Adam R. Flatto Ford Foundation The Marie-Josée and Henry R. Kravis Foundation Ken Kuchin and Tyler Morgan

Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67 th Street

The Achelis and Bodman Foundations R. Mark Adams Linda and Earle Altman Abigail and Joseph Baratta Lisa Belzberg Booth Ferris Foundation Sonja and Martin Brand

Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Tom DeRosa Howard Gilman Foundation Barbara and Andrew Gundlach Marjorie and Gurnee Hart Anna-Maria and Stephen Kellen Foundation, Inc. Kirkland & Ellis llp Mary T. Kush Mr. and Mrs. Lester S. Morse New York State Assembly New York State Council on the Arts Stavros Niarchos Foundation Gwendolyn and Peter Norton Donald Pels Charitable Trust Daniel and Joanna S. Rose Mrs. Arthur Ross Caryn Schacht and David Fox Stacy Schiff and Marc de La Bruyère Hope and Robert F. Smith Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck Edward Jay Wohlgemuth Peter Zhou and Lisa Lee

$25,000 to $99,999

Arthur R. and Alice E. Adams Foundation aecom Tishman Benigno Aguilar and Gerald Erickson Jennifer and Jonathan Allan Soros The Avenue Association Harrison and Leslie Bains Ginette Becker Emily and Len Blavatnik Emma Bloomberg The Emma and Georgina Bloomberg Foundation Brunello Cucinelli Mr. and Mrs. Kenneth Buckfire Cartier Betsy and Edward Cohen The Cowles Charitable Trust Caroline and Paul Cronson Jennie L. and Richard K. DeScherer Krystyna Doerfler Andrew L. Farkas, Island Capital Group & c-iii Capital Partners Katherine Farley and Jerry Speyer Lorraine Gallard and Richard H. Levy The Garcia Family Foundation Elizabeth Morse Genius Foundation Givenchy Horace W. Goldsmith Foundation Deborah and Allen Grubman Janet Halvorson Anita K. Hersh

Karen Herskovitz Janine and J. Tomilson Hill Hospital For Special Surgery JS Capital Management llc Jennie Kassanoff and Dan Schulman The Emily Davie and Joseph S. Kornfeld Foundation Jo Carole and Ronald S. Lauder Christine and Richard Mack Marc Haas Foundation Moncler National Endowment for the Arts David P. Nolan Foundation Pershing Square Capital Management, lp Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief Sana H. Sabbagh The Fan Fox & Leslie R. Samuels Foundation Dr. and Mrs. Thomas P. Sculco Showtime The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Skadden, Arps, Slate, Meagher & Flom llp Diane and Tom Smith Howard & Sarah D. Solomon Foundation Jon Stryker and Slobodan Randjelovic´ tefaf ny Tishman Speyer Robert and Jane Toll Mary Wallach David and Cynthia Wassong Yanghyun Foundation Anonymous (4)

$10,000 to $24,999

Jamie Alter and Michael Lynton BDO Canada llp Frances Beatty and Allen Adler Bennett Jones Marian and Russell Burke Mr. and Mrs. Robert Cochran Elizabeth Coleman Con Edison Mary Cronson / Evelyn Sharp Foundation David Dechman and Michel Mercure William F. Draper Peggy and Millard Drexler The Durst Organization Cheryl and Blair Effron Caryl S. Englander Mr. and Mrs. Seymour Flug Amandine and Stephen Freidheim Mary Ann Fribourg / The Fribourg Family Barbara and Peter Georgescu Kiendl and John Gordon

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Archie Gottesman and Gary DeBode Jamee and Peter Gregory Mr. and Mrs. Lawrence Hite Rachel and Mike Jacobellis Kekst Suzie and Bruce Kovner Donna and Jeffrey Lenobel Leon Levy Foundation Lili Lynton and Michael Ryan Christina and Alan MacDonald Kim Manocherian Andrea Markezin Press and Joel Press Sylvia and Leonard Marx, Jr. Abby and Howard Milstein Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Achim and Colette Moeller Morgan Stanley Nardello & Co. Marie Nugent-Head and James Marlas Lily O'Boyle Mario Palumbo and Stefan Gargiulo PBDW Architects Michael Peterson Joan and Joel I. Picket Cynthia Hazen Polsky and Leon Polsky Mr. and Mrs. Frederick Poses Katharine Rayner Thomas J. Reid Aby and Samantha Rosen Deborah and Chuck Royce Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Mr. and Mrs. William H. Sandholm Brian S. Snyder Jonathan Sobel Sotheby's Dr. and Mrs. Eugene E. Stark, Jr. Dorothy Strelsin Foundation / Enid Nemy Michael and Veronica Stubbs Merryl and James Tisch Barbara and Donald Tober Bob Vila and Diana Barrett Anastasia Vournas and J. William Uhrig Diane Wege Anonymous (2)

