Yerma

Thompson Arts Center at Park Avenue Armory

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643 Park Avenue at 67th Street

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. This project joins that lineage with a boundary-pushing production where the action unfolds within glass walls and the audience is seated on either side in a stunning embodiment of the voyeurism of contemporary life.

We are thrilled to welcome Simon Stone to the Armory to make his North American directorial debut, as well as his extraordinary creative team to share their imaginative vision with New York audiences in the only space where it could be realized. His radically reimagined adaptation of Federico García Lorca’s 1934 devastating drama is just the latest example of how he can reimagine important subjects and themes and give them fresh context, giving them contemporary relevance and meriting further contemplation.

We are extremely delighted to work with the Young Vic in London, our partners in presenting the longawaited North American premiere of their landmark production, and the remarkable cast of stellar actors.

It is a privilege when we are able to utilize our space to realize a work of this impact and brilliance.

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

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Thompson Arts Center at Park Avenue Armory

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643 Park Avenue at 67th Street

PARK AVENUE ARMORY PRESENTS

YERMA March 23, 2018–April 21, 2018 North American Premiere

by Simon Stone after Federico García Lorca Simon Stone Lizzie Clachan Alice Babidge James Farncombe Stefan Gregory Jack Henry James Julia Horan CDG Kate Hewitt Nicki Brown Peter Rice Pippa Meyer Sophie Rubenstein Cynthia Cahill Heather Cryan Ella Saunders Jim Leaver

Director Set Designer Costume Designer Lighting Designer Music and Sound Designer Video Designer Casting Associate Director Associate Lighting Designer Associate Sound Designer Company Stage Manager Deputy Stage Manager Stage Manager* Assistant Stage Manager Assistant Stage Manager Production Manager

A Park Avenue Armory and Young Vic Production This production had its world premiere at the Young Vic in London in August 2016.

Running Time: Approximately one hour and forty minutes with no intermission *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

Artist Talk: Yerma Thursday, March 29 at 6:00pm Director Simon Stone and Anne Bogart (Co-Artistic Director of SITI Company and Professor at Columbia University) discuss adapting Federico García Lorca’s 1934 play for contemporary audiences.

Season Sponsor

Production Sponsor

Yerma is supported in part by public funds from the National Endowment for the Arts and from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Altman Foundation, 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 Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, and the Isak and Rose Weinman Foundation.

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YERMA’S POET IN NEW YORK Federico García Lorca, who first wrote the story of Yerma, dreaded curtain calls. He radiated charisma and simpatía, from the stage and in person, but wanted “beyond anything else, my intimacy … The man who is famous has the bitterness of having his cold breast transfixed by the lanterns pointed at him by others.” The bright lights of theater could feel like the arrows of St. Sebastian. When he took the stage after the Barcelona and Madrid premieres of Yerma in 1934 and 1935, not long before his death, he knew that its crude, direct language and its so-called “paganism” would be attacked by defenders of traditional, Catholic Spanish values. Public attention felt even less comfortable.

It was probably in summer 1928 that the 30-year old poet got his first taste of celebrity and scandal. His Gypsy Ballads became one of the most popular books of poetry ever published in Spain. He had won approval as a playwright with a drama in verse, Mariana Pineda, about a Romantic heroine from his native Granada who agonizes over love, motherhood, and freedom on the way to the scaffold. Another of his plays, Don Perlimplín, an erotic fantasy, would be shut down in rehearsal by government censors. And the poet himself, wounded by love, rejected first by Salvador Dalí then by a handsome, second-rate Spanish sculptor, was beginning to become a source of gossip in Madrid and a worry to his parents. The book of ballads had earned him the image of a folksy “Gypsy Poet.”

Fleeing that image and that emotional turmoil, Lorca sailed in June 1929 for New York, where, with money from his parents, he enrolled in English classes at Columbia University. He would spend nine months there, writing poems, walking the city, seeing theater and movies, hearing and making music, hanging out with Mexican and a few well-to-do American friends, and describing his life in long, sometimes hilarious letters to his family. In New York and especially Havana, he began to feel more at ease about being gay.

While composing the dark, dramatic poems of Poet in New York, Lorca began to re-examine his idea of theater. Lorca’s brother Francisco once observed that a Lorca play (he was referring to a New York production of Blood Wedding) could be stripped of words and still survive as drama. That was a lesson Federico must have learned in New York, where he saw a variety of plays, less attentive to the half-understood English text than to movement

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and gesture, music and rhythm, stage setting, tone and—above all—audience reaction. In letters to his parents he declares that in Spain the theater is dead. In New York he experiences musical theater, student theater, Chinese theater, repertory theater, the black revue. He dreams of a “theater beneath the sand” (The Public): theater as prism of human desire, but theater, also, as “tribunal” that examines social and sexual issues and “the eternal norms of the human heart.” In New York, Lorca’s career as a playwright had barely begun, but this “violent, cruel, Babylonic city,” at the dawn of the Great Depression, gave him a jolt of social awareness that would last him the rest of his life.

The so-called “rural” trilogy—Blood Wedding, Yerma, The House of Bernarda Alba—are evidence of that.

One of the central images of Poet in New York is the hueco: literally, the ‘hollow,’ ‘void,’ or ‘empty space.’ The hueco is the shape of absence, the profile of something no longer–or not yet– here. In both Poet in New York and Yerma, Lorca is more aware of absence than of presence. Absence kindles desire, and desire, in Lorca’s theater, cannot say (much less get) what it wants; the object of desire is always something else and somewhere else, off stage, out of sight, or deep within, struggling for expression.

“Yerma has no plot,” Lorca said proudly in 1934; unlike his other plays, it is based entirely on an inner struggle with a haunting absence.

The desire of Lorca’s Yerma (“Her” in Simon Stone’s brave re-imagining) is irreducibly strange; neither biology nor the strictures of society--the expectations of self and others--seem fully to account for it. That indefinable desire is what mattered to the poet, who breathed words and silence into his mysteriously wounded creatures. And Yerma’s mystery (and Hers) is why she finds new life, long after Lorca has left the stage.

—Christopher Maurer Christopher Maurer, Professor of Spanish, Boston University, is the editor of Federico García Lorca’s Collected Poems (Farrar, Straus & Giroux), his lectures on music, poetry and painting, and co-editor of Lorca’s letters. He is also the translator of Sebastian’s Arrows: Letters and Mementos of Salvador Dalí and Federico García Lorca (Swan Isle Press). He writes most often about the conjunction of poetry and painting in Spanish literature from the 17th century to the present.

Thompson Arts Center at Park Avenue Armory

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643 Park Avenue at 67th Street

ABOUT FEDERICO GARCÍA LORCA 1930

1898

Returns to Spain.

Federico García Lorca is born on 5 June in Fuente Vanqueros, Spain, to a landowner father and a schoolteacher mother. His upbringing in rural Andalusia greatly influences his work.

1933

Blood Wedding, the first part of his ‘Rural Trilogy’ is performed, his first major success in theater.

1919

Attends Sacred Heart University to study law. Publishes his first book Impresiones y Viajes (Impressions and Landscapes).

1934

Writes Lament for a Bullfighter, his most famous long poem.

Travels to Madrid where he enters the ‘Residence of Scholars.’

Devotes the next decade to working on theatre, poetry, and folksong.

Yerma, the second of the ‘Rural Trilogy’ is performed. The first performance is interrupted by right-wing groups. It is praised by the left for its honesty and modernity.

1920

Completes his first full-length play El Maleficio de La Mariposa (The Butterfly’s Evil Spell) which is performed.

1936

The Spanish Civil War breaks out.

1921

In August he is assassinated, possibly by supporters of General Franco. His body has never been found.

Libro de Poemas, a collection of poetry based on folklore, is published.

In Madrid he becomes a part of a group known as Generación del 27. It includes artist Salvador Dalí and filmmaker Luis Buñuel.

He discovers surrealism. Dalí becomes a friend, collaborator, and possibly a lover, later designing the set for his play Mariana Pineda.

1927

Lorca’s plays include The Butterfly’s Evil Spell (1920), Mariana Pineda (1927), The Public (1929/30), The Shoemaker’s Prodigious Wife (1930), The Love of Don Perlimplín and Belisa in the Garden (1933), Blood Wedding (1933), Yerma (1934), The Puppet Play of Don Cristóbal (1935), The Billy-Club Puppets (1937), The House of Bernarda Alba (pbd 1945), and When Five Years Pass (pbd 1945).

Canciones (Songs) is published.

1928

Romancero Gitano (Gypsy Ballads) is published. Inspired by the traditional Spanish ballad, this work was considered provocative and was re-printed seven times in his lifetime.

1929

Moves to New York where he is deeply influenced by the vibrant culture of Harlem. Writes Poeta en Nueva York (Poet in New York) published in 1940.

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The House of Bernarda Alba, the last of the Trilogy, is also Lorca’s last play. It was published posthumously.

