The Hairy Ape

WELCOME In 2017, Park Avenue Armory celebrates 10 years as New York’s newest cultural institution. The mission of our not-for-profit entity is to support unconventional works in the performing and visual arts that cannot be performed in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring, column-free, 55,000-square-foot Drill Hall and its Gilded Age period rooms, the Armory enables artists to create, students to explore, and audiences to experience, epic and adventurous work that cannot be done elsewhere in New York.

The Armory’s evolution as a major provider of unexpected, immersive, and eclectic cultural productions began as an experiment. It has now become a fixture in the cultural life of New York. Perhaps The New York Times said it best in 2016 when they proclaimed: “…few cultural institutions have been as adept at pushing the cultural FOMO button, triggering that ‘fear of missing out’ that New Yorkers hate.”

On behalf of Artistic Director Pierre Audi and the Board of Directors of the Armory, we hope that 2017 continues to push the boundaries even further.

Rebecca Robertson President & Executive Producer, Park Avenue Armory

When Eugene O’Neill’s The Hairy Ape opened on Broadway in 1922, it broke the rules with subject matter that was revolutionary for its time. Detailing the story of a man who puts his faith in a system that ultimately betrays him, this expressionist play highlighted struggles of class and identity that theater-goers had never before seen play out on stage.

I am thrilled to welcome my dear friend Richard Jones and his brilliant collaborators Stewart Laing, Aletta Collins, Mimi Jordan Sherin, and Sarah Angliss to the Armory to showcase a 21st-century take on the theatricality O’Neill was trying to find, blending a political message with humor. Richard’s radical reimaging of the production he originally conceived for the Old Vic in London masterfully incorporates the industrial values of our building in a site-specific realization that better serves the play and connects it to the subject matter and its locations like never before. The Armory is thrilled to have made this production possible, and I hope you will join me in this marvelous rediscovery.

We welcome the creative team and this new American cast led by Bobby Cannavale to present their unique artistry in our building. Productions such as this one showcase the power of a space like ours, and what can be done with this vast, blank canvas in the hands of world class artists and creators.

Pierre Audi Artistic Director

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PARK AVENUE ARMORY PRESENTS

THE HAIRY APE March 25, 2017 – April 22, 2017

THOMPSON ARTS CENTER AT PARK AVENUE ARMORY

Eugene O’Neill Playwright Richard Jones Director Stewart Laing Designer Aletta Collins Choreographer Mimi Jordan Sherin Lighting Designer Sarah Angliss Composer and Sound Designer Thomas Schall Fight Director Kate Wilson Dialect Coach Thom Widmann Production Stage Manager Matthew Leiner Stage Manager Casting by Telsey + Company/Tiffany Little Canfield, CSA Starring: Bobby Cannavale Chris Bannow, Tommy Bracco, Emmanuel Brown, Nicholas Bruder, Catherine Combs, Phil Hill, Cosmo Jarvis, Mark Junek, Henry Stram, Jamar Williams, Isadora Wolfe, Amos Wolff With Becky Ann Baker and David Costabile A Park Avenue Armory and Old Vic London Production Running time: Approximately one hour and thirty minutes with no intermission

PRODUCTION SPONSOR

SEASON SPONSORS

The Hairy Ape is supported in part by Daniel Clay Houghton, and by public funds 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 Andrew W. Mellon Foundation, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Achelis and Bodman Foundation, the Fan Fox and Leslie R. Samuels 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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OTHER HAPPENINGS

ARMORY AFTER HOURS Join us after evening performances when the bars will be open in our historic period rooms for libations with the artists and fellow attendees.

A HAIRY APE FOR THE 21ST CENTURY Friday, March 31st at 6:00pm The Hairy Ape director Richard Jones, Bobby Cannavale, and Robert M. Dowling (Eugene O’Neill scholar and Professor of English, Central Connecticut State University) discuss the challenges of presenting Eugene O’Neill’s play nearly 100 years after its first production by the Provincetown Players in 1922

THE HAIRY APE & NEW YORK CITY: CLASS VS. IDENTITY Friday, April 14th at 6:00pm Catherine Combs (“Mildred”), Valerie Paley (Chief Historian at the New York Historical Society), and Erika Rundle (Associate Professor in Theater Arts and Gender Studies at Mount Holyoke College) discuss The Hairy Ape’s opposing forces of class, gender, and identity—issues that continue to entangle the social fabric of New York City today.

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REDEFINING THE SYSTEM: ARTS EDUCATION PROGRAMS FOR THE HAIRY APE The Hairy Ape might be viewed as Eugene O’Neill’s declaration of the perils inherent to the unrelenting current of industrialization.

In this play, we see the inner workings of systems of class and power, and in its characters, we experience what it means to “belong” as a functional member of those systems and what can happen when one’s perception of that belonging shifts. Written in 1922, the play sheds a light on the systems – both mechanical and metaphorical – that seem to permeate our lives even in the present day. Here now is a look at the systems of Park Avenue Armory’s arts education program in the context of The Hairy Ape. The creative process is the central motor of the Armory’s system of arts education and so working directly with artists is a key component across each of the three initiatives of the program: production-based programming, partner schools, and Youth Corps.

