The Lehman Trilogy

WELCOME Since our first production in 2007, the Armory has opened its doors to artists, directors, and impresarios who have provided audiences with immersive performances and installations that could not happen elsewhere in New York and are still revered as major and unique happenings in the cultural life of New York City.

Joining that lineage is The Lehman Trilogy— a story not only of the American Dream, but also undoubtedly a story of New York. Originally documented

by Italian playwright Stefano Massini, this vast and poetic play traces the trajectory of western capitalism by following the fortunes of a single immigrant family.

Beginning with the arrival of the Jewish-Bavarian immigrant Henry Lehman to the U.S. in 1844 and the establishment of his family business in Montgomery, Alabama, and concluding amidst the 2008 financial crash in New York City, The Lehman Trilogy is a parable of the shifting definition of success in America that for many will hit close to home.

The Lehman Trilogy gets a thrilling new life at the Armory following its premiere run at the National Theatre in London. We welcome director Sam Mendes, adaptor Ben Power, and designer Es Devlin, as well as their extraordinary creative team, to share The Lehman Trilogy with New York audiences. We are also thrilled to welcome Simon Russell Beale, Adam Godley, and Ben Miles, who offer us a masterclass in acting with their critically acclaimed portrayals of the Lehman brothers, their sons, and grandsons spanning nearly two centuries and told in three parts on a single evening.

We are delighted to work with the National Theatre and Neal Street Productions, our partners in presenting the long-awaited North American premiere of this landmark production. It is a privilege when we are able to invite artists of this caliber to utilize our space to present epic works that know no limits.

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

Cover Photo: New York photography courtesy National Archives and Records Administration.

Tightrope walker photography by Sorted, featuring Chris Bullzini. Designed by National Theatre Graphic Design Studio.

THE LEHMAN TRILOGY March 22–April 20, 2019 North American Premiere

By Stefano Massini Adapted by Ben Power Sam Mendes Es Devlin Katrina Lindsay Luke Halls Jon Clark Nick Powell Dominic Bilkey Candida Caldicot Polly Bennett Zoé Ford Burnett Machiko Weston & Matteo Mastrandra Ben Pickersgill Wendy Spon CDG & Bryony Jarvis-Taylor Charmian Hoare Jane Suffl ing Nik Haffenden Cynthia Cahill Tasha Savidge

Director Set Designer Costume Designer Video Designer Lighting Designer Composer and Sound Designer Co-Sound Designer Music Director Movement Director Associate Director Associate Set Designers Associate Lighting Designer Casting Company Voice Work Stage Manager Deputy Stage Manager Stage Manager* Assistant Stage Manager (Book Cover)

Produced by the National Theatre and Neal Street Productions, in collaboration with Park Avenue Armory.

Th is production had its world premiere at the National Theatre, London, in July 2018.

Running Time: Approximately 3 hours and 20 minutes with two intermissions

OTHER HAPPENINGS Armory After Hours Join us after select evening performances when the bars will be open in our historic period rooms with libations for the artists and fellow attendees.

Season Sponsors

Artist Talk: The Lehman Trilogy

saturday, march 23 at 6:00pm

Director Sam Mendes and Adaptor Ben Power discuss adapting Stefano Massini’s epic and realizing the immigrant story in modern times.

Moderated by playwright and Armory Artist-in-Residence Lynn Nottage.

Production Sponsors

Media Sponsor

The Lehman Trilogy is supported in part by a generous grant from the Arthur F. and Alice E. Adams Foundation. Additional sponsorship support is provided by SHOWTIME. The Lehman Trilogy is also supported in part by public funds from the National Endowment for the Arts.

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.

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CAST

ACTS

in alphabetical order

Part One—Three Brothers Part Two—Fathers & Sons Part Three—The Immortal

Simon Russell Beale—Henry Lehman Adam Godley—Mayer Lehman Ben Miles—Emanuel Lehman Ravi Aujla—Janitor Candida Caldicot—Pianist Gillian Berkowitz—Alternate Pianist

understudies Ravi Aujla—Emanuel Lehman Will Harrison-Wallace—Mayer Lehman Leighton Pugh—Henry Lehman

ADAPTOR’S NOTE: BEN POWER ON THIS ADAPTATION OF THE LEHMAN TRILOGY T h i s i s t he E n g l i s h -l a n g u a g e pr e m ie r e of Stefano Massini’s play, though it is far from the first production. The piece was first performed in Paris in 2013 before attracting international attention in Luca Ronconi’s production at the Piccolo in Mila n in 2015. It ha s since been staged in further productions in France, Italy and Germany amongst others.

All across Europe, audiences have responded to the story of 150 years of Western Capitalism told through a single family. The narrative of three immigrant brothers and their offspring becomes a lens through which we see America and American capitalism grow, accomplish miracles and ultimately succumb to the hubristic tragedy of 2008. It’s the story of where we are and how we got here.

W h i lst ret a ining a hu ma n d i mension, The Lehman Trilogy is an epic theatrical poem, almost Homeric in its length as well as in its 2

repetitions and rhetoric. Massini utilizes his own background in the Jewish faith to place the founding Lehmans’ religious practice at the center of the story and the play can also read like scripture. In the end, this is about a family and a country losing its faith.

In translating and adapting the play into English and creating the version for the NT production, I studied the many different versions of the text that exist in Italian. This adaptation is only one possible route through the vast reaches of the original and has been created specifically for this production and in collaboration with this cast and creative team.

Over a series of workshops and rehearsals, a theatrical language developed for our production and this text has been created to serve it.

In rendering t he spirit a nd t he hea r t of Massini’s play into English, we have attempted to preserve the ambitious scope of his vision, his wit and his humanity.

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THE LEHMAN STORY HENRY LEHMAN

b. 1822, d. 1855 Tenure at Lehman Brothers 1844–1855

EMANUEL LEHMAN

MAYER LEHMAN

PAULINE SONDHEIM

b. 1827, d. 1907 Tenure at Lehman Brothers 1847–1907

b. 1830, d. 1897 Tenure at Lehman Brothers 1850–1897

m. 1859, d. 1871

PHILIP LEHMAN

b. 1878, d. 1963 Tenure at Lehman Brothers 1908–1928

m. 1884, d. 1937

ROBERT ‘BOBBIE’ LEHMAN

b. 1891, d. 1969 Tenure at Lehman Brothers 1925–1969

m. 1858–1897

HERBERT LEHMAN

CARRIE LAUER

b. 1861, d. 1947 Tenure at Lehman Brothers 1887–1947

BABETTE NEWGASS

RUTH (NÉE LAMAR) RUMSEY

m. 1929, div. 1931

RUTH OWEN

m. 1934, div. 1951

Successors at Lehman Brothers

LEWIS ‘LEW’ GLUCKSMAN b. 1925, d. 2006 Tenure at Lehman Brothers 1963–1988

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PETE PETERSON

b. 1926, d. 2018 Tenure at Lehman Brothers 1973–1984

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RICHARD ‘DICK’ FULD b. 1946 Tenure at Lehman Brothers 1969–2008

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Staff stand in a meeting room at Lehman Brothers offices © Kevin Coombs/Reuters Pictures

QUINTESSENTIALLY AMERICAN PETER CHAPMAN ON THE RISE OF A NATION AND THE FALL OF A CORPORATION “Grabbing and greed can go on for just so long, but the breaking point is bound to come sometime.”

Herbert Lehman, partner at Lehman Brothers, 1908–28, governor of New York, 1933–47, senator from New York, 1949–57.

For much of its long life, Lehman Brothers was the great survivor.

Founded in the U.S. south, it brushed with catastrophe during the Civil War of the 1860s, but emerged stronger. Shifting operations to the industrialized north, it was at the heart of the development of early 20th-century consumer capitalism. It funded much of what has become known as quintessentially American, having helped to create the American passion for shopping, launch Hollywood blockbusters and, after backing the rise of aviation and automobiles, lead the way for the basis of modern travel. The fi rm weathered the Wall Street Crash of 1929, but less than a century later collapsed in the fi nancial crisis of 2008 and threatened to bring down the global market system.

How did it come to this?

Lehman’s early success was based on straightforward, tangible enterprise. Arriving by ship in New York on September 11, 1844, Henry Lehman, a German-Jewish migrant from rural Bavaria, quickly made for Alabama, the heartland of cotton production at a time when cotton was “king” of the U.S. economy. Henry set himself up as a traveling salesman, one of the many chapmen, or itinerant peddlers, operating along the highways and byways of old America.

Other to-be famous names—Goldman, Gimbel, Guggenheim—trod similar paths. Henry sold farm and home goods and before long was able to open a small store in Montgomery, Alabama’s capital. Cash-poor farmers needed loans, which he provided, and cotton growers often paid in kind, which was incentive enough for Henry to enter the cotton business. By the time his brothers—Emanuel, then Mayer—arrived a few years later, the Lehmans had an enterprise in banking and cotton broking, and buying and selling the goods of others.

When Henry died from yellow fever in 1855, control of the operation passed to Emanuel and Mayer. Emanuel moved to New York, near the cotton mills of the U.S. north-east. Caught on the wrong side of the civil war, Mayer soon joined Emanuel, and the brothers then broadened their interests into broking commodities such as coffee and oil. With their background and connections, Lehman Brothers played a key part in the reconstruction of the devastated south. During the post-Civil War boom, they invested in steel and railways, contributing to and charting the nation’s progress.

The firm was run for many years by family partners: Emanuel’s son, Philip Lehman, and Mayer’s son, Herbert Lehman, were both bred for leadership. As partners they invested their own money in the firm’s ventures and stood to lose everything in the event of spectacular failure. Shrewd business moves were thus the watchword, although Lehman Brothers was far from risk averse. In the early 1900s, Philip Lehman launched on the stock market a succession of businesses, many Jewish-owned, which White Anglo-Saxon Protestant east coast banks had refused to back. One was Sears, Roebuck & Company whose mail order catalogue met the rising demand for consumer goods across the expanse of America. The most famous of the companies that Lehman Brothers launched in those nascent days of “shop until you drop” (a phrase as yet un-coined) was Woolworth’s, with its hundreds of department stores all over the world. Macy’s of New York was another.

In the 1929 market crash Lehman Brothers was lucky.

Philip’s son, Robert “Bobbie” Lehman, was now at the helm, and in the years preceding had been maintaining the fi rm’s tradition of entrepreneurial, yet solidly material investments. Fascinated by planes, he had funded Pan American Airways from its earliest days in the 1920s, which then spawned the age of international air travel.

The timing of the crash couldn’t have been better: Lehman Brothers had only just launched its investment trust and had not yet invested back into the stock market the millions it had received from the trust’s shareholders. As the crash gave way to the 1930s’ Great Depression, Bobbie shored up the firm by bringing in John D. Hertz, a rare partner from outside the family. Hertz—later of car rental fame—had made

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his fortune selling his Yellow Cab Company to General Motors and his capital proved invaluable.

Lehman Brothers had friends in high places, advising presidents including Teddy Roosevelt and Woodrow Wilson, and the fi rm started investing in Hollywood. In 1933, King Kong scaled the Empire State Building with Lehman money, as Franklin D. Roosevelt became president and Herbert Lehman succeeded him as governor of New York. The pair faced a reality of capitalism gone mad, and imposed strict controls on bank speculation. Wealth flooded back with World War II powering U.S. industry. Into the 1950s, Lehman Brothers prospered from its investments in what became essentially “American” objects and industries, from Ford cars, oil wells and the rise of television to computing and weaponry.

Before the WWII, its Hollywood interest scored big with Gone with the Wind. After, its money put Marlon Brando onto Broadway in A Streetcar Named Desire.

Bobbie left behind no successor, and the Lehman family’s direct leadership of the firm died with him in 1969. However, a significant part of his legacy was his creation of a trading department. Under President Ronald Reagan in the 1980s, market deregulation was a driving force of the U.S. economy, while at investment banks fi nancial services took on a far more important role. Traders had free rein, and quick deals and fast margins were the order of the day. The trading arm of Lehman Brothers had a completely different feel to the old-style bank. Lewis Glucksman, the chief trader appointed by Bobbie, had fits of manic temper. He had Bobbie’s successor, Pete Peterson—an ex-U.S. commerce secretary and a banker rather than a trader—thrown out and sold Lehman Brothers to American Express.

Weakened, the bank was to re-emerge as an independent entity in 1994 under Dick Fuld, a Glucksman protégé. Where Lehman’s original managerial structure relied on partners who stood to lose everything, in the bank’s now “limited liability” years partners’ losses would be kept to the level of their investment in the bank, as measured by how many shares they had in it. As for Fuld, a fi x-eyed numbers man and not a communicator of great vision, his forté was clever Wall Street devices rather than Lehman’s patiently-developed old client relationships.

By the late 1990s the housing market was booming, and several banks, along with Lehman Brothers, were heavily involved in creating mortgages that were then bundled into bonds and sold to investors said to be of a discerning nature. With minimal regulation, many subprime mortgages had gone to people with limited means of repayment.

Th is was quite some way from the days when Lehman had begun trading in cotton, exchanging material goods with farmers who came to the family’s Montgomery store. Warnings to the markets of impending doom circulated, only to be largely ignored by those who could do anything about it. One head of a leading bank told the Financial Times in 2007: “as long as the music is playing, you’ve got to get up and dance.”