Lorca’s poetry includes Lament of the Death of a Bullfighter and Other Poems, The Poet in New York, The Gypsy Ballads, Selected Poems, Tree of Song, Divan and Other Writings, The Ballad of the Spanish Civil Guard, Songs, Poem of the Deep Song, Impressions and Landscapes.

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FROM THE DIRECTOR Lorca is a mystery that needs to be solved. The poetry of his language and the poetry of his analysis of society are timeless.

There’s a moment, about 100 years after the work of an artist, when you can either say “You are now condemned to the ranks of a footnote” or “We are going to make you the center of an international culture by keeping on telling your stories.” And when the play was written in a language that isn’t the one you’re going to perform in, the first step is to reinvent it. The sturdiness of the original becomes apparent in the moment of reinvention. The heartbeat coursing through the veins of Yerma is indestructible.

So I leapt at Yerma because I thought it’s time for us to stop thinking of Lorca as Spanish but as a citizen of the world— which he was actually. And I leapt at Yerma because, while it isn’t a play about that context, it’s a play about a woman who exists everywhere in the world all the time, in the same way as Medea or Antigone. So I wanted to treat Lorca with the same respect that we treat the great myth makers.

I wanted to engage in an almost scientific dissection of a modern woman's descent into personal tragedy. We watch her as if she's under a microscope or inside a terrarium. We collect the facts, observe the specimen. So I wanted to put the audience on two sides of a rectangular space, framed by two parallel glass walls.

The set changes would be achieved invisibly and mysteriously— the basic change would be that in a split second an entire room could change, all within an impossibly short moment that felt

like a cut in the cinema. Because a cut in a cinema feels easy but in a theater where there's seemingly no backstage because the stage is surrounded by audience, how on earth can you change the decor so fast? It's the basis of magic: show the audience how impossible an idea is, then do it right in front of their eyes.

This deconstruction can take the magic out of it somewhat, but the ultimate aim of the idea was to create a documentary atmosphere in a theatrical setting. Theater is the realest of all art forms, it's actually happening right there in front of you for the first and last time in that particular way on that night that you're watching it. And yet it can often feel so, well, staged, with all the artificiality that entails. The magic of theater is in its presence, its spontaneity, in its role as a crucible for the most human and revealing performances. I wanted to remind an audience that we come to a space with other members of our society—the first thing we see is a reflection of ourselves in the glass wall. I wanted us to lose ourselves in the magic of someone else's existence, not because we're looking at pretty costumes or exquisite period decor but because we're witnessing someone just like us becoming a figure from the classical theater tradition, through seemingly impossible compressions of space and time.

All of the tricks we used were just a vessel for that. And at the end of the day, it's all just a scaffold you build around the actors: you do what you can to help them get on stage and be able to let go, become truly vulnerable and share their souls with us.

Thank God we had Billie Piper and her marvelous ensemble.

—Simon Stone

ABOUT THE YOUNG VIC The Young Vic produces new plays, classics, forgotten works, musicals and opera. It co-produces and tours widely in the UK and internationally while keeping deep roots in its neighborhood. It frequently transfers shows to London’s West End and invites local people to take part at its home in Waterloo. In 2016 the Young Vic became London’s first Theatre of Sanctuary. Recent productions include Tennessee Williams’ Cat on a Hot Tin Roof directed by Benedict Andrews and staged in the West End, Simon Stone’smulti award-winning new version of Lorca’s Yerma, the premiere of Charlene James’ multi-award-winning play Cuttin’ It and Ivo van Hove’s multi award-winning production of Arthur Miller’s A View from the Bridge (West End & Broadway transfers), as well as Horizons, a season of work exploring the lives of refugees.

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Kwame Kwei-Armah, Artistic Director Sarah Hall, Interim Executive Director David Lan, Executive Producer for Yerma Ben Cooper, Producer for Yerma The Young Vic wishes to thank an anonymous donor for their generous support of Yerma in both London and New York.

Thompson Arts Center at Park Avenue Armory

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643 Park Avenue at 67th Street

CAST Maureen Beattie—Helen Brendan Cowell—John John MacMillan—Victor

SCENES Billie Piper—Her Charlotte Randle—Mary Thalissa Teixeira—Des

Chapter 1—Conception Chapter 2—Disillusion Chapter 3—Moratorium Chapter 4—Reality

Chapter 5—Deception Chapter 6—Descent Chapter 7—Coming Home

WHO’S WHO IN THE COMPANY SIMON STONE (DIRECTOR)

Simon Stone was Founder & Artistic Director of The Hayloft Project, whose productions include The Promise, The Only Child, The Suicide, Spring Awakening, B.C., and Chekhov recut – Platonov. Along with his adaptation and direction of the Olivier Award-winningYerma, Stone’s theater credits include Hotel Strindberg (Burgtheater, Vienna), Ibsenhuis (Toneelgroep Amsterdam, Festival d’Avignon); Husbands and Wives (Toneelgroep Amsterdam); Peer Gynt (Neue Schauspielhaus, Hamburg); Rocco und seine Brüder (Munich Kammerspiele); John Gabriel Borkman (Burgtheater Vienna); Thyestes (Adelaide Festival, Théâtre Nanterre-Amandiers, Paris, Belvoir Sydney & Malthouse Theatre Melbourne); Drei Schwestern (Theater Basel, Théâtre de l’Odéon, Paris); Angels in America (Theater Basel); Medea (Toneelgroep Amsterdam); Die Orestie (Theater Oberhausen); The Government Inspector (Belvoir Sydney & Malthouse Theatre Melbourne); The Wild Duck (winner of Helpmann and Sydney Theatre Awards, Wiener Festwochen, Holland Festival, Barbican London, Perth Festival, Belvoir Sydney & Malthouse Theatre Melbourne); Neighbourhood Watch (Belvoir Sydney & Melbourne Theatre Company); Miss Julie (writer; Belvoir Sydney) Hamlet (Belvoir Sydney); Cat on a Hot Tin Roof (Belvoir Sydney); The Cherry Orchard (Melbourne Theatre Company); Face to Face (Sydney Theatre Company); Death of a Salesman (Belvoir Sydney); Strange Interlude (Belvoir Sydney); and Baal (Sydney Theatre Company & Malthouse Theatre Melbourne). Stone’s opera credits include Lear (Salzburg Festival) and Die Tote Stadt (Theater Basel). His film credits include the award-winning feature The Daughter adapted from The Wild Duck and the short film Reunion.

LIZZIE CLACHAN (DESIGNER)

Lizzie Clachan co-founded Shunt in 1998 and designed all of their productions. Her theater credits include Gloria (Hampstead); The Suppliant Women (ATC/Lyceum, Edinburgh & tour); Three Sisters (Theater Basel); Winter Solstice (Orange Tree Theatre); Ibsen House (Toneelgroep, Amsterdam); The Truth (Menier Chocolate Factory/ Wyndham’s); The Invisible Hand (Tricycle); Cyprus Avenue (also Abbey Theatre, Dublin), Fireworks, Woman and Scarecrow, Ladybird (Royal Court); Macbeth, As You Like It, The Beaux Stratagem, Treasure Island, Edward II, Port, and A Woman Killed With Kindness (National Theatre); Tipping the Velvet (Lyric, Hammersmith/Lyceum Edinburgh); The Skriker (MIF/Royal Exchange, Manchester); Carmen Disruption (Almeida); The Forbidden Zone (Salzburg / Berlin); All My Sons (Regent’s

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Park Open Air Theatre); Alder & Gibb, Gastronauts, The Witness, Jumpy (also West End), Our Private Life, Aunt Dan and Lemon, The Girlfriend Experience (also at Plymouth Drum), On Insomnia and Midnight, A Sorrow Beyond Dreams (Burgtheater, Vienna); Longing, The Trial of Ubu, Tiger Country (Hampstead); The Rings of Saturn (Schauspiel Cologne); Happy Days (Sheffield Crucible, winner of Best Design at the Theatre Awards UK); Far Away (Bristol Old Vic); Shoot/Get Treasure/Repeat (Paines Plough); I’ll Be the Devil, Days of Significance and The American Pilot (RSC). Her Young Vic productions include Life of Galileo, Yerma, A Season in the Congo, The Girlfriend Experience (and Royal Court) and The Soldier’s Fortune. Her opera credits include La Traviata (Theater Basel); Pelleas and Melisande (Grand Theatre Provence, Aix Festival); Bliss (Staatsoper Hamburg); and Le Vin Herbe (Staatsoper Berlin).