All of these initiatives are offered exclusively to New York City public schools at no cost, and all were engaged in exploration of The Hairy Ape. Education personnel met with director Richard Jones to discuss the production – its concept, themes, and design – to drive the development of curriculum for all programs.

The Armory’s production-based program includes an inschool, pre-show workshop, attendance at a student-only matinee, and an in-school post-show workshop. In the pre-show workshop, Armory teaching artists introduced students to the world of the play by highlighting the characters, the language, and the design of this production. Through the creation of abstract expressionist tableaux, students delved into themes of the play – class, status, and belonging – and were able to experience the student matinee with this as a critical lens. In post-show workshops, studentsused a second art form – dance, visual art, or music – to create a response to The Hairy Ape and in contemplation of the systems that exist within the pursuit of the American Dream.

The Armory’s partner school program features the opportunity to attend all Armory productions, a long-term teaching artist-led residency tailored to a school’s curriculum, and the culminating Partner School Evening of the Arts at

the Armory, where students’ art is exhibited and performed alongside the work of a major artistic program for students, parents, and the entire school community. Over the course of twelve sessions, high school students at one partner school investigated the question, “how does the way that society characterizes you affect your American Experience?,” After writing accounts of their own personal identity in the system, students worked with an Armory teaching artist to create works in movement that respond to this question and to The Hairy Ape. These pieces will premiere at the Partner School Evening of the Arts in May. The Youth Corps provides paid, mentored internships for New York City public high school students. Interns work directly with and support artists, assist in the creation of curriculum by offering feedback to teaching artists, function as ushers and greeters for all Armory productions, and complete a term project.

The spring term project focused on American playwrights and the working class by exploring The Hairy Ape and Armory artistin-residence Lynn Nottage’s Sweat. Reflecting on the systems and cycles that underpin life for a young person in contemporary America, and influenced by their observation of the scenic build and meetings with the creative team of The Hairy Ape, Youth Corps interns created clock-inspired, mechanical art objects, with elements that physically act upon one another to illustrate the interconnectivity of moving parts within a system.

Like the systems we see in this production of The Hairy Ape, the three initiatives of the Armory’s arts education program work in tandem with each other. The lofty goal of this operation, however, is that in grappling with artistic programs like The Hairy Ape, participants in the Armory’s arts education system­—unlike Yank­— are able to gain a deep understanding of themselves as individuals capable of reimagining and redefining their role in all the systems of our time.

Park Avenue Armory’s arts education programs are supported by generous grants from The Pierre and Tana Matisse Foundation, The Pershing Square Foundation, the Zelnick/Belzberg Charitable Trust, the Hearst Foundations, The Reed Foundation, Mr. and Mrs. Mikel Halvorson, Lester and Enid Morse, the Laurie M. Tisch Illumination Fund, the WME Foundation, the Ida and William Rosenthal Foundation, the Milton and Sally Avery Arts Foundation, and the Michael Tuch Foundation.

Additional support has been provided by members of the Armory’s Education Committee.

The Armory’s arts education programs are 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, and are supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the city council.

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EUGENE O’NEILL’S THE HAIRY APE: A CLOSE ENCOUNTER WITH THE SUPER-NATURAL

BY ROBERT M. DOWLING

March 9, 1922, New York City: After the final curtain had fallen on the premiere of The Hairy Ape at the Provincetown Playhouse, a cramped theater space in the heart of Greenwich Village, the audience leapt to its feet. Louis Wolheim, who played the antihero Robert “Yank” Smith, received a deafening ovation, and the packed auditorium then echoed with cries of “Author! Author!”

Their shouts carried on after the house lights went up; but once it became clear that the “author” wouldn’t be appearing, everyone slowly headed for the exit, still eagerly glancing over their shoulders for a potential last-minute, delayed entrance by playwright Eugene O’Neill.

A glowing New York Times review was printed the next morning, in which the theater’s auditorium was described as “packed to the doors with astonishment… as scene after scene unfolded.” Though the Times’ critic, Alexander Woollcott, contended that O’Neill’s script was “uneven,” he nonetheless acknowledged that “it seems rather absurd to fret overmuch about the undisciplined imagination of a young playwright towering so conspicuously above the milling mumbling crowd of playwrights who have no imagination at all.”

O’Neill’s mélange of dialect writing, his melding of dramatic techniques, and his terrifying indictment of the industrial world arguably made The Hairy Ape the most revolutionary American play yet performed on a stage.

The Hairy Ape, his friend and future producer Kenneth Macgowan breathlessly declared after attending its opening, “leaps out at you from the future.”

When the thirty-three year old playwright first read his script to the Provincetown Players, the avant-garde “little 4

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theater” company who’d discovered his talent back in 1916, he did so without theatricality or embellishment. But after slowly muttering the last lines, he stood up, faced the assembly and shouted, “This is one the bastards [uptown on Broadway] can’t do!” Stunned by the play’s bold originality, the Players all cheered in agreement. Of course they soon realized that the commercial “bastards” would, inevitably, produce the play. And when it opened on April 17, 1922, at the Plymouth Theatre on Broadway, O’Neill’s name shone upon the marquee in electric lights as a heady draw for uptown theatergoers. This fact alone was an extraordinary leap for an American playwright—the marquee was where the star’s name went, never the playwright’s.