In 2008, the music stopped and the mortgage bond market collapsed under the weight of huge non-payments and debt. In September, the U.S. authorities decided that an example had to be made. Like the rest, Lehman Brothers was badly exposed, but was also the smallest of the main investment banks and had no friends in high places. Once so solidly founded, Lehman Brothers was, in effect, declared guilty of trading not in American wares of substance, but junk. When it fell, stock markets around the world collapsed and whole countries threatened to follow.

Huge bailouts and economic stimulus programs were concocted to keep capitalism alive. The total bill remains incalculable, and we continue to pay it to this day.

Peter Chapman is a Financial Times journalist and author of The Last of the Imperious Rich: Lehman Brothers, 1844-2008 (Portfolio/Penguin, 2010).

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CHARTING GROWTH: LEHMAN & AMERICA 1844 Hayum Lehmann, the son of a cattle merchant, arrives in New York from Rimpar, Bavaria. He becomes Henry Lehman, settles in Montgomery, Alabama, and opens a general store.

1867 Lehman Brothers acquires state funds and becomes a bank, aiding the state of Alabama in the Reconstruction period.

Emanuel Lehman helps to found the New York Cotton Exchange.

1847 Mendel Lehmann arrives in the US from Germany to join his brother. He becomes Emanuel Lehman.

1880 Lehman Brothers joins the coffee exchange.

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1850 Mayer Lehman arrives and the firm becomes “Lehman Brothers.”

1884 Lehman Brothers invests in the railways.

1854 The firm begins buying and reselling raw cotton.

1855 Henry Lehman dies from yellow fever.

1860 Lehman Brothers opens an office at 119 Liberty Street, New York.

1869 The First Transcontinental Railroad is completed.

1873 The Panic of 1873: stock markets collapse and the New York Stock Exchange is closed for ten days.

1883 The Brooklyn Bridge opens in New York.

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1857 The Panic of 1857: a financial downturn caused by the declining international economy and over-expansion of the domestic economy.

1860 South Carolina secedes from the Union, and is soon followed by the ten other proslavery states that make up the Confederacy.

1887 Lehman Brothers becomes a member of the New York Stock Exchange.

1897 Mayer Lehman dies.

1907 Emanuel Lehman dies.

1908 Mayer’s son, Herbert Lehman, becomes a partner in the firm.

1861 The American Civil War begins.

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1863 President Lincoln issues the Emancipation Proclamation, freeing all slaves in the seceded states.

The Civil War continues for another two years.

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1913 The Federal Reserve is established.

1917 Prohibition begins, and the U.S. enters World War I.

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1920 American women gain the right to vote.

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1925 Philip’s son, Robert (Bobbie) Lehman, becomes a partner in the firm, backing emerging industries geared towards mass consumption, such as airlines, motion pictures, and cigarettes.

1965 Bobbie Lehman sets up a trading department at Lehman Brothers and puts Lewis Glucksman in charge.

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1969 Bobbie Lehman dies.

He is the last of the Lehman family to lead the bank.

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1928 Herbert Lehman leaves business and is elected Lieutenant Governor of New York, working closely with then-Governor Franklin D. Roosevelt.

1929 The Lehman Corporation, an investment company, is created.

1932 Herbert Lehman is elected Governor of New York and serves four terms, from 1933 to 1942.

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1984 Lehman Brothers is acquired by American Express.

1929 The Wall Street Crash, followed by the Great Depression; 13 million people become unemployed.

1933 Franklin D. Roosevelt is inaugurated and initiates New Deal program, supported by Herbert Lehman. Prohibition comes to an end.

1941 Japanese warplanes attack Pearl Harbor. The U.S. enters World War II.

1947 Philip Lehman dies.

1963 Herbert Lehman dies.

1945 Atomic bombs dropped on Hiroshima and Nagasaki, Japan surrenders, marking the end of World War II.

1994 American Express spins off Lehman Brothers, which once again becomes independent.

1965 Bombing of North Vietnam begins; American combat troops are sent to Vietnam.

1969 First Moon landing.

1974 President Richard M. Nixon resigns amid the Watergate scandal.

1990–1991 Gulf Wars: the U.S. leads coalition forces in combat in response to Iraq’s annexation of Kuwait.

2001 Lehman Brothers’ World Trade Center offices are destroyed on 9/11.

2002 Lehman Brothers move to their new global headquarters in midtown Manhattan.

2007 Lehman Brothers become entangled in the subprime mortgage lending crisis.

2008 Lehman Brothers Holdings, Inc. files a Chapter 11 bankruptcy petition.

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2003 Missile attacks on Baghdad mark the start of the campaign to topple the Iraqi leader Saddam Hussein.

2008 With hundreds of billions of dollars wiped out in bad loans and a prolonged property slump, the U.S. faces its worst financial crisis since the Great Depression.

1962 Cuban Missile Crisis

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AMERICA THE MELTING POT SARAH CHURCHWELL ON THE AMERICAN DREAM AND THE IMMIGRANT EXPERIENCE

When Lehman Brothers collapsed in the autumn of 2008, it precipitated a global financial crisis as it filed for the largest bankruptcy protection in American history. The story of Lehman Brothers’ rise and fall is deeply emblematic of that national history —but not in the ways some might think. To most observers today, it looks like a rags-to-riches tale of bootstrapping success and a classic example of the American Dream in action: 19th-century GermanJewish immigrants who thrived in the land of opportunity thanks to their hard work. The bank’s failure in 2008 might, in turn, seem equally symbolic of the much-discussed failure of the American Dream in the early 21st century, as inequality and economic stagnation suffocate individual dreams of prosperity and the Trump administration builds literal and figurative walls to keep immigrants out. But the truth is never as simple as it seems, and that logic also applies to the American Dream.

“The American Dream” was not popularized as an expression until the depths of the Great Depression, when in 1931 a historian named James Truslow Adams used it to describe not the American dream of success, but what he called “the American Dream of a better, richer, and happier life for all our citizens of every rank.” Adams did not mean “richer” materially, but spiritually; he differentiated the American Dream from dreams of prosperity. It was not, he declared, “a dream of motor cars and high wages merely, but a dream of social order in which each man and each woman shall be able to attain to the fullest stature of which they are innately capable, and be recognized by others for what they are, regardless of the fortuitous circumstances of birth or position.” The American Dream was rarely, if ever, used to describe the “Horatio Alger” idea of rags-to-riches individual success stories, until after World War II.

There is little evidence of the term being used to describe the immigrant experience until at least 1918. From the 1880s to the 1920s, the United States experienced the so-called “Great Wave” of immigration, during which an average of 600,000 immigrants arrived each year. In 1883, Emma Lazarus composed her poem “The New Colossus,” which would be mounted on the Statue of Liberty in 1903, inviting the world to send America its tired and poor, its huddled masses. By 1889, the metaphor of the American “melting pot” was becoming popular, comparing the mixing of immigrant communities together to the practice of melting different metals together in order to mint new coins­— no less valuable, but different.

But within another ten years this had become a cliché, and one that was increasingly used in a pejorative sense, rather than a positive one.

A typical 1912 newspaper headline read: “Dregs of Europe… America the Melting Pot into which Races are Poured.”

Another catchphrase was taking hold of America at the same time, which also has purchase today: “America first.” From 1915, it was used to articulate isolationist and xenophobic views, after President Woodrow Wilson used it in a speech defending American neutrality during World War I. Soon the phrase was directed against a range of immigrant communities domestically, including German-Americans, Italian-Americans and Irish-Americans, who were accused of having divided loyalties. Irish and Italian immigrants were suspected of choosing the Pope over the president, while Jews were said to value money more than their compatriots.

A large part of the problem was the increasing influence of eugenicist scientific racism, popularized by such writers as Madison Grant, whose 1916 book The Passing of the Great Race became one of the most inf luential works advocating what was known as “Nordicism,” the white supremacist theory that people from Northern

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Europe are biologically superior to those from other parts of the world.

Within less than a decade, the popularity of such nativist ideas, also espoused by the renascent Ku Klux Klan, led to the passage of the Johnson-Reed Act of 1924, also known as the National Origins Act. This radical immigration law, using a quota system based on the nation of an immigrant’s origin, cut immigration by over 90 percent.

Lawmakers were seeking actively to return to a nativist, “whiter” past, establishing quotas to encourage migrants from Northern Europe and discourage or prevent migrants from anywhere else.

The 1924 National Origins Act remained in force until the Johnson administration passed the Immigration and Nationality Act in 1965, which promised that the United States would, for the first time in its history, accept immigrants of all nationalities equally. National-origin quotas were finally abolished, markedly changing the nature of U.S. immigration for the next 50 years, creating a demographic shift that certain groups in the United States are determined to try to reverse.

Like their counterparts a century ago, there are many who now want to return America to a mythical past in which it was all-white, and all-European. That this myth erases both indigenous peoples and the history of American slavery is obvious to everyone except those who believe in the fantasy. This is another “American dream,” one endorsed by Trump’s advisors Steve Bannon, Jeff Sessions (who has often praised the 1924 Johnson-Reed Act), and Stephen Miller, the advisor who pushed the decision to forcibly separate the children of undocumented immigrants at the American border.

The “American Dream” was always just that­­—a dream.

For some it is a dream of power, but what the nation promised was a dream of equality, of justice, of liberty for all. That it came true for some never meant that it came true for everyone. The earliest written invocation of the American Dream reads:

“ Oh, critic and cynic, dreamer and doubter, behold America, as this day she stands before her history and her heroes.

See her millions of people, her free institutions, her equal laws, her generous opportunities, her schoolhouses and her churches; you see misfortunes and defects, for not yet is fully realized the American dream.”

The first voices to speak of the “American Dream” used it not as a promise, but as an exhortation, urging all Americans to do better, to be fairer, to combat bigotry and inequality, and strive for a republic of equals. That’s a dream worth keeping alive.

Sarah Churchwell is a Professor of American Literature and Public Understanding of the Humanities at the School of Advanced Study, University of London, UK. She is the author of Behold, America: The Entangled History of America First and the American Dream, published by Basic Books in 2018.

America the Melting Pot by Sarah Churchwell. Published by National Theatre, 2018. Copyright © Sarah Churchwell. Reproduced by permission of the author c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN

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A JEWISH AMERICAN SUCCESS STORY REBECCA KOBRIN ON THE LEHMANS AND AMERICAN JUDAISM

When all the dust settled in the days after Lehman Brothers officially filed for Chapter 11 bankruptcy in September 2008, most people forgot that this firm was originally a family business, founded by Bavarian Jewish immigrants over 160 years before in plantation Alabama. Indeed, their business dealings made this family prosperous and highly respected, prodding them to move from Alabama to just a few blocks away from the Armory in which we sit tonight. The epic saga of the rise and fall of Lehman is not just a tale of how Jewish immigrants prospered in America, but it is also a tale of how America molded them, their families, and their religious practices.

Brothers Henry, Emanuel, and Mayer Lehman were part of the great Jewish migration that saw millions of Jews from Central and Eastern Europe uproot themselves from their homes to seek better lives. The United States, more than any other place, loomed large in this European dispersal of Jews, as it offered Jews more than economic opportunity; it promised them full political rights denied to them in Europe. While Germany would emancipate its Jews in the late-19th century, prejudice and discrimination persisted with frequent public discussion of whether Jews could ever be true German patriots. In Russia, home to the largest Jewish community in the world, Jews only gained full rights after the Russian Revolution.

Thus, the opportunity to enjoy the rights and obligations of citizenship prompted European Jews to flock to America, transforming not only life in their new home but the practice of Judaism itself.

The play opens with the arrival of Hayum Lehmann, son of a Bavarian cattle merchant, in New York Harbor. Castle Garden, where tourists now purchase tickets for trips to Ellis Island, was where all 19th century German immigrants like Hayum would first encounter the fabled land of America. Many changed their names. Hayum chose Henry, an easily pronounceable name he believed would help him succeed. As the son of a cattle dealer who dealt with both peasants and landowners, Henry understood the importance of trading with all people. Joined by his brothers, Emanuel and Mayer, the three Lehman brothers were not only pioneers who ventured across the sea, but they also pioneered a new method of trade and emerged as the “largest operators in future contracts,” accepting payment not only in cotton, but also in cotton yet-to-be-grown. They bet on the future of cotton, like they had bet on their futures in America.

Playing a leading role in the formation of the New York Cotton Exchange (NYCE) in 1870, Mayer and Emanuel Lehman would help transform commodity trading in America in ways that mirror the transformations wrought by other German Jewish immigrants, such as Jacob Schiff, who financed the spread of American railroads as the head of the investment banking firm Kuhn, Loeb & Co., or Levi Strauss, who forever changed how America dressed through his invention of the quintessential American garment, the blue jean.

After the unexpected death of Henry, the move of the business to New York City before the Civil War—a city emerging as the nation’s financial and trade capital—played a key role in the family’s success, as it perfectly situated the family business to weather the storm of war and the evisceration of the southern cotton economy.

Mayer remained in Alabama, while Emanuel Lehman moved to New York, so that he could be closer to buyers.

New York City was home to over a million people, while Montgomery in 1860 was home to 35,000, of whom the vast majority were slaves. In Montgomery, the Lehman brothers had homes that spanned entire blocks and were active in the local Jewish community. But since there were so few Jews in Montgomery, their social circle was not restricted by religion. Mayer established

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himself as a prominent civic leader who was selected by the governor during the Civil War to provide aid to Alabama prisoners of war in the North. In New York, they found a vibrant Jewish community of 80,000, but the social world of Jews was not integrated with other religious groups who maintained their own clubs. Settling just blocks away from the Armory at 5 East 62nd Street, Mayer threw himself into Jewish communal life in New York, while Emanuel preferred more time at home. Yet both instilled in their children the importance of charity and civic duty.