ALICE BABIDGE (COSTUME DESIGNER)

Alice Babidge designs set and costume in theater, opera, and film. Her theater credits include Hotel Strindberg (Burgtheater, Vienna); Cat on a Hot Tin Roof (Apollo); Yerma (Young Vic); Three Sisters, The Lost Echo,

The War of the Roses, Gross Und Klein, A Midsummer Night’s Dream, All My Sons, King Lear, Suddenly Last Summer, Cyrano De Bergerac, Macbeth, and The White Guard (Sydney Theatre Company); The Present (Sydney Theatre Company and Barrymore Theatre, New York); The Maids (Sydney Theatre Company and Lincoln Center, New York); Waiting For Godot (Sydney Theatre Company and Barbican), Miss Julie, The Cherry Orchard (MTC); and The Oresteia (Theatre Oberhausen). Her opera credits include Hamlet (Glyndebourne Festival); Peer Gynt (Deutsches SchauSpielHaus, Hamburg); Der Ring Des Nibelungen, The Marriage Of Figaro (Opera Australia); Bliss (Opera Australia and Edinburgh Festival); Caligula (English National Opera and then Colon Theatre), The Return Of Ulysses (English National Opera and Young Vic); Rigoletto (Komische Oper Berlin); and The Navigator (Brisbane Festival and Melbourne International Arts Festival). Her film credits include Holding The Man, Snowtown, Reunion, Red, Apricot, Castor And Pollux and Some Static Started.

Her television credits include Hammer Bay.

JAMES FARNCOMBE (LIGHTING DESIGNER)

James Farncombe’s Young Vic productions include Yerma, Measure for Measure, The Cherry Orchard, Three Sisters, The Changeling and The Glass Menagerie. His other theater credits include Macbeth, People, Places & Things (also West End; Olivier nomination for Best Lighting Design),

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Twelfth Night, The Plough and the Stars, Man and Superman, 3 Winters, Edward II, Men Should Weep, People, The Magistrate, London Road, Double Feature (National Theatre); White Devil, As You Like It, A Mad World My Masters (RSC); The Tempest, Henry IV (St Ann’s NYC); Julius Caesar (Donmar at King’s Cross); Anatomy of Suicide (Royal Court); The Duchess of Malfi (Old Vic); The Dresser (Duke of York’s); The Ladykillers (also Gielgud), Swallows and Amazons (Vaudeville); Ibsen Huis, De Meiden (Toneelgroep, Amsterdam). His opera credits include Street Scene (Teatro Real); Lessons in Love and Violence (Royal Opera House); Francesca Da Rimini (Opéra National du Rhin); Alcina (Bolshoi Theatre of Russia); Miranda (Opera Comique); The Barber of Seville (Glyndebourne); Marriage of Figaro (Opera North); Pelléas et Mélisande (Den Norske Opera); Le Vin Herbé (Berliner Staatsoper); Ariodante (Scottish Opera); Pelléas et Melisánde, Alcina, Trauernacht (Aix-en-Provence Festival); and Benjamin, Dernière Nuit (Opera de Lyon). His dance credits include The Nutcracker, Carmen, and Firebird (Norwegian National Ballet, Oslo).

STEFAN GREGORY (SOUND DESIGNER)

Stefan Gregory is an Australia-based composer and sound designer.

He was a band member of Faker until 2008 and was awarded a Sidney Myer Creative Fellowship in 2014. Along with Yerma, Gregory’s theater credits include Husbands and Wives, Medea, Ibsen Huis (Toneelgroep Amsterdam); Engel In Amerika, Drei Schwestern (Theater Basel); Ghosts, The Wild Duck, Thyestes, Mother Courage and Her Children, The Glass Menagerie, Elektra/Orestes, A Christmas Carol, The Government Inspector, Hamlet, Forget Me Not, Cat on a Hot Tin Roof, Peter Pan, Private Lives, Medea, Death of a Salesman, Old Man, Strange Interlude, B Street, As You Like It, The Seagull, Measure for Measure, That Face (Belvoir St Theatre); Arturo Ui, King Lear, The Present, Suddenly Last Summer, Face to Face, Dance Better At Parties, Baal, The War of the Roses (Sydney Theatre Company); Rocco und Seine Brüder (Münchner Kammerspiel) and The Cherry Orchard, Minnie and Liraz (Melbourne Theatre Company). His dance credits include Puncture (Sydney Philharmonia Choirs/Legs On The Wall); Symphony (Sydney Festival/Legs on the Wall); L’Chaim! (Sydney Dance Company) and There Is Definitely a Prince Involved (The Australian Ballet).

JACK HENRY JAMES (VIDEO)

Jack Henry James is a founding director of Really Creative Media and has worked all over the world with musical artists such as Queen, Goldfrapp, Clean Bandit, Rudimental, Charli XCX, The Human League and The Pet Shop Boys. James has also overseen creative content production for brands such as Aston Martin, Versus Versace, Anya Hindmarch among others. His theater credits include Yerma (Young Vic); Behind the Beautiful Forevers, Is There WIFI in Heaven? (National Theatre); Adam (National Theatre of Scotland); After Miss Julie (Theatre Royal Bath); The Merchant of Venice, The Turn of the Screw (Almeida); In The Republic of Happiness, Tribes (Royal Court); Julius Caesar (also St Ann’s Warehouse, NYC), Making Noise Quietly (Donmar Warehouse); Flare Path (Theatre Royal Haymarket); The Wedding Singer (UK Tour); I Dreamed a Dream (UK Tour); Water Babies (Leicester Curve); Vampirette-The Musical (Manchester Opera House); Haunted (Sydney Opera House Studio/59E59 NYC/UK Tour); Chess

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the Musical (UK Tour/Toronto); The Lady From The Sea (Manchester Royal Exchange); Speaking in Tongues (Duke Of Yorks, Associate).

His opera credits include Pelléas and Mélisande (Scottish Opera) and Flight (Opera Holland Park).

JULIA HORAN CDG (CASTING)

Julia Horan CDG is an Associate Artist at the Young Vic. Her previous Young Vic productions include Blue/Orange, The Trial, Ah, Wilderness!, Happy Days, Man: Three plays by Tennessee Williams, A View from the Bridge (also Wyndham’s/New York), Public Enemy, The Shawl, Blackta, A Doll’s House (also Duke of York’s/BAM), After Miss Julie, The Government Inspector, The Events (also ATC), and Wild Swans (also ART). Her other theater credits include Harry Potter and the Cursed Child (Palace); Hamlet (Barbican); Uncle Vanya, Medea, Oresteia (also Trafalgar Studios), Game, Mr Burns, Chimerica (also Harold Pinter), Before the Party, King Lear, Children’s Children, The Homecoming (Almeida); Hope, The Internet Is Serious Business, Wolf from the Door, The Nether (also Duke of York’s), Adler and Gibb, Birdland, Khandan, The Mistress Contract, The Pass, Wastwater, Tribes, Clybourne Park (also Wyndham’s), Spur of the Moment, and Sucker Punch (Royal Court); The Lighthouse Keeper (BCMG); and Red Velvet (Tricycle/St Ann’s Warehouse/Garrick). Her film credits include The Kaiser’s Last Kiss and Departure.

KATE HEWITT (ASSOCIATE DIRECTOR)

Kate Hewitt is a winner of the prestigious JMK Young Director Award, and the inaugural RTST Director Award 2016, and was named as one of Variety magazine’s “10 Brits to Watch in 2017.” Later this year she will direct Mike Bartlett’s play Cock at the Chichester Festival Theatre.

Hewitt trained as a performer with the NYT, and went on to perform with Kneehigh Theatre Company. She has two years’ Lecoq physical theater training from LISPA, a BA (Hons) in drama and theater arts from Goldsmiths University London and received a Jerwood Assistant Director Award (2012). Her theater credits include: Frost/Nixon (Sheffield Theatres); Tribes (Sheffield Theatres); Ice Road (Jacobs Wells Baths, Bristol); Kiki’s Delivery Service (Southwark Playhouse); Romeo & Juliet (Ambassador’s Theatre), Tomcat (Southwark Playhouse), Portrait (Edinburgh Festival & UK Tour), Far Away (Young Vic), and directing a staged reading of Comment is Free by James Fritz. As associate director, Hewitt’s credits include Yerma (Young Vic); One Love: The Bob Marley Musical (Birmingham Rep); Charlie & The Chocolate Factory (Drury Lane); Medea (Headlong Theatre Company UK tour 2012-13); and Electra (Gate and Latitude Festival 2011). As assistant director, her credits include Wild Swans (Young Vic and ART Boston, USA); Clybourne Park (Wyndham’s 2011 and Royal Court 2010); Through a Glass Darkly (Almeida 2010); and Breathing Irregular (Gate, 2010).

NICKI BROWN (ASSOCIATE LIGHTING DESIGNER)

Nicki Brown is Head of Production at the Tricycle Theatre, having previously been Head of Lighting at the Young Vic. Her Young Vic productions as Associate Lighting Designer include Cat on a Hot Tin Roof (at Apollo Theatre), Yerma, A View from the Bridge (YV, West End, Broadway and Chicago), A Midsummer Night’s Dream, Happy Days, and

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The Changeling; As Lighting Designer her Young Vic productions include Why It’s Kicking Off Everywhere, Blackta, The Space Between, The Surplus, The Curtain and Two Endless Minutes. Other theater credits include Hedda Gabler (NT), Lazarus (Kings Cross) (both as Associate Lighting Designer); A Miracle, Gone Too Far!, Contractions, Fear & Misery/War & Peace (Royal Court), 93.2fm (Royal Court and UK tour), 36 Phone Calls (Hampstead), The Exquisite Corpse (Southwark Playhouse, Wales Millennium Centre), The Duke in the Darkness (Tabard), 8 Women (Southwark Playhouse), Gutter Junky (Riverside Studios), Ours (Finborough), By Parties Unknown (site specific), and The Elephant Man (Union and Brazilian tour) (all as Lighting Designer); and Much Ado About Nothing (Old Vic, as Assistant Lighting Designer).