Broadway plays had nearly always been written and produced with moneymaking stars in mind, and their authors were principally viewed as hired guns rather than artists.

The Hairy Ape builds upon the thematic structure of O’Neill’s pioneering “race play” The Emperor Jones, which also enjoyed a popular run on Broadway after its 1920 downtown premiere. Each takes place over eight scenes, during which the protagonists are incrementally stripped of their grandiose delusions. Of the two, however, The Hairy Ape notably contains a more all-inclusive catalogue of O’Neill’s grievances against the unstoppable tide of human “progress”—class conflict, materialism, alienation from the self and society, dehumanization, and disillusionment. “I have tried to dig deep in it,” O’Neill said of his newest achievement, “to probe in the shadows of the soul of man bewildered by the disharmony of his primitive pride and individualism at war with the mechanistic development of society.”

The Hairy Ape was bestowed rave notices after both the Greenwich Village and Broadway productions, yet much of the after-hours barroom chatter revolved around the play’s uncertain style and its origins. New York’s drama critics had vaguely heard of European expressionism, but not many had actually witnessed it aside from O’Neill’s The Emperor Jones (which few at the time identified as expressionism) and the Hungarian Ferenc Molnár’s Liliom (1909), a play just translated and then produced by New York’s Theatre Guild the previous summer. (In 1945, Liliom returned to Broadway as Rodgers and Hammerstein’s musical adaptation Carousel.

Even after The Emperor Jones, O’Neill was still largely identified with his naturalistic dramas based on life at sea, which as a young man he’d experienced firsthand. The Pulitzer Prize was awarded to O’Neill’s naturalistic sea play “Anna Christie” in the same year The Hairy Ape appeared, and two years earlier he’d won his first Pulitzer for Beyond the Horizon, also a work of naturalism. The school of literary naturalism is a grittier form of realism (the two terms are often mistakenly interchanged), which believably renders the philosophy that an individual’s

fate is determined by biological, historical, circumstantial, and psychological forces beyond their control. But by the 1920s, O’Neill had found naturalism too limiting for his imaginative scope.

“Naturalism is too easy,” he said in 1924. “It would, for instance, be a perfect cinch to go on writing Anna Christies all my life. I could always be sure to pay the rent then…

Shoving a lot of human beings on a stage and letting them say the identical things in a theatre they would say in a drawing room or a saloon does not necessarily make for naturalness.

It’s what those men and women do not say that usually is most interesting.” Hence his adoption, or semi-conscious appropriation, of Expressionism, a method that originated with Central and Northern European dramatists such as Molnár, Germany’s Frank Wedekind, and Sweden’s August Strindberg (O’Neill’s self-styled mentor). Expressionist plays depict grotesque exaggerations of character and setting in order to represent distorted psychological states.Also unlike naturalistic plays, they “express” inner conflict through fantastical staging: “King Lear is given a storm to rant in,” one of the Provincetown Players explained, whereas “the Expressionist hero in anger walks on a street, and all the perspectives of the walls, windows and doors are awry and tortured.”

O’Neill’s true innovation, though, was to combine the two. “It isn’t Expressionism,” he remarked of The Hairy Ape. “It isn’t Naturalism. It is a blend—and, as far as my knowledge goes—a uniquely successful one.” (He nevertheless instructed that the set designs “must be in the Expressionistic method.”)

It was this merger, what he later termed “super-naturalism,” that would prove to have the longest lasting impact on theater history. Throughout what O’Neill called the “Mad Twenties,” he kept working in this style with plays like All God’s Chillun Got Wings (1923), Desire Under the Elms (1924), The Great God Brown (1925), and Strange Interlude (1927), which won him a third Pulitzer. The Hairy Ape thus signaled O’Neill’s complete transformation from an unruly naturalist to one of the consummate avant-garde modernists of the 1920s, and ultimately led to his becoming, in 1936, a Nobel laureate.

As late as 1946, after O’Neill’s writing career was cut short by an incapacitating, ultimately fatal neurological disease, a reporter asked him which of his plays he “liked the best.” He responded that this was really two questions: which play he liked the best and which he thought was the best. For the second question, he hedged a bit, but named The Iceman Cometh (its Broadway premiere was about to open). For the first, O’Neill was unequivocal: “I like The Hairy Ape.” —Robert M. Dowling is the author of the biography Eugene O’Neill: A Life in Four Acts, which was a finalist for the Los Angeles Times Book Prize for Biography in 2014.

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CAST Bobby Cannavale Becky Ann Baker David Costabile Chris Bannow Tommy Bracco Emmanuel Brown Nicholas Bruder Catherine Combs Phil Hill Cosmo Jarvis Mark Junek Henry Stram Jamar Williams Isadora Wolfe Amos Wolf Isadora Wolfe

Robert Smith “Yank” Mildred’s Aunt, Ensemble Paddy, Ensemble Long, Ensemble Stoker, Ensemble Stoker, Ensemble Stoker, Ensemble Mildred Douglas, Ensemble Gorilla, Ensemble Prisoner, Ensemble 2nd Officer, Ensemble Secretary of a left wing organization, Ensemble Stoker, Ensemble Ensemble Stoker, Ensemble Dance Captain

Understudies: For Gorilla – Tommy Bracco; for Yank – Emmanuel Brown; for Prisoner – Nicholas Bruder; for Mildred and Mildred’s Aunt – Isadora Wolfe

SCENES

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SCENE I

The firemen’s forecastle of an ocean liner — an hour after sailing from New York.