$5,000 to $9,999

Mr. and Mrs. Lee Ainslie Mr. and Mrs. Fabrizio Arengi Bentivoglio Sarah Arison Jody and John Arnhold Candace and Rick Beinecke Renée and Robert Belfer Franklin and Marsha Berger Amy Bermingham and Charles Wilson Katherine Birch

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Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Amanda M. Burden Canard, Inc. Janine Carendi MacMurray cbr e Tia Chapman The Chilton Foundation Marty and Michele Cohen Virginia Coleman Eugenia Comini Sophie Coumantaros Joyce B. Cowin Judith Cox Cultural Services of the French Embassy Mr. and Mrs. David Dangoor Diana Davenport and John Bernstein Elizabeth de Cuevas Richard and Barbara Debs Jeanne Donovan Fisher David and Frances Eberhart Foundation Ehrenkranz & Ehrenkranz llp Andra and John Ehrenkranz Martin and Rebecca Eisenberg Foundation Dr. Nancy Eppler-Wolff and Mr. John Wolff The Lehoczky Escobar Family Lise and Michael Evans The Felicia Fund Mr. and Mrs. Andrew Fenster Lori Finkel and Andrew Cogan Fisher Marantz Stone Gail Flatto Melanie and Robert Forman Ella M. Foshay and Michael B. Rothfeld Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Gagosian The Georgetown Company Debbi Gibbs Maarit and Tom Glocer Beth and Gary Glynn Sylvia Golden Mr. and Mrs. David Golub Jeff and Kim Greenberg Jeff Greene, Desiree Greene and Kim Lovejoy Agnes Gund Molly Butler Hart and Michael D. Griffin Mr. and Mrs. Brian Higgins Sharon Jacob Richard Katzman Cynthia and Stephen Ketchum Mr. and Mrs. Fernand Lamesch Stephen Lash and Wendy Lash William Lauder and Lori Tritsch Lazard Chad A. Leat Mr. and Mrs. Richard LeFrak Alexia and David Leuschen

Gail and Alan Levenstein Mr. and Mrs. David Levinson Daniel Lewis David and Janette Liptak George S. Loening The Honorable and Mrs. Earle I Mack Linda Macklowe Shelly and Tony Malkin Charles and Georgette Mallory Marian Goodman Gallery Nina B. Matis Diane and Adam E. Max Rick and Dee Mayberry Mr. and Mrs. Prakash Melwani Joyce F. Menschel Danny and Audrey Meyer Elizabeth Miller and James Dinan Sue Morris The Donald R. Mullen Family Foundation, Inc. Saleem and Jane Muqaddam Beth and Joshua Nash Mr. and Mrs. Michael Newhouse Marnie Pillsbury Betsy and Rob Pitts Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Helaine and Michael Pruzan Tracey and Robert Pruzan The Reed Foundation David Remnick and Esther Fein Mr. and Mrs. Michael and Kalliope Rena Michael D. Rhea Renee Rockefeller Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Reed Rubin and Jane Gregory Rubin Valerie Rubsamen and Cedomir Crnkovic Jane Fearer Safer Saks Fifth Avenue Mr. and Mrs. Joseph Sambuco Erica Samuels Nancy and Larry Sanitsky Susan and Charles Sawyers Steve Schroko and Frank Webb Sara Lee and Axel Schupf Mr. and Mrs. Stephen Schwarzman Lise Scott and D. Ronald Daniel James Seger Claude Shaw and Lara Meiland-Shaw Bob and Eva Shaye The Shubert Organization, Inc. Stephanie and Fred Shuman Laura Skoler Patricia Brown Specter Lisa and Gavin Steinberg Judy and Michael Steinhardt Beatrice Stern Debbie and Jeffrey Stevenson Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation

Agnes Hsu-Tang and Oscar Tang Sharzad and Michael Targoff Ellen and Bill Taubman Alexander and Bara Tisch Michael Tuch Foundation L.F. Turner Olivia Tyson Mr. and Mrs. Jan F. van Eck Andrew E. Vogel and Véronique Mazard Mr. and Mrs. Alexander von Perfall Lulu C. Wang Mati Weiderpass Isak and Rose Weinman Foundation, Inc. Michael Weinstein Mr. and Mrs. Gary Wexler Francis H. Williams and Keris A. Salmon Maria Wirth Lisa and David Wolf Cynthia Young and George Eberstadt Mr. and Mrs. Nathaniel Zilkha Zubatkin Owner Representation, llc Anonymous (4)

$2,500 to $4,999

Abigail Kirsch Catering Katie Adams Schaeffer Susan Heller Anderson Cristiana Andrews Cohen and David Cohen Mr. and Mrs. Louis Bacon Susan Baker and Michael Lynch Patrick Baldoni Peter Balis Candy Barasch Laurel Beebe Barrack Mr. and Mrs. Richard Beattie Tony Bechara Mr. Lawrence B. Benenson Mr. and Mrs. Jonathan Berger Stephen Berger and Cynthia Wainwright Judy and Howard Berkowitz Mr. and Mrs. Robert Birnbaum Donald and Vera Blinken Cynthia and Steven Brill Carolyn S. Brody Mr. and Mrs. Cliff Brokaw Stacey Bronfman Amy and Kevin Brown Veronica Bulgari and Stephan Haimo Mary and Brad Burnham Mr. and Mrs. Arthur Carter Avna Cassinelli Hilary Cecil-Jordan Melanie Charlton Sommer Chatwin Alexandre and Lori Chemla Betsy Cohn Anthony P. Coles Connelly McLaughlin & Woloz Curtis Cravens and Martha Berry

Margaret Crotty and Rory Riggs Ellie and Edgar Cullman The Cultivist Joshua Dachs / Fisher Dachs Associates Virginia Davies and Willard Taylor Beth Dozoretz Peter Droste and Morgan Beetham Christopher A. Duda Luis Felipe P Dutra Leite Karen Eckhoff Anne and Joel Ehrenkranz Susan and Leonard Feinstein Foundation Frederic Fekkai and Shirin von Wulffen Jared Feldman / Anchin Private Client Haiki and Ziel Feldman Michael Finkelstein and Sue-Ann Friedman Edmée and Nicholas Firth Mr. and Mrs. Michael Franco Hugh Freund Julie Geden Buzzy Geduld Mr. and Mrs. Martin Geller Mr. and Mrs. Andrew Georges Alberta Gerschel and Peter Wasserman Sarah Jane and Trevor Gibbons Glickenhaus Foundation Elizabeth and David Granville-Smith Great Performances Jeanne Greenberg Rohatyn and Nicholas Rohatyn Robert Haddock and Ann Stanton Mr. and Mrs. Richard Hayden Gillian Hearst Shaw Daisy Helman Herrick Feinstein llp Mr. and Mrs. Ian Highet Susanna Hong Lauran Paten Hughes Phyllis Hyde Mr. and Mrs. Kenneth Iscol Mr. and Mrs. Morton Janklow Jeanne Kanders Meredith J. Kane and Richard T. Sharp Rita J. and Stanley H. Kaplan Family Foundation Herbert Kasper Nancy Kestenbaum and David Klafter Mr. and Mrs. David Koch Phyllis L. Kossoff Mr. and Ms. Douglas Krupp John Lambert and Ramona Boston Mr. and Mrs. Peter Lamm Barbara and Richard Lane Nancy L. Lane Lazarus Charitable Trust Dorothy Lee Jeanette Lerman-Neubauer and Joe Neubauer Sahra T. Lese Phyllis Levin