PETER RICE (ASSOCIATE SOUND DESIGNER)

Peter Rice is Head of Sound for the Young Vic Theatre and a Freelance Sound Designer for theater, short film and dance. Previously he has held positions in Sound Departments of the National Theatre, London and the Royal Exchange, Manchester. Previous credits include Gundog and Nuclear War (Royal Court); Winter, Yellowman, Trade, Barbarians, Fireface (Young Vic); Streetcar Named Desire, Hamlet, Scuttlers, The Last Days Of Troy (also Shakespeare’s Globe) Blindsided, That Day We Sang, Cannibals, Orpheus Descending, Saturday Night/Sunday Morning And Black Roses (Royal Exchange); Deep Blue Sea, On The Shore Of The Wide World (National Theatre), Masque Of Anarchy (Manchester International Festival); Oil (Almeida); Miss Julie and Black Comedy (Chichester Festival Theatre); The Fruit Trilogy (South Bank Centre/West Yorkshire Playhouse), Romeo And Juliet (Sheffield Crucible), The Funfair (Home). Peter also works under the compositional/sound design moniker of thesoundcollective.

PIPPA MEYER (COMPANY STAGE MANAGER)

Pippa Meyer is a freelance stage manager who has worked on many productions at the Young Vic, National Theatre, Royal Court and other London venues. Much of her work in the last few years has been in Europe working with the director Katie Mitchell at Aix-en-Provence Festival, Deutsches Schau Spiel Haus, Hamburg, Avignon Festival, Salzburg Festival and Schauspiel, Cologne.

SOPHIE RUBENSTEIN (DEPUTY STAGE MANAGER)

Sophie Rubenstein’s credits include Heisenberg: The Uncertainty Principle (London West End); Anatomy of a Suicide, The Children, God Bless The Child, The Pass, The Low Road (Royal Court Theatre); The London and New York Premiere of Caryl Churchill’s Escaped Alone (BAM and Royal Court Theatre); A Streetcar Named Desire (St Ann’s Warehouse and the Young Vic); Barbarians, La Musica, Ah! Wilderness, Three Sisters (Young Vic); and The Mikado, The Barber of Seville, Caligula, The Marriage of Figaro (English National Opera).

CYNTHIA CAHILL (STAGE MANAGER)

Cynthia Cahill’s Broadway credits include Encores! Off Center (upcoming), Junk (Lincoln Center), and Passing Strange. Her Off-Broadway credits include productions at Second Stage, The Public Theatre, The Vineyard, The Atlantic Theatre, The Culture Project,

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Playwrights Horizons, and Theatre for a New Audience. She has worked on national tours including King Lear (London’s Globe Theatre) and Tristan & Yseult (Kneehigh Theatre Company). Cahill spent over 18 seasons working at Berkeley Repertory Theatre. Selected credits include Notes From The Field, Doing Time In Education, and Let Me Down Easy (both by Anna Deavere Smith); The Wild Bride and Tristan & Yseult (dir. Emma Rice), among many others. Other Regional Theatres include Arena Stage, Yale Repertory Theatre, The Guthrie Theater, McCarter Theatre, Hartford Stage, The Folger Theatre, ACT, Kansas City Repertory Theatre, The Broad Stage, and Lookingglass Theatre Company.

HEATHER CRYAN (ASSISTANT STAGE MANAGER)

Heather Cryan has been working as an Assistant Stage Manager for the past five years, most recently on The Ferryman (Royal Court & West End). Based in London, she has worked on productions including X, How To Hold Your Breath (Royal Court); Yerma (Young Vic); The Vote, Fathers & Sons, Versailles (Donmar Warehouse); NOW Festival 16/17/18 (The Yard); Little Eyolf, Bakkhai (Almeida); and Frankie & Johnny in the Clair de Lune (Chichester Festival Theatre).

ELLA SAUNDERS (ASSISTANT STAGE MANAGER)

Ella Saunders trained at the Royal Academy of Dramatic Art. Her Assistant Stage Management credits include The Divide (Old Vic); Yerma (Young Vic); Filthy Business, Wild Honey, Labyrinth, Lawrence After Arabia, and A Further Education (Hampstead Theatre). Her Stage Management credits include No One Will Tell Me How To Start A Revolution and The Argument (Hampstead Theatre Downstairs); Kiss Me (Trafalgar Studios 2); Insomnia (New Diorama Theatre); The Point of No Return (New Diorama Theatre and Folkteatern, Gothenburg, Sweden); Harajuku Girls (Finborough Theatre); Hello, Norma Jeane (The Kings Head); Arrhythmia (Goldsmiths); Anna Weiss (The Space); and The Medium (Arcola Theatre). As Company Stage Manager, her credits include Aladdin (Towngate Theatre, Basildon); Robin Hood (Woodville Halls, Gravesend); Cinderella (The Maltings, Ely); and Jack and the Beanstalk (The Huntingdon Commemoration Hall). Saunders has also worked as a Production Assistant on Tumanbay for BBC Radio 4.

JIM LEAVER (PRODUCTION MANAGER)

Jim Leaver is a freelance Production Manager working across multiple art forms. His credits include Macbeth, Pinocchio, Follies, Ugly Lies the Bone, The Beaux’ Stratagem, Everyman, King Lear, The Amen Corner, Othello, People, Cocktail Sticks, Misterman, She Stoops to Conquer, The Veil, The Holy Rosenbergs, The Habit of Art, The Birds (National Theatre); A Winter’s Tale, Harlequinade, All On Her Own, Red Velvet, The Painkiller, Romeo and Juliet, The Entertainer (Kenneth Branagh Theatre Company); Fatherland, Tree of Codes (Manchester, New York, Paris, Aarhaus, Melbourne, Sydney), Macbeth (Manchester, New York), Dr Dee (Manchester, ENO), Prima Donna (Manchester, Toronto, New York), Monkey Journey to the West (Manchester International Festival); I Don’t Know (Richard Tuttle), Empty Lot (Abraham Cruzilevegas), Anywhen (Philippe Parreno) (Tate Modern in the Turbine Hall); Medea, Feelgood, A Dangerous Corner, One Flew Over the Cuckoo’s Nest, Who’s

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Afraid of Virginia Woolf? (Nica Burns); A Midsummer Night’s Dream (Bristol, Hong Kong, Seoul), Swallows and Amazons (Bristol, London), Wild Oats, and Far Away (Bristol Old Vic).

MAUREEN BEATTIE (HELEN)

Maureen Beattie’s theater credits include The Ferryman (Gielguld, West End), Right Now (Ustinov/Bush/Traverse); John Gabriel Barclay (Oran Mor); The Jennifer Tremblay Trilogy (Stellar Quines/Edinburgh Festival); Romeo and Juliet (Rose, Kingston); The Winter’s Tale, Cherry Orchard (Royal Lyceum Edinburgh); Noises Off (Old Vic tour); Nuclear War, No Quarter, Waiting Room Germany (Royal Court); Enquirer, 27 (National Theatre Scotland); The Masterbuilder (Chichester); The Merry Wives of Windsor, Othello (National Theatre); This Wide Night (Soho/Clean Break); Ghosts, Acting Up (Citizens); The Histories, Richard III, Titus Andronicus, The Man Who Came To Dinner, Mary and Lizzie, King Lear, Macbeth, The Constant Couple (RSC); Medea (Theatre Babel/ Edinburgh Festival), Rebecca (UK tour); Small Change, The Taming of the Shrew (Sheffield Crucible); The Deep Blue Sea (Nottingham Playhouse); Candida (Plymouth/Salisbury); Hard to Get, The Widows of Clyth (Traverse); Othello (Lyric Hammersmith); and Daisy Pulls It Off (Gielgud). Beattie’s Young Vic productions include Yerma and The Skin of Our Teeth. Her film credits include Spores, The List, and The Decoy Bride. Her television credits include Outlander Series 2, Doctor Who Christmas Special 2014, Vera, Moving On-Letting Go, Midsomer Murders, Doctors, Lewis, The Worst Week Of My Life, The Last Musketeer, City Central, A Wing and a Prayer, Ruffian Hearts, Taggart, The Long Roads, Bramwell, All Night Long, The Chief, and Casualty.