SCENE II

Section of promenade deck, two days out — morning.

SCENE III

The stokehole. A few minutes later.

SCENE IV

Same as Scene I. Half an hour later.

SCENE V

Fifth Avenue, New York. Three weeks later.

SCENE VI

Prison island near the city. The next night.

SCENE VII

In the city. About a month later.

SCENE VIII

The zoo. Twilight of the next day.

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WHO’S WHO IN THE COMPANY EUGENE O’NEILL (PLAYWRIGHT) is the recipient of the 1936 Nobel Prize in Literature. In addition to The Hairy Ape, which he called “A Comedy of Ancient and Modern Life in Eight Scenes,” O’Neill wrote 42 other plays. Among many notable works stand Anna Christie, Mourning Becomes Electra, The Iceman Cometh, and Hughie. After his death in 1953, O’Neill’s most famed work, the autobiographical Long Day’s Journey into Night was published and produced. Having already won three Pulitzer prizes, his fourth was awarded posthumously in 1957.

RICHARD JONES (DIRECTOR) has directed theater at the Young Vic, the Old Vic, National Theatre, and RSC; On the West End: Royal Court Theatre and in New York at the Public Theatre and three times on Broadway. Jones has directed Opera at The Royal Opera House, The E.N.O., Aix en Provence, Paris, Amsterdam, Glyndebourne, La Scala Milan, Frankfurt, Berlin, and Munich. In theater, he has been awarded the Olivier Award for Too Clever by Half (Old Vic) and Into the Woods (West End), the Evening Standard Award for Best Direction for The Illusion (Old Vic). He was nominated for a Tony Award for La Bête (Broadway). He was awarded 3 Olivier Awards in Opera for Lady Macbeth of Mtsensk (ROH), Hansel and Gretel (WNO), and The Mastersingers of Nurnberg (ENO). This also won the South Bank Show Award. In the 2015 New Years Honours, Jones was appointed Commander of the British Empire (CBE).

STEWART LAING (DESIGNER) is a theater director and designer. His designs include The Hairy Ape (Old Vic Theatre), Waiting Room Germany, Holy Mothers (Royal Court Theatre), Peter Grimes (La Scala), Fidelio (Scottish Opera), Skin Deep (Opera North, Royal Danish Opera), Rumpelstiltskin (Birmingham Contemporary Music Group), Macbeth (RSC), From the House of the Dead, From Morning to Midnight, The Capture of Troy (ENO, Olivier Award best opera production), Luisa Miller (Opera North), Continuous City, Supervision (Builder’s Association), The Blue Ball (National Theatre), Titanic (Broadway and Tour, Tony Award for Best Design and Outer Critic’s Circle Award for Outstanding Set Design), and All’s Well that Ends Well (New York Shakespeare Festival). Directorial work includes The Sewing Group (Royal Court Theatre – also Designer), Titus Andronicus (Dundee Rep), Paul Bright’s Confessions of a Justified Sinner (Untitled Projects and National Theatre of Scotland at Tramway, Summerhall, Dublin Theatre Festival, Ystad Theatre Festival and Edinburgh International Festival), The Salon Project (Untitled Projects, Traverse, Citizens, SPILL Festival at the Barbican), Ophelia

(Òran Mór), Ten Plagues (Traverse), The Homosexual, Happy Days (Tramway), The Father, The She Wolf, Long Day’s Journey into Night, Medea, The Pleasure Man, Dance of Death, The Maids (Citizens Theatre Glasgow), La Bohème and Così fan tutte (Scottish Opera), The Breasts of Tiresias and L’ heure espagnole (Grange Park Opera), Tosca (Norrlandsoperan), La fanciulla del West, Faust, Dead Man Walking, and La vie parisienne (Malmö Opera), La fedeltà premiata (Bavarian State Opera Studio), Les Parents terrible (Dundee Rep), and Home: Stornoway (National Theatre of Scotland). Laing is Artistic Director of Untitled Projects where his work includes J.G. Ballard Project, blind_sight, Slope, An Argument About Sex, The Salon Project, Paul Bright’s Confessions of a Justified Sinner & Slope Redux.

ALETTA COLLINS (CHOREOGRAPHER) studied at the London Contemporary Dance School and was a dancer and choreographer for London Contemporary Dance Theatre. She is a former Associate Artist at the Royal Opera House, where her work included choreographing and directing The Red Balloon, Cocteau Voices, and Magical Night in the Linbury Studio Theatre. Choreographic work includes: Sweet Charity (Royal Exchange, Manchester); Wind in the Willows – The Musical (UK Tour and West End); The Hairy Ape (Old Vic); Bend It Like Beckham, Made In Dagenham, Jesus Christ Superstar (West End); La Traviata (Glyndebourne Festival and UK Tour); Anna Nicole (Royal Opera House and Brooklyn Academy of Music); Awakenings and Bloom (Rambert Dance Company); Drifting and Tilting – The Songs Of Scott Walker (Barbican); The Effect and His Dark Materials (National Theatre); The Tempest (Royal Opera House - Olivier Award). Directing work includes: If You Kiss Me, Kiss Me (Young Vic); La Cenerentola, La Fanciulla del West, Dido and Aeneas, La Voix humaine, and Les Noces (Opera North); Carmen (Salzburg Festival); and Philip Pullman’s Aladdin (Bristol Old Vic). Future work includes The Days Run Away Like Wild Horses - a new commission for Rambert Dance Company.