Thompson Arts Center at Park Avenue Armory ∙ 643 Park Avenue at 67th Street

Francis Levy and Hallie Cohen Gina Giumarra MacArthur Mehdi Mahmud Ann Maloney Mr. and Dr. Alan Mantell Ruth H. Marcon Iris Z Marden Judith and Michael Margulies Joanie Martinez-Rudkovsky Bonnie Maslin Mr. and Mrs. Peter May Constance and H. Roemer McPhee Gregor and Beatrix Medinger Mr. and Mrs. William Michaelcheck Martha and Garfield Miller Sandra Earl Mintz Cindy and David Moross Mr. and Mrs. Robert Morse Mr. and Mrs. Daniel Neidich Nancy Newcomb and JohnHargraves Mr. and Mrs. Jesse Newhouse Stephen Novick and Glenn Rice Mrs. and Mr. Susan Numeroff Christian Oberbeck Nancy and Morris W. Offit Gerry Ohrstrom David Orentreich, md / Orentreich Family Foundation Peter and Beverly Orthwein Meredith Palmer Dr. and Mrs. Prashant Parikh Mr. and Mrs. Lee Parks Liz and Jeff Peek Elese Reid Diana and Charles Revson Heidi Rieger Eric Roberts and Robbianne Mackin Rose Brand Jonathan F.P. and Diana Rose Robert Rosen and Dr. Dale Atkins Rosen Susan and Jon Rotenstreich Hope Rothschild Pierre Rougier Anne Beane Rudman Dr. and Ms. Nathan Saint-Amand Fuad Sawaya Seaboard Weatherproofing & Restoration Sofie Scheerlinck Sabina and Wilfred Schlumberger Caroline Schmidt-Barnett Nicholas and Shelley Schorsch Victoria Schorsch Mr. and Mrs. Bernard Schwartz Marshall Sebring and Pepper Binkley Jonathan Sheffer Mr. and Mrs. Bill Sick Peggy Siegal Alan Siegel* and Sandy Siegel Douglas Sills Denise Simon and Paulo Vieiradacunha Stephanie and Dick Solar Mr. and Mrs. David Sonenberg Daisy M. Soros Melissa Stewart

Leila Maw Straus Bonnie and Tom Strauss Tastings nyc Mr. and Mrs. Allen Thorpe Stephen Trevor and Stephanie Hunt Mr. and Mrs. Thomas Tuft John and Eva Usdan Patrick van Maris Ambassador and Mrs. William J. vanden Heuvel Wendy vanden Heuvel Dini Von Mueffling Rosemary Vrablic Felicity Waley-Cohen Susan and Kevin Walsh Caroline Wamsler and DeWayne Phillips Ian Wardropper Jane Wechsler David Reed Weinreb Katherine Wenning and Michael Dennis Mindy White Brian and Jane Williams Mr. and Mrs. W. Weldon Wilson Valda Witt and Jay Hatfield Mr. and Mrs. Matthew Wittman Amy Yenkin and Robert Usdan Neda Young Judy Francis Zankel Donald Zilkha Richard and Franny Heller Zorn Anonymous (4)

$1,000 to $2,499

Marina Abramovic´ Noreen K. Ahmad and Ahmar Dr. and Mrs. Todd Albert Nancy and Elliott Alchek Eric Altmann Anka Ann Anderssen Diane Archer and Stephen Presser Mr. and Mrs. John Argenti Milton and Sally Avery Arts Foundation Sarah Azad-Bowman Hugo Barreca and Wendy Schlemm Nina Beattie and Michael Eberstadt Norton Belknap Mr. Alan Bell and Mr. David Ziff Clara Bingham and Joseph Finnerty Claudia and George Bitar Hana and Michael Bitton Charles and Ellen Bock Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Louis Brause Mark and Anne Brennan Marc Brodherson and Sarah Ryan Spencer Brownstone David Bruson Vineet Budhraja and Rebecca Bagdonas Martin Indyk and Gahl Hodges Burt Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Marissa Cascarilla

Mr. and Mrs. Alexander Casdin Anna Chapman and Ronald Perelman Racquel Chevremont and Mickalene Thomas Shirin and Kasper Christoffersen Bradley I. Collins Christina Combe Alexander Cooper Mimi Ritzen Crawford Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Christina R. Davis Suzanne Dawson Mr. and Mrs. Thomas de Neufville Gena Delbridge Diana Diamond and John Alschuler Jacqueline Didier and Noah Schienfeld Frederick Doner and Michele Oka Doner Mr. and Mrs. John Dunn Yevgeniya Elkus Patricia Ellis Carla Emil and Rich Silverstein Leland and Jane Englebardt Patricia & Alexander Farman-Farmaian Dr. and Mrs. Walter Flamenbaum Barbara G. Fleischman Christina Floyd Di Donna Delia Folk Mr. and Mrs. Marc Fox Betsy Frank Jamie Frankfurt and Pamela Hanson Lisa Frelinghuysen Fried, Frank, Harris, Shriver & Jacobson llp Scott Fulmer and Susan Kittenplan Fulmer Gail Furman Mr. and Mrs. David Ganek Bruce and Alice Geismar Mr. and Mrs. John Gellert Mr. and Mrs. Scott Gerber Olga Geroulanos-Votis and George Votis Christopher Girr Katja Goldman Golub Captial llc Nina Gorrissen von Maltzahn Sarah Gould and David Steinhardt Jan M. Guifarro Frances and Gerard Guillemot Vanessa Handal Paul W. Hanneman Lana and Steve Harber Alison Harmelin Stephanie and Stephen Hessler In memory of Maria E. Hidrobo Kaufman William T. Hillman Barbara Hoffman Elisabeth Holder Mr. and Mrs. William Janeway John Wiley & Sons, Inc. Mr. and Mrs. David Johnson Leslie Johnson JoJo Christopher and Hilda Jones Jennifer Kang