The next generation of Lehmans—Philip, Herbert, and Robert— expand this Jewish family business globally. Indeed, Lehman Brothers employed only family members in leadership positions until 1924.

As the firm broadened its leadership, it turned its attention to other commodities, such as petroleum, coffee, sugar, and even finance.

Herbert Lehman famously parted with the firm to pursue a life in public service, leaving a formative imprint on the state of New York, his beloved home.

While the play explores the legacy of one family to question the American Dream, Stefano Massini seeks to show the price paid by this family through his dramatic portrayal of the erosion of their ritual observance. His depiction of the Lehman clan sitting shiva for one week after Henry’s death to only just several minutes after Philip’s passing seeks to argue how capitalism had changed their faith. Indeed, it truly sheds light on the creative vitality of American Judaism. The America that welcomed Hayum Lehman was home to only 15,000 Jews. These Jews relished the opportunities freedom offered to them, issuing new “constitutions” for their American synagogues.

They embraced lay leaders instead of rabbis, as they saw themselves no longer bound by ancient traditions. Reshaping Judaism from the bottom up, the Lehmans are just one of many families that adapted how they observed Judaism, curtailing rituals they felt meaningless.

It was not the pursuit of dollars, but rather the unlimited access to freedom and opportunity that saw the Judaism forever altered by its encounter with America.

By the time Lehman Brothers collapsed, its identity as a Jewish immigrant firm had become secondary to its international dealings.

The original Lehman brothers succeeded in building their business because they generally found tolerance in America, not anti-Semitism.

For audiences today, watching this family’s story in the city where it unfolded, it is a reminder of the opportunities America represented and offered religious minorities who faced prejudice elsewhere, a value that will live on beyond this individual family or their now defunct firm.

Professor Rebecca Kobrin is the Russell and Bettina Knapp Associate Professor of American Jewish History at Columbia University. Her work has appeared in The Washington Post, CNN, and Bloomberg News.

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WHO’S WHO IN THE COMPANY STEFANO MASSINI (AUTHOR)

Stefano Massini’s work has been translated into 24 languages and performed around the world. His plays have been directed

by Luca Ronconi, Lluìs Pasqual, Arnaud Meunier, Irina Brook, Anton Koutznezov, Declan Donnellan, Marius von Mayenburg, Stephan Bachmann and Sam Mendes. In 2015 he became the artistic consultant at Piccolo Teatro di Milano/Teatro d’Europa. Massini is the author of many novels and essays and contributes regularly to the Italian newspaper La Repubblica.

In film he has collaborated with production companies such as Fandango and Cattleya. He appears weekly on Italian talkshow Piazzapulita on La7.

BEN POWER (ADAPT0R)

Ben Power is a writer for theatre and film and the Deputy Artistic Director of the National where his work includes: The Lehman Trilogy, Husbands & Sons, Medea, and Emperor and Galilean.

He has worked as a dramaturg on over 60 productions at the National Theatre and ran the temporary theatre, The Shed, during its three years on South Bank. He was the associate director of Headlong, where his adaptations included Six Characters in Search of an Author, Faustus and Paradise Lost. Other work for theatre includes A Tender Thing for the RSC and dramaturgy on A Disappearing Number (Olivier, Evening Standard and Critics’ Circle awards for Best Play). Screenplays include five episodes of The Hollow Crown (Royal Television Society and Broadcasting Press Guild Award for Best Single Drama; BAFTA nomination for Best Single Drama and Best Mini-Series).

SAM MENDES (DIRECTOR)

Sam Mendes founded and ran the Donmar Warehouse in London for ten years. He was the founding director of The Bridge Project and Neal Street Productions. His work has been seen at the National Theatre, RSC, Royal Court, Old Vic, Young Vic, BAM, the West End, and on Broadway. Film includes American Beauty, Road to Perdition, Jarhead, Revolutionary Road, Away We Go, Skyfall, Spectre, and the upcoming 1917. Awards include Academy Award Best Director, BAFTA Award, Golden Globe Award Best Director, two Tony Awards, five Olivier Awards, the Olivier Special Award, three Evening Standard Awards, Empire Inspiration Award, Directors Guild of America Award, and the Shakespeare Prize. He has also won the Director’s Guild Award for lifetime achievement.

In addition to The Lehman Trilogy, his production of The Ferryman is currently running on Broadway.

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ES DEVLIN (SET DESIGNER)

The London-based artist and designer Es Devlin works in a range of media, often mapping light and projected film onto kinetic sculptural forms. Her practice began in narrative theatre and experimental opera, and she has made lyric stage sculptures in collaboration with Beyoncé, Kanye West, U2, The Weeknd, and Adele. Her solo sculptural work explores machine-learning and collective poetry, most recently in Please Feed the Lions in Trafalgar Square, PoemPortraits at the Serpentine Gallery, and The Singing Tree at the V&A Museum. Large-scale explorations of labyrinth and map geometries include Room 2022 at Miami Art Basel 2017 and EGG at the XI Gallery in New York. Recent theatre includes: Girls and Boys at Minetta Lane and Royal Court, Machinal at the Roundabout, The Nether at the Royal Court, and Master and Margarita with Complicité. She designed the London Olympic Closing Ceremony and has been awarded the muchcoveted architectural commission to design the UK Pavilion for Expo 2020. She has been awarded three Olivier Awards, a UAL fellowship, and was made OBE in 2015.

KATRINA LINDSAY (COSTUME DESIGNER)

Katrina Lindsay’s work covers set and costume design in theatre, dance, opera, and television. She won the 2018 Tony Award and 2017 Olivier Award for Outstanding Costume Design on Harry Potter and the Cursed Child, currently playing in the West End, on Broadway, and in Melbourne, and the 2008 Tony, Outer Critics Circle and Drama Desk Awards for Outstanding Costume Design for Les Liaisons Dangereuses on Broadway. Her recent designs for the National Theatre include: Small Island (opening April 2019), Mosquitoes, My Country; a work in progress, Lost Without Words, Dara, Behind the Beautiful Forevers, Table, The Magistrate, London Road, Death and the King’s Horseman (set and costume); The Lehman Trilogy, wonder.land, Earthquakes in London (costume); and Market Boy (set). Recent work elsewhere includes: costumes for Hamlet at the Barbican, American Psycho at the Almeida and on Broadway and Bend It Like Beckham in the West End (Olivier nomination); and set and costumes for The King for Birmingham Royal Ballet, Cabaret in the West End and UK tour, Porgy and Bess at Regent’s Park, and All’s Well That Ends Well for the RSC. Costumes for opera include: Benvenuto Cellini at ENO, Dutch National Opera, Opera National de Paris and Teatro dell’Opera di Roma; The Damnation of Faust at ENO, De Vlaamse Opera, Teatro Massimo, Palermo and Staatsoper Berlin; Eugene Onegin at the ROH, Opera Torino and Opera Australia; Turandot at ENO; and Die tote stadt for Finnish National Opera and New National Theatre, Tokyo. Dance includes: The Most Incredible Thing, Eternal Damnation to Sancho and Sanchez, and Blue Roses at Sadler’s Wells. Lindsay was the production designer for the film London Road, directed by Rufus Norris. She is an associate of the National Theatre.

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LUKE HALLS (VIDEO DESIGNER)

Luke Halls’ work in theatre includes The Lehman Trilogy, Antony & Cleopatra, Man and Superman, Ugly Lies the Bone, and The Great Wave for the National Theatre; Everyone’s Talking About Jamie, The Moderate Soprano, and Frozen in the West End; 2071, The Nether (also West End), Linda and Girls & Boys at the Royal Court; Miss Saigon in Japan and New York and on UK tour; Alys, Always and My Name is Lucy Barton at The Bridge; Shipwreck and Oil at the Almeida; Desire Under the Elms at Sheffield Crucible; Elegy for Young Lovers at Theatre an der Wien; Half a Sixpence at Chichester; Mary Poppins on tour; Hamlet and The Master and Margarita at the Barbican; I Can’t Sing at the Palladium; and Local Hero at the Royal Lyceum, Edinburgh. Opera includes: The Unknown Soldier, Don Giovanni, and Król Roger at the Royal Opera House; The Cunning Little Vixen, Don Giovanni, and Der Freischütz at Danish Royal Opera; Otello at Metropolitan Opera, New York; Zeitgest at the London Coliseum; Das Liebesverbot at Teatro Real, Madrid; The Flying Dutchman for Finland National Opera; West Side Story at Malmö Opera; Don Giovanni at Barcelona Opera; Marco Polo at Guangzhou Opera House; Carmen at Bregenzer Festspiele; Don Giovanni at Houston Grand Opera; and Porgy and Bess at National Opera, Amsterdam.

Ballet includes Malgorzata Dzierzon at Ballet Rambert, and Connectome at the Royal Ballet. Other work includes: Magic Mike at London Hippodrome, and projections for Adele, Rihanna, Paris Fashion Week, Robbie Williams, Pet Shop Boys, The Sessions, The Band, Olympic and Paralympic 2012 closing ceremonies, Concert for Diana at Wembley Stadium, George Michael, Rolling Stones, Genesis, Darren Hayes, Elton John, U2, Muse, and Nitin Sawhney.

Halls won Knight of Illumination awards in 2014, 2015, and 2016, and a BAFTA for The Cube.

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JON CLARK (LIGHTING DESIGNER)

Jon Clark’s work in theatre includes: The Lehman Trilogy, Absolute Hell, Amadeus, As You Like It, The Beaux’ Stratagem, Othello, The Effect, Collaborators, A Woman Killed with Kindness, Hamlet, Greenland, Pains of Youth, Our Class, Damned by Despair, Women of Troy, The Cat in the Hat, Beauty and the Beast, and Hansel and Gretel at the National Theatre; Hamlet, The Tempest, The Comedy of Errors, Twelfth Night, The Merchant of Venice, Silence, The Homecoming, The Winter’s Tale, and King Lear (also New York) for the RSC; Pinter Season, Betrayal, The Inheritance, The Jungle, Frozen, Cat on a Hot Tin Roof, Three Days of Rain (Olivier nomination), Doctor Faustus, Made in Dagenham, The Commitments, I Can’t Sing! The X-Factor Musical, The Ruling Class, Apologia, The Maids, The Pride, The Little Dog Laughed, The Lover and The Collection in the West End; Alys, Always at The Bridge; The Inheritance, The Jungle, Life of Galileo, Once in a Lifetime, A Streetcar Named Desire (also New York), A Season in the Congo, Street Scene, and Been So Long at the Young Vic; Richard III, King Charles III (Olivier nomination, also West End and Broadway), American Psycho, King Lear, and The House of Bernarda Alba at the Almeida; Limehouse, Trelawny of the Wells, Moonlight, and Polar Bears at the Donmar; The Lorax (also Toronto, Minneapolis, San Diego) at the Old Vic; Fatherland (also MIF), Tipping the Velvet, and The Birthday Party at the Lyric Hammersmith; Ten Billion, Red Bud, Aunt Dan and Lemon, The Pride and Gone Too Far! at the Royal Court; Into the Woods at Regent’s Park; Salomé for Headlong; Water and Silence at Filter; The Painkiller at the Lyric, Belfast; and Four Quartets in New York. Opera includes: The Exterminating Angel for the Metropolitan Opera, Royal Opera House, Salzburg Festival and Royal Danish Opera; Lucia di Lammermoor (also Greek National Opera), L’Étoile, Król Roger (also Opera Australia; Green Room Award for Best Lighting Design) and Written on Skin (also Festival d’Aix-en-Provence, Lincoln Center New York, Bolshoi Moscow, Paris, Amsterdam, Vienna, Toulouse) for the Royal Opera House; Hamlet (also Adelaide Festival) for Glyndebourne; Turn of the Screw (also at Regent’s Park), La bohème (also Danish National Opera), Wozzeck, Caligula, and The Return of Ulysses (also at Young Vic) for the English National Opera; The Perfect American (also English National Opera) for Teatro Real, Madrid; Orest for Dutch National Opera; Macbeth for Royal Danish Opera; and Footfalls/Neither at Staatsoper Berlin.

Dance includes new works for Will Tuckett, Cathy Marston, Karole Armitage, Bern Ballet, and Scottish Dance Theatre.