MIMI JORDAN SHERIN (LIGHTING DESIGNER) Recent productions in New York include Anna Nicole at BAM and Jerusalem at The Music Box. For her work in New York she has been awarded the American Theatre Wing award, 2 Obie awards, the Eddy award, and nominations for a Tony and 5 Drama Desks. In London she has worked with the Young Vic, Old Vic, Royal Court, National Theatre, Royal Shakespeare Company and in the West End. Her American regional theater work includes multiple designs for the New York Shakespeare

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Festival, Baltimore Center Stage, The Guthrie, McCarter Theatre, Hartford Stage Company, ART, ACT, Long Wharf, Actors Theatre of Louisville, and others. Sherin has designed extensively in opera including The Royal Opera at Covent Garden, The MET, La Scala, La Fenice, Glyndebourne, Bayerische Staatsoper, Wien Staatsoper, English National Opera, New Tokyo Opera, Chicago Lyric, Houston Grand, Welch National, Royal Danish, Opernhaus Zurich, Bregenz Opera Festival, Opera Australia, Opera du Rhin, Opera North, Nationale Reisopera, The New Israeli, Lisbon, Frankfurt, Hamburg, Seattle, Canadian, and New York City Operas, Opera Colorado, and the Washington, Boston, San Diego, Santa Fe, and Glimmerglass Operas. Upcoming productions include: La Boheme at The Royal Opera House, Der Rosenkavalier at Tokyo Bunka Kaikan, Boris Godunov in Berlin, Parsifal at The Bastille, Romeo and Juliet in Barcelona, and The Twilight Zone at the Almeida in London.

SARAH ANGLISS (COMPOSER AND SOUND DESIGNER) is a composer, automatist, and sound historian, specializing in electroacoustic techniques. Based in London, she was composer and sound designer for Richard Jones’ revival of The Hairy Ape at The Old Vic. Sarah’s other theater work includes composition for Prebble’s The Effect (National Theatre); sound design for Kaufman and Hart’s Once in a Lifetime (Young Vic, London); and music for a live reimagining of Wyndham’s sci-fi classic The Midwich Cuckoos (for the British Film Institute, Cinecity and Screen Archive South East). She composed a new live score for Webber and Watson’s expressionist film The Fall of the House of Usher (1928) for the British Film Institute’s Gothic season (cofunded by PRSF). A prolific live musician, she has performed at The Royal Festival Hall, Purcell Room, Cafe Oto, Handel House, and the Royal Institution, London; The Arnolfini, Bristol, UK; Kunstnernes Hus, Oslo; Prima Vista, Tartu; Pałac Krzysztofory, Kraków; National Sawdust, New York; The Moog Lab; and BBC national radio. She co-devised Soundless Music, a pioneering, partly-infrasonic concert and mass-participation experiment for the Southbank London, and also designed and deployed a novel, tactile infrasonic effect in Punchdrunk and Adam Curtis’ It Felt Like a Kiss. Angliss also uses sound to reanimate historic sites, most notably HMS Alliance, the UK’s last-surviving WWII-era submarine. Her writing on sound and modernity has been published by the Science Museum, The Wire Magazine, and Smithsonian Scholarly Press. She has been featured on British experimental labels Ghostbox and Gecophonic, and her solo album Ealing Feeder is due for release in April 2017. Funded by the Jerwood Charitable Foundation and Aldeburgh Music, she is currently composing a chamber 8

opera on the life and death of Charles Byrne with librettist Ross Sutherland, directed by Sarah Fahie.

THOMAS SCHALL (FIGHT DIRECTOR) Over 70 Broadway shows… Jitney, The Present, The Front Page, The Crucible, Blackbird, The Color Purple, The King And I, War Horse, This Is Our Youth, Of Mice And Men, Romeo And Juliet, Lucky Guy, Death Of A Salesman, Venus In Fur, A View From The Bridge. He has worked extensively at Lincoln Center (Disgraced, Blood And Gifts, A Free Man Of Color), the Public Theater (Hamlet, King Lear, Mother Courage and Her Children, Father Comes Home From The Wars Parts 1, 2 & 3), MTC (Ruined, Murder Ballad), NY Theatre Workshop (Red Speedo, Othello), and the Met Opera (Nozze di Figaro, Il Trovatore).