BRENDAN COWELL (JOHN)

Brendan Cowell’s theater credits include The Wild Duck (Barbican, UK tour, Vienna and Amsterdam tour); Once in Royal David’s City, Miss Julie (Belvoir, Sydney); The Dark Room (nominated for Best Actor at the Sydney Theatre Awards, Company B); True West directed by Phillip Seymour Hoffman, Dissident, Goes Without Saying (Sydney Theatre Company); and MEN (Old Fitzroy). Cowell’s previous Young Vic productions include the title role in Life of Galileo and Yerma. His film credits include The Current War, Last Cab to Darwin, Broke, Beneath Hill 60 (nominated for Best Actor in a Feature Film, Australian Film Institute Awards), and Noise (winner of Best Actor in a Feature Film, Film Critics’ Circle Awards). Cowell’s television credits include the upcoming Press for BBC1, Game of Thrones, Brock, The Let Down, The Outlaw Michael Howe (also written and directed), The Borgias (Series 3), and Love My Way (nominated for Outstanding Performance by an Actor, ASTRA Awards, Most Popular TV Actor, Silver Logie Awards and Outstanding Actor in a Drama Series, TV Week Awards as well as contributing several episodes over three series). His UK writing credits include Happy New (Trafalgar Studios), Rabbit (Frantic Assembly UK tour), The Slap (nominated for a BAFTA and Emmy Award). Brendan is currently developing TV shows for Tiger Aspect and New Pictures and a film for Lionsgate.

JOHN MACMILLAN (VICTOR)

John MacMillan’s theater credits include Killer (Shoreditch Town Hall); Hamlet (The Almeida); The Homecoming (Trafalgar Studios); Children’s

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Children, The Last Days of Judas (Almeida); Cymbeline (Cheek by Jowl World Tour); Piranha Heights (Soho); Macbeth (nominated for the Ian Charleson Award; Royal Exchange, Manchester); and Hamlet (nominated for the Ian Charleson Award; Donmar/Broadway). He has appeared in previous Young Vic productions Yerma, The Member of the Wedding, and In The Red and Brown Water. His film credits include Fury, Maleficent, World War Z, The Dark Knight Rises, Hanna, and Heartless.

His television credits include Back, Ordinary Lies, Carnage, The Windsors, Chewing Gum, Hoff the Record, Critical, New Tricks, Silk Series 1-3, Miranda Unwrapped, Sherlock Holmes: The Blind Banker, and Hustle.

BILLIE PIPER (HER)

Billie Piper won Best Actress at the Olivier Awards 2017 and the Natasha Richardson Award for Best Actress at the Evening Standard Theatre Awards 2016 for her performance in Yerma (Young Vic).

Her theater credits include Great Britain, The Effect (Olivier nomination for Best Actress; National Theatre); Reasons To Be Pretty (Almeida); and Treats (Evening Standard Theatre Awards nomination for Best Actress; Garrick). Her film credits include City of Tiny Lights, Animals United, Things to Do Before You’re 30, The Calcium Kid and Spirit Trap.

Piper’s television credits include Showtime’s Penny Dreadful, Doctor Who, A Passionate Woman, The Shadow in the North, The Ruby in the Smoke, Much Ado About Nothing, True Love, Canterbury Tales: The Miller’s Tale, Secret Diary of a Call Girl, and Mansfield Park.

CHARLOTTE RANDLE (MARY)

Charlotte Randle’s theater credits include Plastic (Theatre Royal Bath); Medea (Almeida); Deluge (Hampstead); Birdland, Muse and Poem - Open Court (Royal Court); The Lyons (Menier Chocolate Factory); The King’s Speech (Tour & West End); Decade (Headlong); Lingua Franca (Finborough/59E59, New York); Love the Sinner, Mother Courage and her Children, Romeo and Juliet, Marat/Sade (National Theatre); All About My Mother (Old Vic); Rabbit (Old Red Lion/Trafalgar Studios/59E59, New York); Don Carlos (also West End), Iphigenia, Sexual Perversity in Chicago, The Man Who Had All The Luck (Sheffield Crucible); Fuddy Meers (Birmingham Rep/West End); Lobby Hero (Donmar Warehouse/ West End); The Taming of the Shrew and The Dispute (also Lyric Hammersmith) (RSC). Randle has appeared in previous Young Vic productions Yerma, Public Enemy, and King Lear (also Liverpool Everyman). Her film credits include Being Considered, Joyride, Dangerous Beauty, and The Token King. Randle’s television credits include Shakespeare and Hathaway, The Coroner, Father Brown, The Trials of Jimmy Rose, Silent Witness, Legacy, Holby City, Doctors, The Bill, Casualty, The IT Crowd, The Brides in the Bath, EastEnders, McCallum, The Miller’s Tale, and Lord Elgin. Her radio credits include The Gambler, The Other Man, Don Carlos, and The Ideal Heroine.

THALISSA TEIXEIRA (DES)

Thalissa Teixeira’s theater credits include Yerma (Young Vic); Othello, The Broken Heart, and The Changeling (Shakespeare’s Globe); The Night Watch (Royal Exchange); BU21 (Theatre 503); and Electra (Old Vic).

Texeira’s film credits include Takedown, and her television credits include The Musketeers and Midsomer Murders.

Thompson Arts Center at Park Avenue Armory

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ARTS EDUCATION AND YERMA What happens when a want turns into a need, and that need goes unfulfilled? Hundreds of New York City public high school students explored that question through the lens of Simon Stone’s searing contemporary adaptation of Federico García Lorca’s tragic masterpiece as part of the Armory’s arts education program.

Through programs offered at no cost to participants, students from underserved New York City public schools are exposed to the work and creative process of world-class artists, exploring epic works of art and expressing their own interpretations while honing their ability to trust their own aesthetic judgment. Each Armory production has its own student matinee, and over 700 high school students experienced Yerma, engaging with its themes and artistry, and creatively exploring questions and ideas identified in a collaboration between Armory teaching artists and the Armory’s Corps Youth Corps Advisory Board, two of whom previewed the piece during its original London run.

This collaboration between the teaching artists and Advisory Board yielded the creative lines of inquiry that shaped the education workshops surrounding Yerma and highlighted the unique and vital perspective of young people responding to the work. How do those around us influence what we want and need?

Young people who have grown up with the internet and have been shaped by the age of social media brought a whole new dimension to Lorca’s musings on the role of community in how we see ourselves and Stone’s concept of how an online community is both a source of support and destruction. Stone’s “Her” taking the age old path of the tragic protagonist, unable to consider any path but the one she is on, and unwilling to reach out to the hands offered to her ignited conversations about mental health, an issue of huge importance among today’s teenagers. And young people planning their future hopes and dreams gave a new urgency to the examination of the expectations placed on us by society, including the unique pressure felt by women of all ages being defined by their ability or desire to have children. Students from across

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the boroughs generated creative expressions of these themes and their individual interpretations of the play in each of the Armory’s education initiatives: production based programs, partner schools, and the Youth Corps internship program.

Through production based programs, high school students attending the student matinee of Yerma each received a pre-visit workshop facilitated by skilled teaching artists in their school to prepare them for the production, introducing the questions of wants versus needs, and the voyeuristic feeling elicited by the structure and design of Stone’s production. Post-show workshops in multiple disciplines in schools encouraged students to reflect on their experience with the performance and the universal themes that Stone’s contemporary approach to Lorca’s play highlighted. Partner school students were given the extra opportunity to participate in a peer-curated experience after the student matinee, engaging in activities, discussions, and art making opportunities designed by members of the Armory’s Youth Advisory Board. This post-show experience included an exhibition of artwork created by the Armory’s Youth Corps interns earlier in the semester. Inspired by the physical design of Yerma, the Youth Corps made abstract representations of their deepest desires within clear acrylic boxes, resulting in sculptural objects that reflect what today’s young people hope for their own futures.

This production of Yerma illustrates the impact of reimagining the classics through contemporary lenses, and the students participating in the Armory’s arts education programs illuminate the limitless impact of young people taking on the mantle of universal questions through engagement with and creation of art. Art has the ability to inspire empathy and connections linking a young farmer’s wife in early 20th century Spain, a career driven woman in contemporary London, and the young people of New York City. The Amory’s commitment to arts education has the ability to help ensure that the want, and need, for young people to have access to art doesn’t end.

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ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional 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 which feature artists, scholars, activists, and cultural 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-foothigh 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.

PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Matthew Bird, Deputy Director of Development Jenni Bowman, Producer Hanna Brody, Special Events Coordinator David Burnhauser, Collection Manager Courtney F. Caldwell, Venue Events Manager Samantha Cortez, Production Coordinator Leandro Dasso, Porter Khemraj Dat, Accountant Jordana De La Cruz, Program Manager Mayra DeLeon, Porter Sam DeRubeis, Building Engineer Nathalie Etienne, Administrative Assistant, President’s Office Rafael Flores, Associate Director of Corporate Relations Melanie Forman, Chief Development Officer Alexander Frenkel, Controller Lissa Frenkel, Managing Director Sharlyn Galarza, Education Assistant Pip Gengenbach, Education Manager Reginald Hunter, Building Mechanic Cassidy Jones, Director of Special Projects Myles Kehoe, Director of Facilities Chelsea Emelie Kelly, Youth Corps Manager Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Technical Director Jennifer Levine, Director of Special Events Michael Lonergan, Producing Director Wayne Lowery, Director of External Operations

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Claire Marberg, Production Manager Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President Timothy Nim, Chief Financial and Administrative Officer Aarti Ogirala, Associate Director of Education Isabel Orbon, Associate Director of Major Gifts Drew Petersen, Education Special Projects Manager Anna Pillow, Office Manager Charmaine Portis, Executive Assistant to the Chief Development Officer Morgan Powell, Individual Giving Coordinator Kirsten Reoch, Director of Design and Construction Rachel Risso-Gill, Associate Director of Individual Giving Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Natalie Schwich, Press and Editorial Manager Melissa Stone, Manager of Special Events Tom Trayer, Director of Marketing Josué Morales Urbina,

Associate Director of Ticketing and Customer Service Brandon Walker, Technical Director Jessica Wasilewski, Producer Monica Weigel McCarthy, Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Olga Cruz, Mario Esquilin, Carlos Goris, Victor Lora, Josthen Noboa, Candice Rushin, Antonio Sanders, Porters Kara Kaufman, Erik Olson, Box Office Managers Lucy Arnerich-Hatch, Jonatan Amaya, House Managers Terrelle Jones, Adjani Reed, Assistant House Managers

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Spring 2018 Youth Corps Cohort Habib Apooyin, Zion Beckford, Janneurys Colon, Leshawn (Lee) Croswell, Jr., Isaac Echavarria, Raven García, Luis Gomez, Corinne Harris, Aliyana Martinez, Alliyah Melendez, Shania Payano, Emily Perez-García, Jason Quizhpi, Amber Skye Rose, Kenny Singh, Rochelle Smith, Milen Yimer 2017–2018 Youth Corps Advisory Board Jonatan Amaya, Katie Burke, Lilia Chunir, Nancy Gomez, Terrelle Jones, Oscar Montenegro, Alejandra Ortiz, Mercedes Samuels

Teaching Artists Vicki Behm (in memorium), Kate Bell, Donna Costello, Hawley Hussey, Larry Jackson, Penelope McCourty, Hector Morales, Peter Musante, Drew Petersen, Vickie Tanner Teaching Associates/Assistants Emily Bruner, Nancy Gomez, Stephanie Mesquita, Ashley Ortiz, Leigh Poulos, Neil Tyrone Pritchard, Robert Stevenson, Catherine Talton

STAFF FOR YERMA Lauren Storr, Company Manager Wednesday Derrico, Assistant Company Manager Victoria Bek, Wardrobe Supervisor Nicki Martin-Harper, Wardrobe Manager Rianna Azoro, Dresser Simon Nathan, Audio Supervisor Mark Grey, Sound Consultant Joel Naisbitt, Sound Technician Aaron Copp, Lighting Supervisor Kate Ashton, Assistant Lighting Supervisor Andy Taylor, Production Lighting Simon Evans, Head of Stage Craig Emerson, Production Carpenter Production Acknowledgements Automation, Lighting, and Sound Equipment by PRG BNW Rigging Inc. The Lighting Syndicate 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.

Special thanks to James Di Mattia, Katie Spencer, Giacomo Di Mattia, Luca Frendo, Dr. Christopher & Julie Frendo, Jet Jones, Julianna Pitt, Tudor Jones, Kennedy Solivan, Jacqueline Solivan, Jack Gonzalez Solivan

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NEXT AT THE ARMORY MYRIAD

THE SIX BRANDENBURG CONCERTOS

MAY 22 & 24 Pulling from long-standing fascinations with film and television tropes, abstract sculpture, game ephemera, poetry, apocryphic histories, internet esoterica, and philosophies of being, Oneohtrix Point Never’s myRiad is a hyperstitial “concertscape” imagined from the perspective of an alien intelligence that explores disorienting relationships between space and sound and mutates forms of live musical performance.

THE LET GO JUNE 7–JULY 1 “…One of the most popular contemporary artists [who] turns his serious ideas into buoyant aesthetic concepts” —The New York Times Commissioned by the Armory, interdisciplinary artist Nick Cave creates a dance-based town hall to which the community of New York is invited to “let go.” This ambitious new work—a hybrid installation, performance, gathering and dancing environment— acts as an alternative platform for viewers to speak their minds through movement, work out frustrations, and celebrate independence as well as community.

THE DAMNED JULY 17–28 “A serious triumph…[a] grandiose and chilling spectacle… a unique combination of epic theater and drama, and between theater and cinema” —Le Monde (France)

OCTOBER 1–7 “Anne Teresa De Keersmaeker has helped define contemporary dance as we know it…”

—The Independent (UK) Anne Teresa De Keersmaeker explores the movement, dance, and transcendental dimension found in J.S. Bach’s iconic masterpiece in a new, evening length work. Making its North American premiere, this new dance piece embodies Bach’s polyphonic mastery by setting dancers originating from different generations of her company Rosas in direct dialogue with musicians from the baroque ensemble B’Rock, who perform the concertos live under the baton of Amandine Beyer in their North American debut.

THE HEAD AND THE LOAD DECEMBER 4–15 “Today’s art world is powerfully drawn to Kentridge because he’s mastered one of our period’s greatest challenges: how to create an art of cultural authority, one that takes the moral measure of our time.”

—New York Magazine Renowned South African artist William Kentridge synthesizes elements of his practice to conjure his grandest and most ambitious production to date, commissioned by the Armory.

The large-scale new work expressively speaks to the nearly two million African porters and carriers used by the British, French, and Germans who bore the brunt of the casualties during the First World War in Africa and the historical significance of this story as yet left largely untold.

Tony Award-winning director Ivo van Hove unleashes his visionary creativity at the Armory with the prestigious ComédieFrançaise, which for more than three centuries has boldly faced the perils of the stage, for the North American premiere of his adaptation of Luchino Visconti’s desperately dark drama The Damned.

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Thompson Arts Center at Park Avenue Armory

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643 Park Avenue at 67th Street

ARTISTS STUDIO Curated by jazz pianist, composer, and MacArthur fellow Jason Moran, these performances explore the culture of sound that can be visibly seen in the newly reopened Veterans Room, while allowing these creative thinkers to actively explore bold new directions of global influence in contemporary music.

INTERROGATIONS OF FORM: CONVERSATION SERIES

UPCOMING PERFORMANCES:

Held in our historic period rooms, these insightful conversations throughout the year feature artists, scholars, cultural leaders, and social trailblazers who gather to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art.

MATANA ROBERTS April 24

UPCOMING EVENTS:

CHARLEMAGNE PALESTINE September 14

SUNDAY SALON: FILM Sunday, April 15 at 3:00pm

JULIANA HUXTABLE October 10

CONFRONTATIONAL COMEDY Monday, May 11 at 7:00pm ARTIST TALK: THE LET GO Thursday, June 7 at 6:00pm

RECITAL SERIES Performed in the restored Board of Officers Room and other intimate spaces, these enchanting musical moments utilize the pristine acoustics and intimate scale originally intended by many composers to invoke the salon culture of the Gilded Age, while taking the art form in bold new directions in the hands of some of today’s most exciting musical interpreters.

ARTIST TALK: THE DAMNED Thursday, July 19 at 6:00pm

UPCOMING PERFORMANCES: THE CROSSING September 19-20 SEVERIN VON ECKARDSTEIN November 13–14 THOMAS OLIEMANS December 17-19

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OTHER HAPPENINGS HISTORIC INTERIORS TOURS

ARMORY AFTER HOURS

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.

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.

ARTISTS-IN-RESIDENCE

MALKIN LECTURE SERIES

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-inresidence include playwright and screenwriter Lynn Nottage; Cuban installation and performance artist Tania Bruguera; social practice artist Theaster Gates; performance artists Malik Gaines & Alexandro Segade; set designer and director Christine Jones & choreographer Steven Hoggett; playwright Branden Jacobs-Jenkins & performance artist Carmelita Tropicana; and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray.

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.

Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater 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 Theater 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.

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Thompson Arts Center at Park Avenue Armory

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JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP

BENEFACTOR $1,000 $780 is tax deductible

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:

CHAIRMAN’S CIRCLE STARTING AT $2,500

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 » Only at the Armory Member Newsletter » Discount on Armory Guided Tours » Members only Open House event during visual art installations »M embers 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**

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*

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.

For more information about membership, please call (212) 616-3958 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-Chairman

Marina Abramović

Elihu Rose, PhD.

Harrison M. Bains

Edward G. Klein, Major General NYNG (Ret.)