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NICK POWELL (COMPOSER AND SOUND DESIGNER)

Nick Powell’s work in theatre includes: The Lehman Trilogy, The TellTale Heart and Othello for the National Theatre; Julius Caesar at The Bridge; The Ferryman (also in the West End and Broadway), The Nether (also in the West End), The Prudes, Bad Roads, X, Unreachable, The Mistress Contract, The Ritual Slaughter of Gorge Mastromas, Talk Show, Narrative, Get Santa!, The Vertical Hour, The Priory and Relocated at the Royal Court; Beginners at the Unicorn; People, Places and Things at Kulturhuset Stadsteatern, Stockholm; City of Glass for 59 Productions at the Lyric, Hammersmith; Alice in Wonderland at the Lyceum, Edinburgh; Running Wild, Peter Pan, All My Sons, Lord of the Flies, and The Crucible at Regent’s Park and on UK tour; The Tempest at Norfolk and Norwich Festival; The Haunting of Hill House at Liverpool Playhouse; Lanark: A Life in Three Acts at the Citizens and Edinburgh International Festival; Wolf Hall / Bring Up the Bodies for the RSC, in the West End and on Broadway; Dunsinane for the RSC and on tour; 27, The Wheel and The Wonderful World of Dissocia for the National Theatre of Scotland and the Edinburgh International Festival; Of Mice and Men at Birmingham Repertory and on tour; Show 6 – Secret Theatre at the Lyric, Hammersmith and at the Edinburgh Festival Fringe; A Life of Galileo, Richard III, The Drunks and God in Ruins for the RSC; Urtain, Marat-Sade, and Los Macbez at Animalario and CDN Madrid; Paradise at Rhurtriennale; Bank On It for Theatre Rites; ’Tis a Pity She’s a Whore for Cheek by Jowl; Penumbra and Tito Andronico at the Animalario, Madrid; The Danton Affair at Stadsteater, Gothenburg; The Wolves in the Walls at Improbable, National Theatre of Scotland, Tramway, Lyric, Hammersmith, on UK tour and at the New Victory, New York; Realism for the Edinburgh International Festival and the National Theatre of Scotland; Panic for Improbable; and The Family Reunion at the Donmar. Awards include the Spanish Premio Max for Best Musical Composition for Scenic Arts (Urtain). Powell also writes extensively for TV and film. He is half of OSKAR, who have released two albums and produced installations for the V&A and CCA, as well as written live soundtracks for Prada in Milan. In 2017, he scored Bloom, the opening event of the Edinburgh International Festival and the Guggenheim Museum, Bilbao’s 20th anniversary celebration Reflections. His chamber piece Cold Calling: The Arctic Project was presented at the Birmingham Repertory with the City of Birmingham Symphony Orchestra in 2016.

DOMINIC BILKEY (CO-SOUND DESIGNER)

Dominic Bilkey trained in technical theatre at Royal Welsh College of Music and Drama. His work in theatre includes: The Lehman Trilogy, and Jane Eyre (also on UK tour) at the National Theatre; Highway One at Wales Millennium Centre; Snow White and the Seven Dwarfs, Aladdin, Sleeping Beauty, Jack and the Beanstalk, and Cinderella at Basildon Towngate; Shadowlands, Flarepath, and Birdsong for Birdsong on UK tour; Pinocchio and Tommy at Greenwich Theatre; The Best Christmas Present in the World at Nuffield; Bodies, The Fifth Column, What the Women Did, and London Wall at Southwark Playhouse; Dr. Marigold and Mr. Chops and Masterclass for Bath Theatre Royal on UK tour; Wagstaffe the Wind-up Boy and Rapunzel for Kneehigh on UK tour; and The Private Ear/The Public Eye, Journey’s End, Twelfth Night, See How They Run, and Dancing at Lughnasa for Original on UK tour. As associate for the National Theatre his work includes Great Britain (also West End). As associate sound designer, his work includes Public Enemy, The Government Inspector, Wild Swans, and Kafka’s Monkey at the Young Vic. Bilkey is Chairperson of the Association of Sound Designers and teaches sound and related technologies at a number of higher education establishments in the United Kingdom including Royal Welsh College of Music and Drama and the Central School of Speech and Drama. His awards include the 2014 TTA Award for Outstanding Achievement in Sound.

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CANDIDA CALDICOT (MUSIC DIRECTOR)

Candida Caldicot trained at Cambridge University where she received a University Instrumental Award for piano and also plays the oboe, violin and accordion. She is a music director, composer and arranger. Her work in theatre includes: The Lehman Trilogy at the National Theatre; King Lear at the Duke of York’s; Peter Pan at Regent’s Park; The Shadow Factory at Nuffield, Southampton; The Little Mermaid for Metta on UK tour; Queen Anne at Theatre Royal Haymarket; Woyzeck at the Old Vic; Snow White and Beauty and the Beast at The Lighthouse; Beyond the Fence (also for Sky Arts) at the Arts; It’s a Mad World my Masters for English Touring Theatre; Hecuba, The Witch of Edmonton, The Heresy of Love, The Tempest, and The Heart of Robin Hood for the RSC; Love’s Labour’s Lost for Oxford Shakespeare Company; Galileo at Birmingham Repertory; A Soldier in Every Son on international tour; Bed and Sofa at Finborough; The Vaudevillians at The Lowry and Charing Cross; The First Lady Suite at the Union; Everything Must Go at Soho Theatre; A Century of Women at Leicester Square Theatre; Jet Set Go at Jermyn Street; and The Best Little Whorehouse in Texas, Oklahoma!, Cinderella, Anything Goes and Into the Woods at Trinity Laban. As associate music director, her work includes Wendy and Peter, The White Evil, Arden of Faversham, Titus Andronicus, Richard III, King John, City Madam and 50 Years of the RSC Musical at the RSC. As a composer, her work includes Zeraffa Giraffa for Little Angel and Omnibus; Buckets at the Orange Tree; 4 Pepys at Wilderness Festival; Hansel and Gretel, Treasure Island, Much Ado About Nothing, Pinocchio, Richard III, Alice in Wonderland, Alice Through the Looking Glass, Romeo and Juliet and The Wind in the Willows for Iris; Macbeth at Shakespeare in Styria; Once Upon a Time for Booktrust on tour; and The Hostage at Southwark Playhouse.

As a musical director, her work in musicals includes Prodigy (also orchestrator) for the National Youth Music Theatre at St. James; and The Battle of Boat at the Rose, Kingston.

POLLY BENNETT (MOVEMENT DIRECTOR)

Polly Bennett has an MA in Movement from the Royal Central School of Speech and Drama and is associate movement practitioner for the RSC. Her work in theatre includes: The Lehman Trilogy, The Great Wave, My Country; a work in progress, The Deep Blue Sea, People, Places and Things (also West End and St. Ann’s Warehouse, New York), Three Days in the Country, Pomona (also Royal Exchange and Orange Tree) and nut at the National Theatre; Sweat at the Donmar; Night School at the Harold Pinter; White Teeth at Kiln; The Village at Theatre Royal Stratford East; As You Like It and To Kill a Mockingbird at Regent’s Park; Maydays, A Midsummer Night’s Dream, Salomé, The Famous Victories of Henry V (also on tour) and A Mad World My Masters (also on tour) for the RSC; The Inheritance at the Young Vic (movement support); Tell Me the Truth about Love at Sage Gateshead; Circle Mirror Transformation at HOME; Touch at Soho Theatre; Tribes at Sheffield Crucible; Woyzeck at the Old Vic; How My Light is Spent and A Streetcar Named Desire at the Royal Exchange; Don Juan in Soho at Wyndham’s; Junkyard for Headlong, Bristol Old Vic, Rose Kingston, and Clwyd Theatr Cymru; Travesties at the Menier Chocolate Factory, in the West End, and on Broadway; Henry V at Shanghai Dramatic Arts Centre; Blush at the Underbelly; Doctor Faustus at the Duke of York’s; The Maids at Trafalgar Studios; Yen, Plaques and Tangles, and hang at the Royal Court; The Lion, the Witch and the Wardrobe and The Rise and Fall of Little Voice (also at West Yorkshire Playhouse) at Birmingham Rep; The Angry Brigade (also at the Bush) and Hopelessly Devoted for Paines Plough; Dunsinane for National Theatre Scotland and on US, Asia and UK tours; Helver’s Night at York Theatre Royal; The King’s Speech at Chichester, Birmingham Repertory and on UK tour; and Hysteria at Hampstead. Other work includes assistant movement director for the London 2012 Olympics Opening Ceremony, Mass Cast Choreographer for the London 2012 Paralympic Opening Ceremony, and Mass Cast Choreographer for the Sochi Winter Olympics Opening and Paralympic Ceremonies 2014. TV includes: The Crown, One Normal Night, Killing Eve, Urban Myths, The Choir: Gareth’s Malone’s Best in Britain, Fazer’s Urban Symphony at the Royal Albert Hall and The Queen’s Coronation Concerts at Buckingham Palace. Film includes movement coach to Rami Malek in Bohemian Rhapsody; The Little Stranger, and Stan and Ollie. Bennett is cofounder of The Mono Box.

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ZOÉ FORD BURNETT (ASSOCIATE DIRECTOR)

Zoé Ford Burnett’s work in theatre as a director includes: Macbeth at the Karamel Club; Hamlet for Riverside Studios (Offie Award nomination for Best Director); Sonnets at Shakespeare’s Globe; Richard III, Romeo and Juliet, and A Life in Theatre at the Gatehouse; Titus Andronicus at the Arcola, the Edinburgh Fringe and the Etcetera; Blood Wedding and The School for Scandal at Waterloo East; Click 2 Share at Theatre503; and Wounds at Tristan Bates. As assistant director her work includes Earthworks and Antony and Cleopatra for the RSC; Les Liaisons Dangereuses, Closer, Teddy Ferrara, The Vote, and Splendour at the Donmar; and Henry V at Regent’s Park. Text includes The Comedy of Errors, Hamlet, Titus Andronicus, and Julius Caesar at Shakespeare’s Globe. Audio directing includes cast recording of Les Liaisons Dangereuses for the Donmar Warehouse. Ford Burnett was previously Artistic Director of Hiraeth Artistic Productions and resident assistant director at the Donmar Warehouse.

WENDY SPON CDG (CASTING)

Wendy Spon is a freelance casting director and is currently an Associate of Sheffield Theatres for Artistic Director, Robert Hastie.

Spon was previously the National Theatre’s Head of Casting (2006–2018) and the National’s Deputy Head of Casting (1995– 2000). She has cast plays for the Young Vic, Almeida, Playful Productions, Talkback Thames Studios and she was casting director for the Crucible Theatre, Sheffield (1990–1995). Spon has worked with numerous directors including Rufus Norris, Nicholas Hytner, Dominic Cooke, Marianne Elliott, Simon Godwin, Richard Eyre, Howard Davies, Jeremy Herrin, Michael Longhurst, Bijan Sheibani, Katie Mitchell, Nadia Fall, Ivo van Hove, James Macdonald, John Tiffany, Patrick Marber, Robert Icke, Carrie Cracknell, Joe HillGibbins, Rupert Goold, Ian Rickson, Roger Michell, Trevor Nunn, David Lan, Thea Sharrock, Anthony Page, Paul Miller, Nancy Meckler, Gregory Doran, John Caird, and Jeremy Sams.

JANE SUFFLING (STAGE MANAGER)

Jane Suffling trained at RADA. She spent some time working on the London Fringe, before joining the National Theatre as an ASM 37 years ago. Since then, she has worked under five NT Directors, and on over 80 productions, including world premieres of Glengarry Glen Ross, Brighton Beach Memoirs, Fool for Love, The Pillowman, Vincent in Brixton, War Horse (original SM), The Curious Incident of the Dog in the Night-Time (original SM), This House (original SM), People, Places and Things (original SM), LOVE (original SM) and The Jungle (original SM), and the UK premieres of Sunday in the Park with George, The Year of Magical Thinking, Detroit and Here Lies Love. World tours include Peter Hall’s production of Animal Farm, Richard Eyre’s production of Richard III, Deborah Warner’s production of King Lear and Sam Mendes’ production of Othello.

Outside of the National Theatre, she was producer for A River Sutra and Manes (for La Fura Dels Baus) at 3 Mills Island Studios. Film work, as second AD, includes Deborah Warner’s Richard II and Richard Eyre’s King Lear. The Lehman Trilogy is Suffling’s third production with Sam Mendes.

NIK HAFFENDEN (DEPUTY STAGE MANAGER)

Nik Haffenden has been a fulltime member of staff at the National for 18 years, where his work includes The Lehman Trilogy, Network, Angels in America, Peter Pan, Treasure Island, The Beaux’ Stratagem, One Man Two Guvnors and Nicholas Hytner’s Hamlet, Man of Mode and Timon of Athens. Haffenden has previously worked for the Royal Court Theatre, and on several shows in the West End including Francesca Zambello’s Napoleon. He has also toured the UK with various productions, including Ben Elton’s Popcorn.

CYNTHIA CAHILL* (STAGE MANAGER)

Bryony Jarvis-Taylor works in the National Theatre’s Casting department. Work at the National Theatre includes: Peter Gynt, Top Girls, Hadestown, The Lehman Trilogy, and If We Were Older.

In the West End: Nine Night, The Lehman Trilogy (also Park Avenue Armory). As a casting assistant she has worked on numerous productions at the National Theatre, Chichester Festival Theatre, and in the West End. Prior to working at the NT she worked in screen and for BBC Radio Drama.

Broadway credits include Lifespan of a Fact (replacement), Encores!

Off Center, Junk and Passing Strange; Off-Broadway: Second Stage, The Public Theatre, The Vineyard, The Atlantic Theatre, Playwrights Horizons, and Theatre for a New Audience. National tours include King Lear (London’s Globe Theatre) and Tristan & Yseult (Kneehigh Theatre Company). Cahill spent over 18 seasons at Berkeley Repertory Theatre. Selected credits include Notes from the Field, Doing Time in Education, and Let Me Down Easy (by Anna Deavere Smith); The Wild Bride and Tristan & Yseult (dir. Emma Rice), among many others.

Other regional theatres include La Jolla Playhouse, Arena Stage, Yale Repertory Theatre, The Guthrie Theatre, McCarter Theatre, Hartford Stage, The Folger Theatre, Kansas City Repertory Theatre, and Lookingglass Theatre Company.