KATE WILSON (DIALECT COACH) Broadway: Charlie and the Chocolate Factory, The Glass Menagerie, Sweat, The Front Page, Les Liaisons Dangereuses, The Cherry Orchard, Fully Committed, The Crucible, Bright Star, Hughie, A View from the Bridge, Thérèse Raquin, Old Times, An American in Paris, Skylight, Fish in the Dark, The Audience, The Real Thing, The Elephant Man, You Can’t Take It with You, Holler If Ya Hear Me, Rocky, Violet, A Raisin in the Sun, Machinal, Big Fish, The Trip to Bountiful, Picnic, The Heiress, The Mystery of Edwin Drood, End of the Rainbow, Gore Vidal’s The Best Man, Cyrano de Bergerac, War Horse, Stick Fly, The Mountaintop. Off-Broadway: The Way We Get By, The Mystery of Love and Sex, The Village Bike, Love and Information, Talley’s Folly, Cock, Giant, Hurt Village. Film/TV: Lady Bird, Three Billboards Outside Ebbing, Missouri, Complete Unknown, Annie, Olive Kitteridge, Carol, Inside Llewyn Davis.

THOM WIDMANN (PRODUCTION STAGE MANAGER) is also the Production Supervisor for Broadway’s Wicked including productions in London’s West End, Japan, Germany, Australia, Holland, Mexico, Korea, and Brazil. Ten productions over twelve years with Lincoln Center Theater including The Light in the Piazza, The Frogs, and Contact. Other favorite credits include The Sound of Music, The King and I, Amy’s View, Skylight, the national tour of An Inspector Calls and the New York premiers of Caryl Churchill’s Mad Forest, Owners and Traps.

Faculty in the Conservatory of Theater Arts at SUNY Purchase College since 2011.

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MATTHEW LEINER (STAGE MANAGER) Broadway: School of Rock, Finding Neverland, If/Then, Wicked, Fiddler on the Roof, Hollywood Arms, The Phantom of the Opera.

National Tours: Jersey Boys, Sister Act, Wicked (second national and Chicago), Mary Poppins, The Phantom of the Opera.

Regional: Bounce, Hollywood Arms. Love to Claudia.

TELSEY + COMPANY/TIFFANY LITTLE CANFIELD, CSA (CASTING) Broadway/Tours: Anastasia, Charlie and the Chocolate Factory, Hello, Dolly!, War Paint, Present Laughter, Come from Away, Paramour, Waitress, On Your Feet!, Hamilton, Kinky Boots, Wicked, Something Rotten!, The King and I, An American in Paris, The Sound of Music. Off-Broadway: Sweeney Todd, Atlantic, Classic Stage, MCC, Second Stage, Signature. Regional: A.R.T., Center Theatre Group, Goodman, La Jolla, McCarter, New York Stage and Film, Paper Mill, Williamstown. Film: Miss Sloane, Into the Woods, Margin Call, Rachel Getting Married, Across the Universe, Camp, Pieces of April. TV: One Day at a Time, Time After Time, Hairspray Live!, Conviction, This Is Us, Grease Live!, Masters of Sex, Smash, The Big C, commercials.

BOBBY CANNAVALE (ROBERT SMITH “YANK”) New York Theater: The Big Knife (Roundabout), Glengarry Glen Ross (Broadway), The Motherfucker With The Hat (Broadway, Tony nomination and Drama Desk Award), Mauritius (Broadway, Tony nomination), Hurlyburly (Acorn Theater), Fucking A (Public Theatre), The Gingerbread House (Rattlestick Playwrights Theater), and others, and is a member of the Labyrinth Theater Company.

Film: Antman, Spy, Danny Collins, Adult Beginners, Annie, Chef, Blue Jasmine, Win Win, The Station Agent, Fast Food Nation, Romance And Cigarettes, and others. Upcoming Film: Going Places, Jumanji, and Boundaries. TV: Vinyl, Boardwalk Empire (Emmy Award, SAG nomination), Nurse Jackie (2-time Emmy nomination, SAG nomination), Will And Grace (Emmy Award), and others.

Upcoming TV: Master Of None and Mr. Robot.

BECKY ANN BAKER (MILDRED’S AUNT, ENSEMBLE) Broadway: Good People, All My Sons, Assassins, Titanic, A Streetcar Named Desire, The Best Little Whorehouse in Texas. Off-Broadway: Peer Gynt, Dear Elizabeth, Barbecue, Comedy of Errors, The Great God Pan, The House in Town, Shanghai Moon, June Moon, Durang Durang, Laura Dennis, Othello. Film credits include Starbright, The End of the Tour, 23 Blast, Hope Springs, Nights in Rodanthe, Stay, The Night Listener, Gretchen, War of the Worlds, Two Weeks Notice, A Simple Plan, Celebrity, Men In Black, In and Out, Sabrina,

Unstrung Heroes, White Squall, Lorenzo’s Oil, and Come See the Paradise. TV: Girls (Two Critics Choice Nominations), Freaks and Geeks (regular), Last Week Tonight, Crisis in Six Scenes, Madam Secretary, Gotham, Person of Interest, Elementary, The Good Wife (recurring), Smash, Black Box, A Gifted Man, Kings, Nurse Jackie, Mercy, Storm of the Century, Soul Man, Ruby Ridge, Frasier, Star Trek: Voyager, Sex and the City, Law & Order, Law & Order: Special Victims Unit, Oz, and Mind Games. Becky has spent 15 seasons at the Williamstown Theatre Festival and performed at most of the country’s regional theaters. Becky’s best and favorite production: Willa, co-produced with actor/director Dylan Baker.