Janet C. Ross Joan Steinberg

Wendy Belzberg

Ken Kuchin

Emanuel Stern

Co-Chairman

Emma Bloomberg

Mary T. Kush

Mimi Klein Sternlicht

Adam R. Flatto

Martin Brand

Pablo Legorreta

Angela E. Thompson Deborah C. van Eck

Cora Cahan

Ralph Lemon

President

Hélène Comfort

Heidi McWilliams

Rebecca Robertson

Paul Cronson

David S. Moross

Founding Chairman, 2000-2009

Emme Levin Deland

Gwendolyn Adams Norton

Wade F.B. Thompson

Sanford B. Ehrenkranz

Joel Press

David Fox

Genie H. Rice

Marjorie L. Hart

Amanda J.T. Riegel

ARTISTIC COUNCIL Co-Chairs

Benigno Aguilar and Gerald Erickson

Anita K. Hersh

Amanda J.T. and Richard E. Riegel

Noreen Buckfire

Wendy Belzberg and Strauss Zelnick

Wendy Keys

Susan and Elihu Rose

Michael Field

Sonja and Martin J. Brand

Ken Kuchin and Tyler Morgan

Janet C. Ross

Caryn Schacht and David Fox

Elizabeth Coleman

Mary T. Kush

Sanford L. Smith

Heidi and Tom McWilliams

Hélène and Stuyvesant Comfort

Almudena and Pablo Legorreta

Joan and Michael Steinberg

Mary Cronson

Christina and Alan MacDonald

Liz and Emanuel Stern

Emme and Jonathan Deland

Janet and David P. Nolan

Mimi Klein Sternlicht

Krystyna Doerfler

Gwen and Peter Norton

Deborah C. van Eck

Lisa and Sanford B. Ehrenkranz

Lily O’Boyle

Robert Vila and Diana Barrett

Adam R. Flatto

Slobodan Randjelović and Jon Stryker

Mary Wallach

Janet Halvorson

Michael D. Rhea

SUPPORTERS

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

$1,000,000 +

$500,000 to $999,999

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

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Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Marina Kellen French Ken Kuchin and Tyler Morgan 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 Liz and Emanuel Stern $250,000 to $499,999 American Express Michael Field Adam R. Flatto Olivia Tournay Flatto

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 Booth Ferris Foundation Sonja and Martin J. Brand The W. L. Lyons Brown Jr. Charitable Foundation Hélène and Stuyvesant Comfort Caroline and Paul Cronson Emme and Jonathan Deland Horace W. Goldsmith Foundation Marjorie and Gurnee Hart Daniel Clay Houghton Anna Maria & Stephen Kellen Foundation, Inc.

Thompson Arts Center at Park Avenue Armory

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Kirkland & Ellis LLP 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 Gwen and Peter Norton Daniel and Joanna S. Rose Janet C. Ross Caryn Schacht and David Fox Amy and Jeffrey Silverman Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts

643 Park Avenue at 67th Street

$25,000 to $99,999

$10,000 to $24,999

Art Dealers Association of America Benigno Aguilar and Gerald Erickson The Avenue Association Harrison and Leslie Bains Emma Bloomberg Carolyn S. Brody Janna Bullock Eileen Campbell and Struan Robertson The Cowles Charitable Trust Mary Cronson / Evelyn Sharp Foundation Ellie and Edgar Cullman Gina and James de Givenchy Peggy and Millard Drexler The Emma and Georgina Bloomberg Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Elizabeth Morse Genius Foundation Howard Gilman Foundation Deborah and Allen Grubman Anita K. Hersh Josefin and Paul Hilal Kaplen Brothers Fund The Emily Davie and Joseph S. Kornfeld Foundation Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation Andrea Markezin Press and Joel Press National Endowment for the Arts New York State Council on the Arts Frank and Elizabeth Newman Stavros Niarchos Foundation David P. Nolan Foundation Donald Pels Charitable Trust Slobodan Randjelović and Jon Stryker The Reed Foundation Michael D. Rhea Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Peter and Jaar-mel Sloane / Heckscher Foundation Sanford L. Smith Howard & Sarah D. Solomon Foundation Swiss Arts Council Pro Helvetia Sharzad and Michael Targoff TEFAF NY, Jeff Rabin and Michael Plummer Robert Vila and Diana Barrett Anonymous (2)

AECOM Tishman Jamie Alter and Michael Lynton Milton and Sally Avery Arts Foundation Abigail Baratta Helaine and Victor Barnett Ginette Becker Debra and Leon Black Noreen and Ken Buckfire Marco Cafuzzi Elizabeth Coleman Joyce B. Cowin Cultural Services of the French Embassy Jennie L. and Richard K. DeScherer Beth Rudin DeWoody Krystyna Doerfler Jeanne Donovan Fisher William F. Draper Eagle Capital Management, L.L.C. Ehrenkranz & Ehrenkranz LLP Andra and John Ehrenkranz Florence Fearrington Lorraine Gallard and Richard H. Levy Barbara and Peter Georgescu The Georgetown Company Kiendl and John Gordon Sarah Gould and David Steinhardt Jeff and Kim Greenberg Janet Halvorson Mr. and Mrs. Lawrence Hite Rachel and Mike Jacobellis Jennie Kassanoff and Dan Schulman Randy Kemper and Tony Ingrao Erin and Alex Klatskin Suzie and Bruce Kovner Jill and Peter Kraus Leonard and Judy Lauder Fund Lavazza Chad A. Leat Leon Levy Foundation Aaron Lieber and Bruce Horten Kamie and Richard Lightburn George S. Loening May and Samuel Rudin Family Foundation, Inc. Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Lily O’Boyle PBDW Architects Joan and Joel I. Picket Noel Pittman Kimberly and Scott Resnick Roberto Cavalli Mary Jane Robertson and Jock Clark Deborah and Chuck Royce Fiona and Eric Rudin Susan Rudin Mr. and Mrs. William Sandholm Susan and Charles Sawyers

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Dr. and Mrs. Thomas P. Sculco Juliet Lea Hillman Simonds Foundation Skadden, Arps, Slate, Meagher & Flom LLP Sotheby’s Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs Mr. and Mrs. Dave Thomas Tishman Speyer Properties, LP Barbara and Donald Tober Jane and Robert Toll Christopher Tsai and André Stockamp / Tsai Capital Corporation Mary Wallach David Wassong and Cynthia Clift Diana Wege Isak and Rose Weinman Foundation, Inc. Michael Weinstein and Millen Magese WME Anonymous (2) $5,000 to $9,999 Jody and John Arnhold Tony Bechara Hana and Michael Bitton Leslie Bluhm and David Helfand Nicholas Brawer Catherine and Robert Brawer Amanda M. Burden Marian and Russell Burke Canard, Inc. CBRE Anna Chapman and Ron Perelman Constance and Gregory Dalvito Diana Davenport and John Bernstein Mary Ellen G. Dundon David and Frances Eberhart Foundation Martin and Rebecca Eisenberg Foundation Dr. Nancy Eppler-Wolff and Mr. John Wolff Alicia Ernst and John Katzman EverGreene Architectural Arts The Felicia Fund Edmée and Nicholas Firth Fisher Marantz Stone, Inc. Ella M. Foshay and Michael B. Rothfeld Mr. and Mrs. Stephen and Amandine Freidheim Fried, Frank, Harris, Shriver & Jacobson LLP Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Inger McCabe Elliott Sarah Jane and Trevor Gibbons Debbi Gibbs The Francis Goelet Charitable Lead Trusts Mr. and Mrs. David Golub Agnes Gund Molly Butler Hart and

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Michael D. Griffin Ionian Management Jack Shainman Gallery Sonny and Michelle Kalsi Adrienne Katz Diana King / The Charles & Lucille King Family Foundation Mr. and Mrs. Fernand Lamesch Lazard Gail and Alan Levenstein Phyllis Levin Lili Lynton and Michael Ryan The Honorable and Mrs. Earle I Mack Diane and Adam E. Max Rick and Dee Mayberry Renee and David McKee Joyce F. Menschel Sergio and Malu Millerman Claire Milonas Christine Moog and Benoit Helluy Sue Morris Beth and Joshua Nash Mary Kathryn Navab Mr. and Mrs. Michael Newhouse Nancy and Morris W. Offit Peter and Beverly Orthwein Liz and Jeff Peek Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Tracey and Robert Pruzan Katharine and William Rayner David Remnick and Esther Fein Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Susan and Jon Rotenstreich Valerie Rubsamen and Cedomir Crnkovic H. Onno and Renée Ruding Sana H. Sabbagh Bonnie J. Sacerdote Mr. and Mrs. Mortimer Sackler Dr. Nathan Saint-Amand Nancy Josephson Sanitsky Oscar S. Schafer Stacy Schiff and Marc de la Bruyère Claude Shaw and Lara Meiland-Shaw Stephanie and Fred Shuman Lea Simonds Jennifer and Jonathan Allen Soros Patricia Brown Specter Debbie and Jeffrey Stevenson Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Merryl H. and James S. Tisch Michael Tuch Foundation L.F. Turner Mr. and Mrs. Ronald Ulrich Liliana Vaamonde and Richard Pretsfelder Jan and Cynthia van Eck