CHARMIAN HOARE (COMPANY VOICE WORK)

TASHA SAVIDGE (ASSISTANT STAGE MANAGER)

BRYONY JARVIS-TAYLOR (CASTING)

Charmian Hoare trained at the Central School of Speech and Drama. Recent work in theatre includes: Translations, The Great Wave, John, Network, Mosquitoes, Common, Barber Shop Chronicles, Angels in America, Consent, Ugly Lies the Bone, The Deep Blue Sea, The Suicide, The Silver Tassie, and Peter Pan at the National Theatre; The Curious Incident of the Dog in the Night-Time on international tour; Frost/Nixon at the Sheffield Crucible; Jekyll and Hyde on UK tour; Against and The Treatment at the Almeida; Road at the Royal Court; Present Laughter, The Country Wife, Fiddler on the Roof, and 40 Years On at Chichester; Rabbit Hole at Hampstead; The Hook and The Herbal Bed at the Royal & Derngate, Northampton; Of Mice and Men at Birmingham Repertory; One Night in Miami and Welcome Home, Captain Fox! at the Donmar Warehouse; The Kitchen Sink and Playhouse Creatures at the New Vic, Stoke; Half Life, The Things We Do for Love, Talking Heads, and Abigail’s Party at Theatre Royal Bath; Perfect Nonsense, Rails, Single Spies, and Bold Girls at Theatre by the Lake, Keswick.

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Tasha Savidge graduated Bristol Old Vic Theatre School in 2015 with a degree in Professional Stage Management. Her work for the National Theatre includes: The Lehman Trilogy, Amadeus, The Suicide, wonder.land, and Jane Eyre. Savidge’s work outside of the National Theatre includes: The Convert at the Young Vic; Pink Mist and The Life and Times of Fanny Hill for Bristol Old Vic; ’Tis a Pity She’s a Whore at Shakespeare’s Globe; and The Bartered Bride for Opera North.

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SIMON RUSSELL BEALE (HENRY LEHMAN)

Simon Russell Beale’s theatre career began with plays at the Traverse and Lyceum in Edinburgh. His first London appearance was in William Gaskill’s Royal Court production of Women Beware Women. For the National Theatre: The Lehman Trilogy, King Lear, 50 Years on Stage, Timon of Athens, Collaborators, London Assurance, Major Barbara, Landscape and A Slight Ache, Much Ado About Nothing, The Alchemist, The Life of Galileo, Jumpers (also West End and New York), Humble Boy (also West End), the title role in Hamlet, Battle Royal, Candide, Summerfolk, Money, Othello, Rosencrantz and Guildenstern Are Dead and Volpone. For the RSC: The Tempest, King Lear, Ghosts, the title roles in Richard III and Edward II, The Seagull, Troilus and Cressida, The Man of Mode and Restoration. Other theatre includes: The Hothouse at Trafalgar Studios; Bluebird for Atlantic Theatre Company, New York; Privates on Parade and Death Trap at the Noël Coward; The Winter’s Tale and The Cherry Orchard at the Old Vic, in New York and on an international tour; Monty Python’s Spamalot on Broadway and in the West End; The Philanthropist, Uncle Vanya, Twelfth Night, and Temple for the Donmar; Julius Caesar at the Barbican and on international tour; Richard II and Macbeth at the Almeida; and The Duchess of Malfi at Greenwich and Wyndham’s. Dance credits include Alice’s Adventures in Wonderland for the Royal Ballet. TV credits include: Vanity Fair, Legacy, Parkinson: Masterclass, The Hollow Crown: Henry IV Parts 1 and 2, Spooks, John Adams, Dunkirk, The Young Visiters, Great Historians: Gibbon, A Dance to the Music of Time, Persuasion and The Mushroom Pickers. Film credits include: The Death of Stalin, My Week with Marilyn, The Deep Blue Sea, The Gathering, Alice in Wonderland, An Ideal Husband, The Temptation of Franz Schubert and Hamlet. He has recorded extensively on radio, most notably War and Peace, Oscar in The Trials of Oscar Wilde, The Sisterhood, Waiting for Godot, Art, A Dance to the Music of Time and The Complete George Smiley. He has narrated several books and voiced three roles for the Shakespeare CD Series. Narrations for TV include presenting Sacred Victoria, Symphony and Sacred Music.

Concerts include: First Night of the Proms, Stravinsky Promenade and Sondheim Birthday Promenade. Beale is an associate artist of the RSC. In 2003 he was awarded a CBE in the Queen’s Birthday Honours List for his services to the Arts.

ADAM GODLEY (MAYER LEHMAN)

Adam Godley’s work in theatre includes: The Lehman Trilogy, From Morning to Midnight, Paul, Two Thousand Years, The Pillowman, Cleo, Camping, Emmanuelle and Dick (Olivier nomination), Mr. A’s Amazing Maze Plays, Watch on the Rhine and Close of Play at the National Theatre; The White Devil, Three Hours After Marriage and The General from America for the RSC; Anything Goes (Tony and Drama Desk nominations and Outer Critics’ Circle Awardwinner) at the Stephen Sondheim, New York; Mouth to Mouth (Olivier nomination) and Mr. Kolpert at the Royal Court; The Critic at the Royal Exchange; The Importance of Being Earnest and The Rivals (also West End) at Chichester; The Front Page and Cabaret at the Donmar; A Going Concern and June Moon (also West End) at Hampstead; Private Lives in the West End and on Broadway (Theatre World Award); and Rain Man (Olivier nomination), The Revengers’ Comedies and An Inspector Calls in the West End. His TV credits include: The Umbrella Academy, Lodge 49, The Blacklist, Powers, Homeland, Manhattan, Fallet, Breaking Bad, Mad Men, Suits, A Young Doctor’s Notebook, Case Histories, The Special Relationship, Suburgatory, The Spies of Warsaw, The Sarah Connor Chronicles, Dollhouse, Nuremberg, The Old Curiosity Shop, The Young Visiters, The Good Wife, Harry’s Law, Merlin, Miss Marple, In the Dark, Cor, Blimey!, Hawking and Moonfleet.

Godley’s film credits include: The Theory of Everything, The BFG, Battleship, Elizabeth – The Golden Age, Love Actually, Charlie and the Chocolate Factory, The X-Files: I Want to Believe, Son of Rambow, Thunderpants, Nanny McPhee, Wilde Salomé, And Now Ladies and Gentlemen and Around the World in 80 Days. Godley has appeared in over 100 radio plays for the BBC. For Samuel Jack Godley.

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BEN MILES (EMANUEL LEHMAN)

Ben Miles’ work in theatre includes: The Lehman Trilogy, Sunset at the Villa Thalia, The Cherry Orchard, The London Cuckolds, Mary Stuart, Macbeth, Trelawny of the Wells and Fuente Ovejuna at the National Theatre; Wolf Hall / Bring Up the Bodies (also West End and Broadway; Tony nomination for Best Performance by an Actor in a Leading Role), Two Gentlemen of Verona, Hamlet and Romeo and Juliet for the RSC; Love Love Love and My Child at the Royal Court; Measure for Measure and The Tower at the Almeida; The Norman Conquests (also Broadway – TONY award for Best Ensemble Performance) and Richard II at the Old Vic; Hand in Hand to the Promised Land at Hampstead; The Miser at Chichester; The Winter’s Tale at the Young Vic; The Tempest for Phoebus Cart; and Betrayal at the Harold Pinter. His TV credits include: The Trial of Christine Keeler, The Capture, Devils, The Romanoffs, The Last Post, The Crown, The Hollow Crown, The Suspicions of Mr. Whicher, Zen, The Promise, Trial and Retribution, Sea of Souls, After Thomas, Under the Greenwood Tree, Mr. Harvey Lights a Candle, A Thing Called Love, Prime Suspect, The Forsythe Saga and Cold Feet. Miles’ film credits include: Red Joan, The Catcher was a Spy, Woman in Gold, Five Years, Ninja Assassin, Speed Racer, V for Vendetta and Imagine Me and You. His radio credits include Brideshead Revisited, The Pallisers and Woman in Mind.

RAVI AUJLA (JANITOR, UNDERSTUDY EMANUEL LEHMAN)

Ravi Aujla’s work in theatre includes: Wicked Yaar! at the National Theatre; Antony and Cleopatra, Julius Caesar, The Tempest and Midnight’s Children for the RSC; The Kite Runner at the Playhouse, London, and on UK tour; What the Butler Saw at Leicester Curve on UK tour; The Tempest at Hippodrome Circus; The Three Lions at the St. James, London, and the Pleasance, Edinburgh; The Westbridge and Free Outgoing at the Royal Court; As You Like It for English Touring Theatre and the Rose Theatre; Commercial Road at Hackney Empire; Hairy Fairies at Brighton Festival; Hack at Jermyn Street; Unsuitable Girls for Pilot and Leicester Haymarket; River on Fire on tour for Kali; The Colour of Justice at the Tricycle; A Midsummer Night's Dream for Shakespeare Link; Untouchable for Tamasha at Riverside Studios; and Indian Ink at the Aldwych. TV includes Flowers, Coronation Street, The Nightmare Worlds of HG Wells, Killing Jesus, EastEnders, Silent Witness, Sadie Jones, Doctors, Casualty, Eldorado, Spit Game, Family Affairs, Peak Practice, Shelley, The Bill, Family Pride, The Specials, and Capital City. Film includes Accident Man, Phantom, Common People, Will, The Responsibility Virgin, The Family Business, Jinnah and London. Recent radio includes The Inheritance of Loss.

WILL HARRISON-WALLACE (UNDERSTUDY, MAYER LEHMAN)

Will Harrison-Wallace trained ALRA. His work in theatre includes: The Odd Couple and A Match Made in Heaven at Frinton Summer Repertory; Hamlet on UK tour; Noye’s Fludde at Backheath Halls Opera; Merchant of Venice at London Contemporary; Heartbreak Hotel at The Jetty, Greenwich; Peckham – The Soap Opera at the Royal Court; A View from the Bridge at The Broadway, Catford; The Water Engine at the Old Vic; and Richard III on UK tour. TV credits include Killer Cops and The Snipist. Film credits include Spin State, The Holly Kane Experiment, and Guardians of the Galaxy. Radio includes The Corrupted, Beyond the Time Machine, Frankenstein, Jamaica Inn, Mrs. Warren’s Profession and Blood Brothers. Videogames include Divinity – Original Sin II, The Assembly, Assassins Creed – Chronicles and Lords of the Fallen.

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LEIGHTON PUGH (UNDERSTUDY, HENRY LEHMAN)

Leighton Pugh trained at LAMDA. His work in theatre includes: The Habit of Art (also on tour), Rocket to the Moon, and A Woman Killed with Kindness at the National Theatre; The Birthday Party at the Harold Pinter; There at the Royal Court; Faustus at the Etcetera; and Macbeth and True West at the English Theatre, Essen. TV credits include: 50 Ways to Kill Your Lover, Grandpa in my Pocket, and Fingersmith. Radio credits include: Scenes from Provincial Life, Murder by the Book, Gawain and the Green Knight and The Tragical Adventures of Heinrich von Kleist. He has recorded audio dramas for Big Finish Productions and narrated more than a hundred unabridged audiobooks including titles by Pepys, Owen Jones, Yanis Varoufakis, Peter James, and Gerald Seymour.

GILLIAN BERKOWITZ (ALTERNATE PIANIST)

Gillian Berkowitz has performed piano, keyboard, recorder, accordion, and vocals in over 40 Broadway and Off-Broadway shows. She is currently the Associate Conductor of Avenue Q, as well as performing as keyboardist and rehearsal pianist for Wicked and Waitress. She composes and performs with the Sheba Ensemble, promoting Jewish music with a unique contemporary twist and is a pianist for Scarlett Entertainment and Honeydew Artists. Berkowitz is also an adjunct faculty member at Pace University. www.gillianberkowitz.com

NATIONAL THEATRE (PRODUCER)

The National Theatre makes world-class theatre that is entertaining, challenging and inspiring. And we make it for everyone. We stage up to 30 productions at our South Bank home each year, ranging from reimagined classics to modern masterpieces and new work by contemporary writers and theatre-markers. The work the National makes strives to be as open, as diverse, as collaborative and as national as possible. Through National Theatre Live, we broadcast live performances to cinemas around the world. We do all we can to keep ticket prices affordable and to reach a wide audience, and use our public funding to maintain artistic risk-taking, accessibility, and diversity. National Theatre Productions aims to extend the life of NT productions without subsidy in London’s West End, on tour throughout the UK, on Broadway, internationally, and in collaborations and co-productions with partners around the world. In 2017–18 National Theatre Productions took more work across the UK and around the world than at any other point in the NT’s history, with eight productions visiting 65 towns and cities across eight countries.

Currently playing in London’s West End are Home, I’m Darling, and The Curious Incident of the Dog in the Night-Time. Immediately following its Park Avenue Armory run, The Lehman Trilogy will transfer to London’s West End, from May 2019. Network is playing at New York’s Belasco Theatre until June 8 and The Jungle, which recently completed an acclaimed run at St. Ann’s Warehouse, tours to San Francisco this spring. The NT’s 2018 production of Angels in America was the most Tony-nominated play in Broadway history and won the Tony, Drama Desk, Drama League, and Outer Critic’s Circle Awards for Best Revival of a Play. Past U.S. productions also include People, Places and Things; The Curious Incident of the Dog in the NightTime; One Man, Two Guvnors; War Horse; and The History Boys.

Damon Buffini, Chair of the Board Rufus Norris, Director Lisa Burger, Executive Director nationaltheatre.org.uk @nationaltheatre

NEAL STREET PRODUCTIONS CARO NEWLING (PRODUCER)

Neal Street produces film, television, and theatre. Formed in 2003

by Sam Mendes, Pippa Harris, and Caro Newling, with Nicolas Brown joining as fourth director in the company’s tenth year.