CHRIS BANNOW (LONG, ENSEMBLE) was last seen in the Broadway and West End productions of The Elephant Man with Bradley Cooper. Regional credits include Williamstown, Yale Rep, Huntington, and Berkshire Theatre Festival. Upcoming films include #Screamers (2017) and Three Christs (2018). MFA Yale School of Drama; Oliver Thorndike Acting Award.

TOMMY BRACCO (STOKER, ENSEMBLE) was born, raised, and currently resides in Staten Island. Film: Newsies: The Musical, Fourth Man Out. Theatre: Newsies (Original Bway Cast), The Pirates Of Penzance (Barrington Stage), Grease (Papermill Playhouse). Thanks to my family, Stewart Talent, Telsey and Todd Susman. For my dad and my Grandma.

EMMANUEL BROWN (STOKER, ENSEMBLE) is an actor and Obie-winning fight director. He has been seen on Broadway as Electro in Spider-Man: Turn Off the Dark (original cast). Other acting credits include: Kung Fu and Big Love (Signature Theatre), Sweet Science Suite (BAM), Macbeth and The Tempest (Classical Theatre of Harlem). TV: Blindspot, Elementary, Gotham, and Iron Fist. His work as a fight director has been seen at Signature Theatre, BAM, La Mama Ellen Stewart Theatre, 59 E. 59, Classical Theatre of Harlem. BFA from University of Florida. He would like to thank God, his family, and friends for their love and support.

NICHOLAS BRUDER (STOKER, ENSEMBLE) earned a Falstaff Award for Best Principal Actor for his portrayal of Macbeth in punchdrunk’s Sleep No More. He also is a 2016 Bessie Award Nominee for his work in Palissimo’s Custodians of Beauty. Recent past work includes William Lee in Angel Reapers,

by Martha Clarke and Alfred Uhry, Raymond in Adrienne Kennedy’s Funnyhouse of a Negro both through the Signature Theatre

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Company. He was a guest artist, alongside Harry Hamlin and Hannah Yelland, for Shakespeare Theatre Company’s 2014 Will On The Hill benefit. TV: Gossip Girl and Smash. He graduated from California Institute of the Arts in 2009 as a Lovelace Full Scholarship Student.

CATHERINE COMBS (MILDRED DOUGLAS, ENSEMBLE) recently starred in the Tony winning revival of A View From the Bridge, directed by Ivo Van Hove (Ahmanson/Kennedy Center).

Off-Broadway: Gloria (Vineyard Theatre), The Sensuality Party (The New Group). Regional: Gloria (Goodman Theatre), Smokefall (Goodman Theatre), The Delling Shore (ATL Humana Festival 2013), The Edge of Our Bodies (ATL Humana Festival 2011).

Other: Hamlet (Santa Susana Repertory Company), A Midsummer Night’s Dream (Santa Susana Rep), The Merry Wives of Windsor (Kingsmen Shakespeare Company). Film: The Blind Side, Touched with Fire,13 Going on 30. Television: The Mentalist and The Mysteries of Laura.

DAVID COSTABILE (PADDY, ENSEMBLE) has appeared on Broadway in Titanic (directed by Richard Jones); Translations (dir. Garry Hynes); Caroline, or Change; and The Tempest (both directed by George C. Wolfe). Off-Broadway, his credits include The Curious Case of the Watson Intelligence (Playwrights Horizons); Mr. Marmalade (Roundabout); Caroline, or Change (Public); The Winter’s Tale (CSC); Carnival, and Can-Can (both for Encores! at New York City Center); Two Gentlemen of Verona, Henry V (1996 and 2003), and Troilus and Cressida (all for the Public/New York Shakespeare Festival). Regionally, he has worked at the Williamstown Theater Festival, McCarter Theater, Ahmanson Theatre, and Westport Country Playhouse. He co-wrote and starred in The New Bozena, a post-modern clown show, which played OffBroadway at the Cherry Lane Theater and the Hudson Theater in Los Angeles. Some of his film appearances include Steven Spielberg’s Lincoln, 13 Hours, Runner, Runner, Side Effects, and Solitary Man. Some of his favorite TV appearances are Breaking Bad, The Wire, Damages, The Office, Flight of the Conchords, Suits, Low Winter Sun, and The Cleveland Show among others. You can currently catch him as Mike‘Wags’ Wagner on Showtime’s Billions.

PHIL HILL (GORILLA, ENSEMBLE) has danced in Protein’s Big Sale, Richard Lord’s Duets For Small Spaces, Adventures in Motion Picture’s Edward Scissorhands, Cinderella, Swan Lake, Highland Fling and Nutcracker, Lloyd Newson’s Mazzeppa and Ariodante, Aletta Collins’s Carmen & Alistair Fish, V-tol’s 32 Feet per Second per 10

Second and Dansproduktie’s Space, Colour & Stamina. He has choreographed for operas and has taught classes, workshops, and run projects for over twenty-five years, working with all ages all over the globe. He also ran a company (JumpStartMove) that worked with marginalized young people. He has worked and consulted in film and TV across the world as a range of different creatures for 20 years.