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Andrew E. Vogel and Véronique Mazard Anastasia Vournas and J. William Uhrig Mr. and Mrs. Gregory Weingarten Jacqueline Weld Drake Lynne Wheat David Wolf and Lisa Bjornson Wolf Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Zubatkin Owner Representation, LLC Anonymous (2) $2,500 to $4,999 Cristiana Andrews Cohen and David Cohen Peter Bolis Vanessa Ana Barboni Mr. and Ms. Jonathan Berger Mr. and Mrs. Robert Birnbaum Allison M. Blinken Mr. and Mrs. Mark Bloom John Bonanno / Phoenix Interior Contracting Marc Brodherson and Sarah Ryan Stacey Bronfman Amy and Kevin Brown Veronica Bulgari and Stephan Haimo Cartier S.A. Emy Cohenca Betsy Cohn Mr. and Mrs. Tony Coles Ellie and Edgar Cullman The Cultivist Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Joan K. Davidson (The J.M. Kaplan Fund) Virginia Davies and Willard Taylor Luis y Cora Delgado Jacqueline Didier and Noah Schienfeld Ms. Elizabeth Diller and Mr. Richard Scofidio Francesca and Michael Donner Christopher A. Duda Karen Eckhoff Anne and Joel Ehrenkranz Michael Finkel First Republic Bank Laura Fisher Claudia and George Bitar Sylvia Golden Elizabeth and David Granville-Smith Great Performances Marieline Grinda and Ahmad Deek Mr. and Mrs. George Grunebaum Susan Gutfreund John Hargraves Daisy Helman Stephanie and Stephen Hessler Robert Jaffe and Natasha Silver Bell Mr. and Mrs. Morton Janklow Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Elizabeth Kivlan Phyllis L. Kossoff Mr. and Mrs. Glenn Krevlin Justin Kush

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Lagunitas Brewing Co. The Ronald and Jo Carole Lauder Foundation Lisson Gallery Liz Lubnina and Tom Sternfeldt Billy and Julie Macklowe Judith and Michael Margulies Angela Mariani James C. Marlas and Marie Nugent-Head Marlas Nina B. Matis Constance and H. Roemer McPhee Mr. and Mrs. Prakash Melwani Sally Minard and Norton Garfinkle Allen Model and Dr. Roberta Gausas Mr. and Mrs. Robert Morse Mr. and Mrs. Saleem Muqaddam Mr. and Mrs. Jesse Newhouse Mr. and Mrs. Marvin Numeroff Kathleen O’Grady Simon Oren David Orentreich, MD / Orentreich Family Foundation Mario Palumbo Mindy Papp Madison J Papp George Petrides Cynthia Hazen Polsky and Leon B. Polsky Diana and Charles Revson Heidi Rieger Jonathan F. P. and Diana Rose Jane Fearer Safer Paul H. Scarbrough / Akustiks, LLC. Mr. and Mrs. Wilfred N. Schlumberger Caroline Schmidt--Barnett Victoria Schorsch Mr. and Mrs. Joe Schueller Kimberly Kravis and Jonathan Schulhof Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Lee Shull and Arthur Pober Alan and Sandy Siegel Gillian Hearst Shaw Laura Skoler Margaret Smith Sara Solomon Sonnier & Castle Daisy M. Soros Squadron A Foundation Gayfryd Steinberg and Michael Shnayerson Doug Steiner Diane and Sam Stewart Angeline Straka Bonnie and Tom Strauss Bill and Ellen Taubman John Usdan Peter Van Ingen and Alexandra Oelsner Ambassador and Mrs. William J. vanden Heuvel Susan and Kevin Walsh David Reed Weinreb Katherine Wenning and Michael Dennis Kate R. Whitney and Franklin A. Thomas

Brian and Jane Williams Maria Wirth Amy Yenkin and Robert Usdan Judy Francis Zankel Anonymous (6) $1,000 to $2,499 Marina Abramović Travis Acquavella Eric Altmann Mr. and Mrs. John Argenti David Bach and Alatia Bradley Bach Rebecca Lynn Bagdonas Femenella & Associates Peter Balis Laura Zambelli Barket Norton Belknap Kristine Bell Dale and Max Berger Elaine S. Bernstein Katherine Birch Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Livio Borghese Mr. and Mrs. Michael Bradley Barbara Brandt Mr. and Mrs. Louis Brause Greg Bresnitz Diane Britz Lotti Mr. and Mrs. Cliff Brokaw Gabby Bronfman Matthew Bronfman Spencer Brownstone Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Chanda Chapin Sommer Chatwin Shirin and Kasper Christoffersen Alexander Cooper Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Ivor Cummings and Annell Wald Boykin Curry Lynn Dale and Frank Wisneski Mr. and Mrs. Charles Daniels Suzanne Dawson Mr. and Mrs. Thomas de Neufville Mr. and Mrs. Richard A. Debs Jeffrey Deitch Mr. and Mrs. Thomas DeRosa Diana Diamond and John Alschuler Mr. and Mrs. John Dunn Mr. and Mrs. Frederick Elghanayan Jacqueline Elias Yevgeniya Elkus Leland and Jane Englebardt Mallory Factor Jared Feldman / Anchin Private Client Mr. and Mrs. Alessandro Fendi Mr. and Mrs. Brian Fisher Candia Fisher Paul and Jody Fleming The Fribourg Family

Thompson Arts Center at Park Avenue Armory

•

Scott Fulmer and Susan Kittenplan Fulmer Julie Geden Mr. and Mrs. Scott Gerber Alberta Gerschel and Peter Wasserman Mr. and Mrs. David Getz Kathleen and David Glaymon Nina Gorrissen von Maltzahn Mr. and Mrs. Peter Greenleaf Maggie Gresio Jessica Guff Kathleen and Harvey Guion Cheryl Haines Raymond Hannigan Herrick Feinstein LLP William T. Hillman Gregor Hochmuth Hodgson Russ LLP Caroline Eve Hoffman Christopher and Hilda Jones Patricia S. Joseph Hattie K. Jutagir Jeanne Kanders Jennifer Kang Drs. Sylvia and Byram Karasu Margot Kenly & Bill Cumming Cynthia and Stephen Ketchum Major General Edward G. Klein, NYNG (Ret.) Gloria and Richard Kobrin Mr. and Mrs. Chris Kojima Kate Krauss Katherine Kwei Polly and Frank Lagemann Nanette L. Laitman Gregg Lambert (co-founder), Perpetual Peace Project, CNY Humanities Corridor Barbara Landau Mr. and Mrs. Sheldon Landau Judith Langer Kate Lauprete Mark and Taryn Leavitt Julia Ledda Lexi Lehman Ralph Lemon David and Alexia Leuschen Brenda Levin Jane K. Lombard Ms. and Mrs. Paul Lowerre Donna and Wayne Lowery Henry Luce Foundation John D. and Catherine T. MacArthur Foundation Liz MacNeill Alexander Maldutis and Reena Russell Nasr Mr. and Mrs. Anthony Mansour Christophe W. Mao Bonnie Maslin Match 65 Brasserie Martha B. McLanahan Melissa Meeschaert Mr. and Mrs. Berk Mesta The Meyer Family Laurent Mialhe Lauren Michalchyshyn

643 Park Avenue at 67th Street

Mr. and Mrs. Brett Miller Nicole Miller and Kim Taipale Sandra Earl Mintz Adriana and Robert Mnuchin Valerie Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Cindy and David Moross Mr. and Mrs. Mark Newhouse Beth Nowers and Jack Curtin Ellen Oelsner Robert Ouimette and Lee Hirsch Mr. and Mrs. Stuart Parker Mr. and Mrs. Brian Pfeifler Max Pine Mr. and Ms. Robert Pittman Mr. and Mrs. Lyon Polk Vranken Pommery America Michael F. Poppo Laura Poretzky-GarcĂ­a Prime Parking Systems Eileen and Tom Pulling Martin and Anna Rabinowitz Mr. and Ms. John Rice Mr. and Mrs. David Rogath Alexandra Lind Rose Marjorie P. Rosenthal RoundTable Cultural Seminars Whitney Rouse Jane Royal and John Lantis Kathy Ruland Mr. and Mrs. Matthew Satnick Susan Savitsky Pat Schoenfeld Marshall Sebring and Pepper Binkley Kimia Setoodeh Nadine Shaoul and Mark Schonberger Gil Shiva Mr. and Mrs. Michael Shuman Neil Simpkins and Miyoung Lee Salwa J. Aboud Smith and Robert P. Smith Mary Elizabeth Snow Ted Snowdon Mr. and Mrs. Michael Spies Mark Stamford Colleen Stenzler Allen Stevens Tricia Stevenson Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Mr. and Ms. Phillip Summers Summit Security Services, Inc. Shining Sung Lee Wyndham Tardivel Jeffrey Alan Teach Vincent Teti Jennifer Tipton Mr. and Mrs. Christophe Van de Weghe Joseph Vance Architects Dionysios Vlachos Mr. and Mrs. John Vogelstein Mr. and Mrs. Alexander von Perfall Amanda and John Waldron Walter B. Melvin Architects, LLC

Caroline Wamsler and DeWayne Phillips Lauren and Andrew Weisenfeld Mr. and Mrs. Arthur Williams Ruth Wilson Mr. and Mrs. Steven Wisch Lisa Wolfe Jon and Reva Wurtzburger Meghan and Michael Young Mr. and Ms. Alexis Zoullas Anonymous (2) List as of March 6, 2018 * Deceased

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@ ParkAveArmory

# PAAYerma

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