In 2015 Neal Street moved under the umbrella of parent company, All3Media. Previously Sam Mendes and Caro Newling established and ran the Donmar Warehouse 1992–2002, since when Newling has produced the company’s theatre slate. Recent theatre includes: The Ferryman by Jez Butterworth, The Moderate Soprano by David Hare, This House by James Graham. World premiere productions: Charlie and the Chocolate Factory, produced with Warner Brothers Theatre Ventures at Theatre Royal Drury Lane/Lunt-Fontanne, also Shrek The Musical produced with DreamWorks Animation at the Broadway Theatre NYC/Theatre Royal Drury Lane, touring UK nationally 2014–2018. Previous productions: The Bridge Project, a three-year transatlantic venture with the Old Vic & Brooklyn Academy of Music presenting five classic plays for worldwide stages across fifteen international cities, directed by Sam Mendes. Premiere productions: Three Days of Rain, The Vertical Hour, The House of Special Purpose, All About My Mother, The Hound of the Baskervilles, Days of Wine and Roses, Anna in the Tropics, and Fuddy Meers. West End/Broadway transfers: South Downs/The Browning Version, Enron, Hamlet, Mary Stuart, Red, Merrily We Roll Along, Sunday in the Park, and The Painkiller. Film and television includes: Heidi Thomas’ series Call the Midwife, John Logan’s series Penny Dreadful, Stuart A Life Backwards, Starter for Ten, Things We Lost in the Fire, Jarhead, Revolutionary Road, Away We Go, Blood, The Hollow Crown featuring Richard II (dir. Rupert Goold), Henry IV Part 1 and Part 2 (dir.

Richard Eyre), Henry V (dir. Thea Sharrock), Henry VI parts 1 and 2, and Richard III (dir. Dominic Cooke), Britannia by Jez Butterworth, and Informer by Rory Haines and Sohrab Noshirvani.

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ARTS EDUCATION AT PARK AVENUE ARMORY 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 offers underserved New York City public school students the tools to think creatively and to learn how to 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. Pre-visit workshops introduce students to the artists and space, while post-visit workshops respond to thematic content, with students interpreting what they have experienced in a second art form. The development of a response in a second art form requires a higher order of thinking, a complex understanding of the work, and a belief in one’s own judgment when the answers are not clear.

The program has three main components: (1) StudentOnly Performances for every production at the Armory, in which students attend major productions of music, theatre, dance and visual art, and participate in pre- and post-visit workshops with the Armory’s talented corps of teaching artists; (2) Partner School Program, in which the Armory supplements the arts programs of seven under-resourced schools with attendance at all student-only productions, up to 20 work-shops per term, in-school and at the Armory, comprehensive materials for teachers and end-of-term events at the Armory; and (3) the Armory Youth Corps, a program focusing on students from underserved NYC public schools, providing job and leadership training, meaningful interaction with the extraordinary Armory artists, deep analysis of the Armory productions and more than 14,000 hours of paid and closely mentored internships annually.

Armory Arts Education programs are offered 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.

Since its inception in 2010, the Armory’s Arts Education program has reached more than 30,000 students from over 100 underserved NYC public schools in the five boroughs. Attendance at productions has grown from 1,213 students in 2010 to approximately 5,000 students annually. Currently, the Armory has over 100 Youth Corps members.

Last summer, four members of the Armory Youth Corps public schools traveled to London to preview The Lehman Trilogy at the National Theatre. Their reflections on themes and potential “lessons” from the piece have guided Armory teaching artists and education staff in the development of the arts education program for The Lehman Trilogy. Below are two responses from the students:

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“ Th e play consists of three main parts with three different themes. The first is rebuilding in America. With the three brothers new to America and starting a fabric store, they figure out quickly how to take advantage of hard times and make them work in their favor. The next theme is family. With the Lehman brothers having growing families, eventually there is the struggle between the old and the new way of doing business. I think of the last theme as consequences of greed.”

—Naomi Santiago, graduate of Williamsburg High School for Architecture and Design

The plan for the arts education program for The Lehman Trilogy is as follows. In workshops in schools before the student matinee, teaching artists will introduce students to the characters they will encounter in the play; the trajectory of the plot; and the historical context.

Additionally, the students will analyze brief passages of the script adapted as a way to familiarize themselves with the poetic style of the play. Then concepts will be suggested to the students to consider as they watch the matinee unfold: immigration, human innovation, progression/regression, morality, capitalism, and loyalty to family.

In post-show workshops at their schools, students will reflect on the play, and consider the notion of the American Dream. What is it? Did the Lehman family achieve it? Is it still “alive”? How might the American Dream shift for the students’ generation? Teaching artists lead students in the creation of original works of art in dance, music and visual art in response to The Lehman Trilogy and these questions.

Through the lens of this one family over the last 150 years, audiences are confronted by the complexity of this current moment in present-day America. The students who are participating in The Lehman Trilogy arts education program are of a generation who have no memory of the times before the financial crisis, but whose trajectory will be deeply affected by it. The insights and lessons these students will take away are critical in helping them understand and navigate the world which they are inheriting.

“ The main themes are process and patience, family, and change.

It took a lot of trial and error—and patience—for the Lehman brothers to get their company to the top. Family is very important in this production because the brothers stick together through success and struggle. Change is also portrayed throughout the entire play: change in the company, change in the ideas, material, people, etc. [Central to the piece is] the idea that change can be not only a negative thing but also positive thing.”—Koralys de la Cruz, senior at Bronx Envision Academy

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ABOUT PARK AVENUE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need nontraditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that cannot be mounted elsewhere in New York City. Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast Wade Thompson Drill Hall that defy traditional categorization and push the boundaries of their practice.

In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room; the Artists Studio series in the newly restored Veterans Room; and Interrogations of Form, a series of conversations and performances featuring artists, scholars, activists, and cultural

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trailblazers encouraging us to think beyond conventional interpretations of and perspectives on art. The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture.

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel 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 $215-million renovation designed

by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

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PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director

artistic planning and progr amming

facilities and oper ations

Michael Lonergan, Producing Director Avery Willis Hoffman, Program Director Jeff Payne, General Manager, Programming Jessica Wasilewski, Senior Producer Jenni Bowman, Producer Samantha Cortez, Production Coordinator

Lissa Frenkel, Managing Director Wayne Lowery, Director of External Operations Rich Vartigian, Director of Facilities Darrell Thimoleon, Office Manager William Say, Superintendent Reginald Hunter, Chief Engineer Olga Cruz, Leandro Dasso, Mayra DeLeon, Mario Esquilin, Carlos Goris, Cristina Moreira-Soria, Esdras Lopez Herrera, and Wayne Gillyard, Porters

design and collections Kirsten Reoch, Director of Design and Construction David Burnhauser, Collection Manager

development Melanie Forman, Chief Development Officer Charmaine Portis, Executive Assistant to the Chief Development Officer Matthew Bird, Deputy Director of Development Allison Kline, Director of Foundation and Government Relations Jennifer Levine, Director of Special Events Rafael Flores, A ssociate Director of Corporate Relations Isabel Orbon, Associate Director of Major Gifts Rachel Cappy Risso-Gill, A ssociate Director of Individual Giving Anthony Merced, Database and Website Development Manager Melissa Stone, Manager of Special Events Katie Burke, Individual Giving Coordinator Surina Gangwani, Senior Coordinator Special Events

education Cassidy Jones, Director of Special Projects Monica Weigel McCarthy, Director of Education Aarti Ogirala, Associate Director of Education Chelsea Emelie Kelly, Youth Corps Manager Pip Gengenbach, Education Manager Drew Petersen, Education Special Projects Manager Sharlyn Galarza, Education Assistant

finance Susan Neiman, Chief Financial and Administrative Officer Alexander Frenkel, Controller Khemraj Dat, Accountant

marketing and communications Nick Yarbrough, Digital Marketing Manager Natalie Schwich, Press & Editorial 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 and Event Operations Stephanie Mesquita, Rentals Associate Erik Olson, Box Office Manager Cheyanne Clarke, Assistant Box Office Manager Jonatan Amaya, Daniel George, Terrelle Jones, and Adjani Reed, House Managers

executive office Lori Nelson, Executive Assistant to the President Nathalie Etienne, Administrative Assistant, President’s Office

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STAFF FOR THE LEHMAN TRILOGY park avenue armory

neal street PRODUCTIONS

Rebecca Robertson, Founding President and Executive Producer Michael Lonergan, Producing Director Paul King, Production Director Jeff Payne, General Manager Jessica Wasilewski, Senior Producer Claire Marberg, Production Manager Nicholas Lazzaro, Technical Director Lars Nelson, Technical Director Brandon Walker, Technical Director Samantha Cortez, Production Coordinator

Nicolas Brown, Pippa Harris, Sam Mendes, Caro Newling, Directors Milly Leigh, Head of Production Caroline Reynolds, Executive Coordinator Julie Pastor, Head of Development Robert Smith, Head of Finance Melanie Davis & Gabriella Rauchwerger, Assistants to Sam Mendes Lola Oliyide, Development Executive Haydn Palmer, General Assistant

Mark Grey, Audio Design Consultant Simon Nathan, Audio Supervisor Aaron Copp, Lighting Supervisor Nick Houfek, Associate Lighting Supervisor Roger Gruchalski, Video Supervisor Cameron Hoffman, Head Audio Vaneik Echeverria, Head Carpenter Dave Polato, Head Electrician Stephen Pucci, Head Rigger Don Cieslik, Head Video Victoria Bek, Head Wardrobe Stephanie Berger, Production Photography Lauren Storr, Company Manager Wednesday Derrico, Assistant Company Manager Meaghan Finlay, Production Assistant Colt Luedtke, Production Assistant Carol Blanco, Supernumeraries Coordinator

Set Construction by Miraculous Engineering Weld-Fab Stage Engineering BNW Rigging Five OHM Productions Premier Stagehands Lighting, R igging, Video Equipment by 4Wall Entertainment Lighting Equipment by PRG Audio Equipment by Masque Audio Freight, s et transport, and crew by Sound Moves, Ltd, Southern Van Lines Ltd, Pirate Crew Automation by TAIT Scenic Painting by the National Theatre

national theatre productions Kash Bennett, Producer and Managing Director Debbie Farquhar, General Manager Zak Khan, Production Coordinator Amy Hetherington, Production Assistant Akosua Koranteng, Production Finance Manager Heather Epple, Director of Marketing Susie Newbery, Head of Press & Communications Jim Leaver, Production Manager Laura Hunt, Costume Supervisor Adele Brandman, Wigs, Hair, and Makeup Supervisor Charlotte King, Props Supervisor Gareth Connoley, NT Production Lighting Supervisor Liam Jones, Lighting Programmer Andy Coates, Video Programmer Craig Emerson & Martin Riley, Production Carpenters Richard Booth, Stage Automation Supervisor Jamie McIntyre, Sound Operator Es Devlin Studio & Nick Murray Studio, Draftspersons Mark Douet, Original Production Photography armoryonpark.org

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production acknowledgements

lehman & america image credits

1. Image courtesy of Smith Collection / Gado / Getty Images 2. Image courtesy of Hulton Archive / Apic / Getty Images 3. Image courtesy of Smith Collection / Gado / Getty Images 4. Image courtesy of Bettmann / Getty Images 5. Image courtesy Corbis Historical / Getty Images 6. Photo by Eliot Elisofon, courtesy of The LIFE Picture Collection / Getty Images 7. Reprinted by permission of The Wall Street Journal, © 2008 Dow Jones & Company, Inc. All Rights Reserved Worldwide Special thanks to Rufus Norris, Lisa Burger, Vicky Hawkins, Rob Laqui, the team at National Theatre America and the American Associates of the National Theatre, Sarah Corke, Hannah Phillips, Rabbi Daniel Epstein, Howard Eaton Lighting Ltd, Easichalk, and funambulist Chris Bullzini bullzinifamily.com. Additional Costume Props by Liz Crossman. Final thanks to the NT team who worked on the original production at the National Theatre. * Appearing through an Agreement between Park Avenue Armory and Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The *Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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NEXT AT THE ARMORY EVERYTHING THAT HAPPENED AND WOULD HAPPEN june 3–9 “ German composer and artist Heiner Goebbels is staging history… [that is] deeply experiential, fascinatingly polyphonous, and completely hypnotic.”

—The Stage (UK) Having captivated Armory audiences with his hypnotic use of zeppelins, nuns, and a flock of sheep in De Materie in 2016 as well as in-motion sculptural pianos and elements from nature in his haunting production Stifter's Dinge in 2009, visionary director and composer Heiner Goebbels returns for the North American premiere of his latest highly imaginative production blending live music, performance, sound, movement, and moving image. Partperformance, part-construction site, this groundbreaking work is a poetic re-enactment of history, always on the verge of collapse and only to be rebuilt as if nothing had happened.

DRILL june 20-july 21 Filmmaker and cultural critic Hito Steyerl reveals her most recent installation in the U.S. to date, utilizing both the Wade Thompson Drill Hall and historic interiors of the building in mounting both pre-existing works as well as new projects commissioned by the Armory in her ongoing illumination of the world’s power structures, inequalities, obscurities, and delights. When viewed collectively, this material allows the viewer to zoom in on and out from some of the most complex and pressing issues of our time.