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Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Adrienne Katz Margot Kenly and Bill Cumming Susan Kessler Hadley C. King Jana and Gerold Klauer Mr. and Mrs. Charles Klein Major General Edward G. Klein, nyng (Ret.) Kameron Kordestani Ezriel Kornel md Kimberly Kravis and Jonathan Schulhof Jerome LaMaar and John Goodman Barbara Landau Judith Langer Julia Ledda Ralph Lemon Donna and Wayne Lowery John D. and Catherine T. MacArthur Foundation Liz MacNeill Reeva and Ezra P. Mager Robert Marcus Jan Marks Jacqueline Martin Match 65 Brasserie Larry and Mary McCaffrey Orin McCluskey Nancy McCormick Melanie McLennan Melissa Meeschaert Rebecca Gold Milikowsky Claire Milonas Whitney and Andrew Mogavero Anne Cook and Charles Moss Sheila Nevins and Sidney Koch Sheila Newhouse Annette Niemtzow and Eve Ellis Sassona Norton and Ron Filler Mr. and Mrs. David Oliver Robert Ouimette and Lee Hirsch Deborah Pagani Mr. and Mrs. David PalamĂŠ Robin and Carlos Palomares Mindy Papp Britten Leigh Pascale Annie Pell Sally Peterson and Michael Carlisle Mr. and Mrs. Richard Petrocelli Mr. and Mrs. Brian Pfeifler Patricia Picciotto Mrs. and Mr. Geri Pollack Michael F. Poppo Laura Poretzky-Garcia Prime Parking Systems Francesca Proietti David and Leslie Puth Martin and Anna Rabinowitz Victoria Reese and Greg Kennedy Julie Richardson Judi Roaman and Carla Chammas Mr. and Mrs. David Rogath Mr. and Mrs. Gerald Rosberg Marisa Rose and Robin van Bokhorst Mr. and Mrs. Jeffrey Rosen Marjorie P. Rosenthal

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Whitney Rouse Jane Royal and John Lantis Susan Rudin Jennifer Sage and Nicolas Grabar Victoria Love Salnikoff Christine Sare Elizabeth Sarnoff and Andrew Cohen Mr. and Mrs. Matthew Satnick Susan Savitsky Paul H. Scarbrough, Akustiks, llc.

Pat Schoenfeld Amy Schulman Paolo Sciarra Robert and Kimia Finnerty Nadine Shaoul and Mark Schonberger Mr. and Mrs. Michael Shuman Paula Diane Silver Mr. and Mrs. Randy Slifka James Spindler John Spofford Emily L. Spratt Squadron A Foundation Max Stafford-Glenn Mark Stamford Mr. and Mrs. Myron Stein Gayfryd Steinberg and Michael Shnayerson Joseph Stern Mr. and Mrs. Michael Stern Tricia Stevenson Mr. and Mrs. Alan Stillman Jennifer Stockman Stella Strazdas and Henry Forrest Studio Institute Summit Security Services, Inc. Jennifer Tipton Lizzie and Jonathan Tisch Mr. and Mrs. Raymond Troubh Yolanda Turocy Mr. and Mrs. John Vogelstein Mr. and Mrs. Douglas von Erb Amanda and John Waldron Saundra Whitney Walter B. Melvin Architects, llc Lucy Massey Waring Lynne Wheat Shelby White Gigi Stone Woods Jon and Reva Wurtzburger Meghan and Michael Young Mr. and Mrs. Rodney Zemmel Joseph Zimmel and Sheryl Ronzello Anonymous (4)

List as of July 28, 2019 * Deceased

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue, New York, ny 10065