ANTIGONE september 25-october 6 “ A s the world gets smaller and more dense and fascinating, culturally speaking, we look to artists like Miyagi to chart wonderful new theatrical territory, making it strange and familiar, all at once.”

—The New Yorker Famed Japanese director Satoshi Miyagi creates a new version of this fabled myth that examines the ancient play through the prism of Japanese culture, turning the stage into a flowing river of water that is known in many spiritual beliefs to separate the world of the living from that of the dead. This fresh take presents a riveting play about loss and memorialization in a way that is both timeless and timely, mixing the foundational principles of Greek tragedy, Japanese Noh theatre, Indonesian shadow play, and the philosophy of Buddhist monks to negotiate the boundaries of intercultural encounters while creating a new theatrical universe of globalized proportions.

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BLACK ARTISTS RETREAT 2019: SONIC IMAGINATION october 11–12 “ … one of the most iconoclastic, and intellectually supple, figures in the contemporary art world” —The Financial Times (UK) A charismatic figure in the contemporary art world, Theaster Gates comes to the Armory to host his renowned Black Artists Retreat for the first time outside of Chicago. In celebration of this momentous gathering, the Retreat includes a public celebration with roller skating, DJs and performances, and other special guests amidst an installation of some of the artist’s famous “housebergs”—sevenfeet-tall sculptural disco balls shaped like icebergs—and also intersects with our Interrogations of Form series with two public discussions featuring leading artists, scholars, and activists.

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JUDGMENT DAY december 5–january 11 “ [Richard Jones] has been responsible for some of the stage’s most talked-about images… his work is unflinching, intense and often deeply witty.”

—The Guardian (UK) Ödön von Horváth’s seldom-performed, penultimate play from 1937 is an intriguing hybrid of theatrical genres: part moral fable, part sociopolitical comedy, part noirish thriller. Visionary director Richard Jones returns to the Armory following his mesmerizing revival of The Hairy Ape in 2017 to take on this gripping commentary about the responsibility to find the accurate truth in a new adaptation

by Pulitzer Prize finalist and Obie Award-winning playwright Christopher Shinn. This new production dramatically plays on the interior of the Wade Thompson Drill Hall—reminiscent of the great train stations of Europe—as an immersive environment in which the characters become overcome by the burden of guilt.

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NEXT AT THE ARMORY RECITAL SERIES

ARTISTS STUDIO

UPCOMING EVENTS:

UPCOMING EVENTS:

metropolitan oper a’s lindemann young artists april 22 & 24

malik gaines and alex andro segade may 23

The Metropolitan Opera’s Lindemann Young Artist Development Program is a prestigious launching pad for a new generation of celebrated American and international opera singers. Soprano Leah Hawkins and baritone Adrian Timpau join us with pianist Ken Noda to present an evening of song that beautifully showcases these stars on the rise.

D U D ok

quartet amsterdam september 19 & 21

The esteemed ensemble makes their New York debut with programs focusing on compositions by Haydn and Ligeti that artfully showcase their versatility and superb musicianship.

Malik Gaines & Alexandro Segade, founders of the collective My Barbarian, create and perform a new work, Star Choir, which was developed while serving as Armory artists-in-residence.

rosa barba september 16–21

Rosa Barba comes to the Armory with percussionist Chad Taylor to present a live work performed within an enigmatic installation on display in several of the historic rooms and spaces, including the Veterans Room.

barbar a hannigan, sopr ano october 15 & 17

Barbara Hannigan returns to the Armory following her whirlwind U.S. recital debut in 2017. She opens the engagement with a program that includes the New York premiere of John Zorn’s “Jumalatteret,” and continues with a second program featuring the famed Emerson String Quartet.

leila josefowicz, violin john novacek, piano november 21-22

Violin virtuoso and MacArthur “Genius” Leila Josefowicz comes to the Board of Officers Room with pianist John Novacek to perform an adventuresome, daring, and sonically breathtaking program.

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INTERROGATIONS OF FORM UPCOMING EVENTS: artist talk: the lehman trilogy march 23

Director Sam Mendes and Ben Power discuss adapting Stefano Massini’s epic and realizing the immigrant story in modern times. Moderated by playwright and Armory Artist-in-Residence Lynn Nottage.

sunday salon: performance art april 14

Installation artist and Armory Artist-in-Residence Tania Bruguera hosts an afternoon forum entitled “Political Timing Specificity,” centered on her signature concept of Arte Util (“useful art”).

artist talk: everything that happened and would happen june 6

Artist and compose Heiner Goebbels is joined by fellow collaborators to explore the creation of works that defy categorization and realizing productions in unconventional spaces.

artist talk: hito steyerl june 20

Hito Steyerl explores the inspirations, ideas, and creative development of her ongoing practice.

confrontational comedy may 17

Confrontational Comedy returns for its third year for an unforgettable evening of comedy sets and conversation highlighting the power of humor to confront stereotypes and engage audiences around uncomfortable topics.

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OTHER HAPPENINGS

HISTORIC INTERIORS TOURS

ARTISTS-INRESIDENCE

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.

Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development.

Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-in-residence include playwright and screenwriter Lynn Nottage; Cuban installation and performance artist Tania Bruguera; performance artists Malik Gaines & Alexandro Segade; set designer and director Christine Jones & choreographer Steven Hoggett; playwright Branden Jacobs-Jenkins & performance artist Carmelita Tropicana; social practice artist Theaster Gates; and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray.

Previous Armory artists-in-residence have included inventive theatre company 600 Highwaymen; theatre artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theatre company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; Musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; and Shen Wei Dance Arts; among others.

ARMORY AFTER HOURS Salon culture has enlivened art since the 19th century, when friends gathered in elegant chambers to hear intimate performances and share artistic insights.

Join us following select performances for libations with fellow attendees as we revive this tradition in our historic period rooms. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances.

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. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

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JOIN THE ARMORY

JOIN OR RENEW YOUR MEMBERSHIP Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.” For more information about membership, please email members@armoryonpark.org or call (212) 616-3958. We are pleased to recognize the generous support of our members with these special benefits:

FRIEND $100

$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 access for performance tickets and 20% discount on Members Subscription

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*

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

$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 »T wo complimentary tickets to select programs in our historic period rooms*

CHAIRMAN’S CIRCLE STARTING AT $2,500

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

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.

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.

ARTISTIC COUNCIL

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 Co-Chairs Adam R. Flatto Elihu Rose, PhD.

Vice Chairs Wendy Belzberg Amanda J.T. Riegel

President Rebecca Robertson

Vice Presidents Ken Kuchin Pablo Legorreta Emanuel Stern Secretary Gwendolyn Adams Norton

Marina Kellen French Artistic Director Pierre Audi

Treasurer Harrison M. Bains

Marina Abramović Emma Bloomberg Martin Brand Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Emme Levin Deland Thomas J. DeRosa Sanford B. Ehrenkranz David Fox Andrew Gundlach Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.)

Mary T. Kush Ralph Lemon Heidi McWilliams David S. Moross Joel Press Genie H. Rice Janet C. Ross Joan Steinberg Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck Peter Zhou

Wendy Keys Ken Kuchin and Tyler Morgan Mary T. Kush Almudena and Pablo Legorreta Christina and Alan MacDonald Jennifer 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 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

Wade F.B. Thompson, Founding Chairman, 2000–2009

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 Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs 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

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Benigno Aguilar and Gerald Erickson 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 Adam R. Flatto Barbara and Andrew Gundlach Janet Halvorson Anita K. Hersh

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

Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Emanuel Stern

$250,000 to $499,999

American Express Michael Field Adam R. Flatto Olivia Tournay Flatto Ken Kuchin and Tyler Morgan Leonard and Judy Lauder Fund The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation

$100,000 to $249,999

The Achelis and Bodman Foundations R. Mark Adams Linda and Earle Altman

Emma Bloomberg Booth Ferris Foundation Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Tom DeRosa Ford Foundation Howard Gilman Foundation Mr. and Mrs. Andrew Gundlach Marjorie and Gurnee Hart Anna Maria and Stephen Kellen Foundation, Inc. Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. New York State Assembly New York State Council on the Arts Stavros Niarchos Foundation Gwen and Peter Norton Donald Pels Charitable Trust Daniel and Joanna S. Rose Mrs. Arthur Ross Caryn Schacht and David Fox Hope and Robert F. Smith Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation

Thompson Arts Center at Park Avenue Armory

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643 Park Avenue at 67th Street

Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts

$25,000 to $99,999

Karen Herskovitz Ackman Arthur R. and Alice E. Adams Foundation Benigno Aguilar and Gerald Erickson The Avenue Association Harrison and Leslie Bains Abigail Baratta Emily and Len Blavatnik The Emma and Georgina Bloomberg Foundation Brunello Cucinelli Noreen and Ken Buckfire Cartier Betsy and Edward Cohen The Cowles Charitable Trust Caroline and Paul Cronson Mary Cronson / Evelyn Sharp Foundation Jennie L. and Richard K. DeScherer Krystyna Doerfler Andrew L. Farkas, Island Capital Group & C-III Capital Partners

Katherine Farley and Jerry Speyer Seymour Flug Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Givenchy Horace W. Goldsmith Foundation Deborah and Allen Grubman Janet Halvorson Anita K. Hersh Josefin and Paul Hilal Janine and J. Tomilson Hill Daniel Clay Houghton Hospital For Special Surgery JS Capital Management LLC Kirkland & Ellis LLP The Emily Davie and Joseph S. Kornfeld Foundation Jo Carole and Ronald S. Lauder Christine & Richard Mack Marc Haas Foundation National Endowment for the Arts David P. Nolan Foundation The Reed Foundation Rhodebeck Charitable Trust Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief 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 Sanford L. Smith Howard & Sarah D. Solomon Foundation Jon Stryker and Slobodan Randjelovic´ TEFAF NY Tishman Speyer Properties, LP Robert and Jane Toll Mary Wallach Yanghyun Foundation Anonymous (3)

$10,000 to $24,999

Jamie Alter and Michael Lynton Jody and John Arnhold Ginette Becker Marian and Russell Burke Mr. and Mrs. Robert Cochran Elizabeth Coleman Con Edison David Dechman and Michel Mercure William F. Draper Peggy and Millard Drexler The Durst Organization Andra and John Ehrenkranz Caryl S. Englander Mr. and Mrs. Stephen and Amandine Freidheim The Fribourg Family Barbara and Peter Georgescu The Georgetown Company Kiendl and John Gordon Archie Gottesman and Gary DeBode Jamee and Peter Gregory Mr. and Mrs. Lawrence Hite Jack Shainman Gallery Rachel and Mike Jacobellis Jennie Kassanoff and Dan Schulman Kekst and Company Incorporated

Randy Kemper and Tony Ingrao Suzie and Bruce Kovner Lavazza Donna and Jeffrey Lenobel Leon Levy Foundation Lili Lynton and Michael Ryan Christina and Alan MacDonald Sylvia and Leonard Marx, Jr. Joyce F. Menschel Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Achim and Colette Moeller Moncler Morgan Stanley Nardello & Co. Lily O'Boyle Mario Palumbo and Stefan Gargiulo PBDW Architects Michael Peterson Joan and Joel I. Picket Noel Pittman Andrea Markezin Press and Joel Press Katharine Rayner Thomas J. Reid Genie and Donald Rice Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Susan Rudin Sana H. Sabbagh Mr. and Mrs. William Sandholm Nancy and Larry Sanitsky Stacy Schiff and Marc de la Bruyère Brian S. Snyder Jonathan Sobel Sotheby's Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs The Jay and Kelly Sugarman Foundation Laurie M. Tisch Illumination Fund Merryl and James Tisch Barbara and Donald Tober Bob Vila and Diana Barrett Anastasia Vournas and J. William Uhrig Diana Wege Isak and Rose Weinman Foundation, Inc. Anonymous (4)

$5,000 to $9,999

AECOM Tishman Mr. and Mrs. Lee Ainslie Sarah Arison Frances Beatty Candace and Rick Beinecke Mr. and Mrs. Robert Belfer Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Veronica Bulgari and Stephan Haimo Amanda M. Burden Canard, Inc. Janine Carendi MacMurray CBRE Tia Chapman Chilton Foundation Virginia Coleman Eugenia Comini Joyce B. Cowin Judith Cox Cultural Services of the French Embassy Elizabeth de Cuevas

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Diana Davenport and John Bernstein Richard and Barbara Debs Jeanne Donovan Fisher Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Ehrenkranz & Ehrenkranz LLP 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 Fried, Frank, Harris, Shriver & Jacobson LLP Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Gagosian Gallery Debbi Gibbs Maarit and Tom Glocer Beth and Gary Glynn The Francis Goelet Charitable Lead Trusts Sylvia Golden 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 Ionian Management Sharon Jacob Richard Katzman Cynthia and Stephen Ketchum Mr. and Mrs. Fernand Lamesch Stephen Lash and Wendy Lash William Lauder and Lori Tritsch Chad A. Leat Alexia and David Leuschen Gail and Alan Levenstein Phyllis Levin 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 James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Rick and Dee Mayberry Mr. and Mrs. Danny Meyer Elizabeth Miller and James Dinan Sue Morris Beth and Joshua Nash Mr. and Mrs. Michael Newhouse Peter and Beverly Orthwein Gabriela Peréz Rocchiette Marnie Pillsbury Betsy and Rob Pitts Cynthia Hazen Polsky and Leon B. Polsky Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Michael Pruzan Tracey and Robert Pruzan

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David Remnick and Esther Fein Mr. and Mrs. Michael & Kalliope Rena Michael D. Rhea Richenthal Foundation Renee Rockefeller Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce Reed Rubin and Jane Gregory Rubin Valerie Rubsamen and Cedomir Crnkovic Jane Fearer Safer Saks Fifth Avenue Mr. and Mrs. Joseph Sambuco Susan and Charles Sawyers Sara Lee and Axel Schupf Mr. and Mrs. Stephen Schwarzman James Seger Claude Shaw and Lara Meiland-Shaw Bob and Eva Shaye The Shubert Organization, Inc. Stephanie and Fred Shuman Lea Simonds Patricia Brown Specter Lisa and Gavin Steinberg Mr. and Mrs. Michael Steinhardt Beatrice Stern Debbie and Jeffrey Stevenson Tom Strauss Dorothy Strelsin Foundation / Enid Nemy Elizabeth Stribling and Guy Robinson Oscar Tang Ellen and Bill Taubman and Alexander Tisch Michael Tuch Foundation L.F. Turner Olivia Tyson Mr. and Mrs. Ronald Ulrich Mr. and Mrs. Jan F. van Eck Andrew E. Vogel and Véronique Mazard Mr. and Mrs. Alexander von Perfall Lulu C. Wang Michael Weinstein Maria Wirth Cynthia Young and George Eberstadt Mr. and Mrs. Nathaniel Zilkha Zubatkin Owner Representation, LLC Anonymous (3)

$2,500 to $4,999

Debra Abell Abigail Kirsch Catering Katie Adams Schaeffer Susan Heller Anderson Cristiana Andrews Cohen and David Cohen Susan Baker and Michael Lynch Peter Balis Laurel Beebe Barrack Mr. and Mrs. Richard Beattie Tony Bechara Mr. Lawrence B. Benenson Mr. and Mrs. Jonathan Berger Stephen Berger and Cynthia Wainwright Mr. and Mrs. Robert Birnbaum Donald and Vera Blinken John Bonanno Cynthia and Steven Brill Carolyn S. Brody Stacey Bronfman Amy and Kevin Brown Mary and Brad Burnham

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Mr. and Mrs. Arthur Carter Avna Cassinelli Hilary Cecil-Jordan Melanie Charlton Sommer Chatwin Emy Cohenca Betsy Cohn Anthony P. Coles Margaret Conklin 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 Jacqueline Didier and Noah Schienfeld Peter Droste and Morgan Beetham Christopher A. Duda Karen Eckhoff Anne and Joel Ehrenkranz Leland and Jan Englebardt Mr. and Mrs. Leonard Feinstein Frederic Fekkai and Shirin von Wulffen Jared Feldman / Anchin Private Client Mr. and Mrs. Ziel Feldman First Republic Bank Edmée and Nicholas Firth Laura Fisher Gwen and Austin Fragomen Mr. and Mrs. Michael Franco Inger McCabe Elliott Julie Geden Alberta Gerschel and Peter Wasserman Sarah Jane and Trevor Gibbons Elizabeth and David Granville-Smith Great Performances Jeanne Greenberg Rohatyn and Nicholas Rohatyn Raymond Hannigan John Hargraves Harkness Foundation for Dance Gillian Hearst Shaw Daisy Helman Herrick Feinstein LLP Mr. and Mrs. Ian Highet Susanna Hong Lauran Paten Hughes Phyllis Hyde Mr. and Mrs. Morton Janklow Meredith J. Kane and Richard T. Sharp Herbert Kasper Adrienne Katz Diana King* / The Charles & Lucille King Family Foundation Erin and Alex Klatskin Mr. and Mrs. David Koch Phyllis L. Kossoff Mr. and Ms. Douglas Krupp John Lambert and Ramona Boston Mr. and Mrs. Peter Lamm Julia Ledda Sahra T. Lese Jane K. Lombard Gina Giumarra MacArthur Charles and Gerogette Mallory Judith and Michael Margulies Marian Goodman Gallery Angela Mariani Bonnie Maslin Nina B. Matis Constance and H. Roemer McPhee Beatrix and Gregor Medinger Melissa Meeschaert Mr. and Mrs. William Michaelcheck

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Martha and Garfield Miller Sandra Earl Mintz Mr. and Mrs. Robert Morse Mr. and Mrs. Saleem Muqaddam Mary Kathryn Navab Mr. and Mrs. Daniel Neidich Mr. and Mrs. Jesse Newhouse Kathleen O'Grady Simon Oren David Orentreich, MD / Orentreich Family Foundation Meredith Palmer Mindy Papp Madison J Papp Liz and Jeff Peek Elese Reid Richard Reiss Diana and Charles Revson Heidi Rieger Eric Roberts and Robianne Mackin Jonathan F.P. and Diana Rose Rose Brand Aby and Samantha Rosen Robert Rosen and Dr. Dale Atkins Rosen Susan and Jon Rotenstreich Pierre Rougier Anne Beane Rudman Bonnie J. Sacerdote Dr. and Ms. Nathan Saint-Amand Sofie Scheerlinck Sabina and Wilfred Schlumberger Caroline Schmidt-Barnett Nicholas and Shelley Schorsch Victoria Schorsch Steve Schroko and Frank Webb Lise Scott and D. Ronald Daniel Marshall Sebring and Pepper Binkley Uma Seshamani and Jason van Itallie Jonathan Sheffer Mr. and Mrs. Bill Sick Alan and Sandy Siegel Denise Simon and Paulo Vieiradacunha Laura Skoler Margaret Smith Stephanie and Dick Solar Sara Solomon Daisy M. Soros Squadron A Foundation Doug Steiner Leila Maw Straus Mr. and Mrs. Allen Thorpe Stephen Trevor and Stephanie Hunt Mr. and Mrs. Thomas Tuft Mr. and Mrs. John Usdan Patrick van Maris Ambassador and Mrs. William J. vanden Heuvel Wendy vanden Heuvel Dini Von Mueffling Felicity Waley-Cohen Susan and Kevin Walsh Caroline Wamsler and DeWayne Phillips Ian Wardropper Arete Warren David Wassong and Cynthia Clift Jane Wechsler Mati Weiderpass David Reed Weinreb Katherine Wenning and Michael Dennis Gary Wexler Kate R. Whitney and Franklin A. Thomas Brian and Jane Williams Francis Hunnewell Williams Mr. and Mrs. W. Weldon Wilson Valda Witt and Jay Hatfield

Lisa Bjornson Wolf Mr. and Mrs. Glen Wood Amy Yenkin and Robert Usdan Neda Young Judy Francis Zankel Donald Zilkha Richard and Franny Heller Zorn Anonymous (4)

$1,000 to $2,499

Diane and Arthur Abbey Marina Abramovic´ Catherine Adler Noreen K. Ahmad and Ahmar Ahmad Dr. and Mrs. Todd Albert Eric Altmann Anka Ann Anderssen Mr. and Mrs. Fabrizio Arengi Bentivoglio Mr. and Mrs. John Argenti Milton and Sally Avery Arts Foundation Hugo Barreca and Wendy Schlemm Nina Beattie Norton Belknap Mr. Allen Bell and Mr. David Ziff Dale and Max Berger Clara Bingham Katherine Birch Claudia and George Bitar Hana and Michael Bitton Bluestem Prairie Foundation Ellen Bock Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Livio Borghese Mr. and Mrs. Michael Bradley Mr. and Mrs. Louis Brause Mark and Anne Brennan Marc Brodherson and Sarah Ryan Spencer Brownstone 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 Bradley A. Connor Alexander Cooper Mimi Ritzen Crawford Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Lynn Dale and Frank Wisneski Mr. and Mrs. Charles Daniels Suzanne Dawson Eric de Cholnoky James and Gina de Givenchy Mr. and Mrs. Thomas de Neufville Gena Delbridge Luis y Cora Delgado Diana Diamond and John Alschuler Ms. Elizabeth Diller and Mr. Richard Scofidio Mr. and Mrs. Frederick Doner Beth Dozoretz Mr. and Mrs. John Dunn Mr. and Mrs. Frederick Elghanayan Jacqueline Elias

Thompson Arts Center at Park Avenue Armory

•

643 Park Avenue at 67th Street

Yevgeniya Elkus Patricia Ellis Carla Emil and Rich Silverstein Leland and Jane Englebardt Patricia & Alexander Farman-Farmaian Patrick Baldoni Mr. and Mrs. Alessandro Fendi Mr. and Mrs. Brian Fisher Candia Fisher Megan Flanigan Barbara G. Fleischman Paul and Jody Fleming Christina Floyd Di Donna Delia Folk Betsy Frank Lisa Frelinghuysen Scott Fulmer and Susan Kittenplan Fulmer Gail Furman Shawna Cooper Gallancy Mr. and Mrs. David Ganek Bruce and Alice Geismar Samantha and John Gellert Mr. and Mrs. Scott Gerber Olga Geroulanos-Votis and George Votis Mark Gimbel Katja Goldman Nina Gorrissen von Maltzahn Sarah Gould and David Steinhardt Marieline Grinda and Ahmad Deek Jan M. Guifarro Frances and Gerard Guillemot Susan Gutfreund Vanessa Handal Paul Hanneman Lana and Steve Harber Alison Harmelin Stephanie and Stephen Hessler In memory of Maria E. Hidrobo Kaufman William T. Hillman Barbara Hoffman Johanna Hudgens and Matthew Wilson Mr. and Mrs. William Janeway John Wiley & Sons, Inc. Mr. and Mrs. David Johnson JoJo Christopher and Hilda Jones Patricia S. Joseph Jeanne Kanders Jennifer Kang Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Susan Kessler Jana and Gerold Klauer Mr. and Mrs. Charles Klein Major General Edward G. Klein, NYNG (Ret.) Gloria and Richard Kobrin Mr. and Mrs. Chris Kojima Kameron Kordestani Ezriel Kornel MD Leonard Kowalski Kate Krauss Kimberly Kravis and Jonathan Schulhof Justin Kush Nanette L. Laitman Gregg Lambert (co-founder), Perpetual Peace Project, CNY Humanities Co Barbara Landau Mr. and Mrs. Sheldon Landau Barbara and Richard Lane Judith Langer

Mark and Taryn Leavitt Ralph Lemon Donna and Wayne Lowery Heather Lubov John D. and Catherine T. MacArthur Foundation Liz MacNeill Mark Magowan Jan Marks Jacqueline Martin Joanie Martinez Match 65 Brasserie Orin McCluskey Nancy McCormick Marta McDowell and Kirke Bent John McGinn Martha B. McLanahan Melanie McLennan Rebecca Gold Milikowsky Mr. and Mrs. Brett Miller Claire Milonas Adriana and Robert Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Cindy and David Moross David Morss Anne Cook and Charles Moss Sheila Nevins and Sidney Koch Mr. and Mrs. Mark Newhouse Sheila Newhouse Annette Niemtzow and Eve Ellis Sassona Norton and Ron Filler Beth Nowers and Jack Curtin Mrs. and Mr. Susan Numeroff Nancy and Morris W. Offit Mr. and Mrs. Suzanne Oliver Robert Ouimette and Lee Hirsch Deborah Pagani Nicole PalamĂŠ Mr. and Mrs. Lee Parks Britten Leigh Pascale Annie Pell Michelle Perlin Sally Peterson and Michael Carlisle Mr. and Mrs. Brian Pfeifler Patricia Picciotto Mrs. and Mr. Geri Pollack Laura Poretzky-Garcia Prime Parking Systems Francesca Proietti David and Leslie Puth Martin and Anna Rabinowitz Victoria Reese and Greg Kennedy Mr. and Ms. John Rice Julie Richardson Judi Roaman and Carla Chammas Roberto Cavalli Mr. and Mrs. David Rogath Mr. and Mrs. Gerald Rosberg Marisa Rose and Robin van Bokhorst Jeffrey Rosen Marjorie P. Rosenthal RoundTable Cultural Seminars Whitney Rouse Jane Royal and John Lantis Victoria Love Salnikoff Elizabeth Sarnoff and Andrew Cohen Mr. and Mrs. Matthew Satnick Susan Savitsky Paul H. Scarbrough, Akustiks, LLC. David P Schieldrop Pat Schoenfeld Amy Schulman Robert and Kimia Finnerty Nadine Shaoul and Mark Schonberger

Mr. and Mrs. Michael Shuman Albert Simons III Mr. and Mrs. David Sonenberg James Spindler Emily L. Spratt Max Stafford-Glenn Mark Stamford Mr. and Mrs. Myron Stein Joseph Stern Mr. and Mrs. Michael Stern Tricia Stevenson Melissa Stewart Stella Strazdas and Henry Forrest Studio Institute Mr. and Mrs. Phillip Summers Summit Security Services, Inc. Robert Taff and J. Philip Moloney Lee Wyndham Tardivel Jeffrey Alan Teach Jennifer Tipton Lizzie and Jonathan Tisch Mr. and Mrs. Raymond Troubh Mr. and Mrs. Christophe Van de Weghe Mr. and Mrs. John Vogelstein Teri and Barry Volpert Mr. and Mrs. Douglas von Erb Vranken Pommery America Karen E. Wagner and David Caplan Annell Wald and Ivor Cummings Saundra Whitney Lucy Massey Waring Lynne Wheat Shelby White Mr. and Mrs. Arthur Williams Gigi Stone Woods Jon and Reva Wurtzburger Mary Young Meghan and Michael Young Mr. and Mrs. Rodney Zemmel Anonymous (3)

List as of February 20, 2019 * Deceased

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