COSMO JARVIS (PRISONER, ENSEMBLE) is an English-American actor who first appeared on screens in 2012 as Todd, a 20-year-old man with learning difficulties in BBC 4’s black comedy The Naughty Room. 2015 saw Jarvis play the lead role in feature film Monochrome directed by Tom Lawes. Other credits include British spy film MI-5 (Spooks: The Greater Good), Mirko Pincelli’s The Habit of Beauty, Hunter Killer (2017) action thriller directed by Donovan Marsh, Alex Garland’s sci-fi drama feature Annihilation (2017), BBC drama My Mother and Other Strangers, science fiction television series Humans season 2 (AMC), and the male lead in William Oldroyd’s subversive period drama feature Lady Macbeth (2017).

MARK JUNEK (2ND OFFICER, ENSEMBLE) has credits that include The Performers on Broadway, American Son at the George St. Playhouse, Frankenstein at the Denver Center, The Forgotten Woman at Bay Street Theatre, after all the terrible things I do at Milwaukee Rep, The Vibrator Play at Syracuse Stage, Family Play at The New Ohio, Galileo and A Midsummer Night’s Dream at New York’s Classic Stage Company, Vanya and Sonia and Masha and Spike at Berkeley Repertory Theatre, and The Imaginary Invalid at Bard Summerscape. Television credits include the second season of The Outs, Blindspot, Forever, Smash, and Law and Order: SVU. He is a graduate of Columbia University and The Juilliard School Drama Division, Group 40.

HENRY STRAM (SECRETARY OF A LEFT WING ORGANIZATION, ENSEMBLE) Broadway: The Elephant Man (also Theatre Royal Haymarket, London), Inherit The Wind, The Crucible (2002) and Titanic.

Off-Broadway: The School for Scandal (Red Bull); Posterity (Atlantic); Fly by Night (Playwrights Horizons); The Cradle Will Rock (Encores Off Center); Charles Ives Take Me Home (Rattlestick); Antony and Cleopatra (Public and RSC Stratford UK); The Illusion (Signature); See What I Wanna See and A Bright Room Called Day (Public); The Heart is a Lonely Hunter (NY Theater Workshop); Septimus and Clarissa (Ripetime); Unwrap

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your Candy and Christina Albert’s Father (Vineyard); Eddie Goes to Poetry City, The Mind King and My Head Was a Sledgehammer (Ontological-Hysteric). Film: The Greatest Showman, Irrational Man, Submission, Cradle Will Rock, The Grey Zone, Illuminata, Angelica. TV: The Detour, White Collar, Smash, The Americans, Law and Order. He is a graduate of Juilliard and the recipient of an OBIE Award for Sustained Excellence.

JAMAR WILLIAMS (STOKER, ENSEMBLE)

THE OLD VIC (LONDON) is London’s independent not-for-profit theatre, creating world class entertainment on an international scale. Through our eclectic and adventurous work on stage, projects with young people, employability programmes, digital outreach, all-day café and late night cocktail bar, The Old Vic under Artistic Director Matthew Warchus is an exciting and inviting place to be. We trade in creative imagination. It is the commodity that will be most prized tomorrow and the reason why The Old Vic is as vital today as it was in 1818 when it first opened its doors.

Off-Broadway: The Death of the Last Black Man in the Whole Entire World (Signature Theatre), Invisible Thread (Second Stage), Broken Window Theory (Nuyorican). Regional: Cardboard Piano (Humana Festival), Witness Uganda (A.R.T), Hairspray and The Piano Lesson, (Santa Rosa Rep). Workshops/Readings: Directors Lab 2016 (Lincoln Center), Kill Floor (LCT3), Choir Boys (MTC).

Tours: Theatre Works USA. Special thanks to God, my mom and sisters, M.A., Nicolosi & Co. I dedicate my work to the eternal memory of my Dad; Thank You for guiding me. Graduate of The University of North Carolina School of the Arts.

ISADORA WOLFE (ENSEMBLE) is from Lowell, Massachusetts. After training with the Boston Ballet, she graduated from New York University with the JS Seidman Award. She was a founding member of johannes wieland and danced under his direction at Staatstheater Kassel (Germany) in 2007, 2014, and 2015. Wieland’s Kurt Joos prize-winning duet shift was created on her, as well as several evening-length works. She has performed nationally and internationally with choreographers such as Gerald Casel, Martha Clarke (Garden of Earthly Delights and Angel Reapers original cast), Mark Dendy, Fiona Marcotty, Neta Pulvermacher, Tami Stronach, Colleen Thomas, and Muna Tseng, among others. Wolfe is the Resident Director for Punchdrunk’s New York City production of Sleep No More, and has been a cast member since 2011.

AMOS WOLFF (STOKER, ENSEMBLE) Broadway/National Tours: Gigi, Chicago, Follies (2011), South Pacific (1st National Tour, Lincoln Center Revival), A Chorus Line (First National Tour, 2008). New York: Carnegie Hall, City Center Encores!, The Signature Theater. Regional: Williamstown Theatre Festival, The Kennedy Center, Goodspeed Opera House, Aslo Repertory Theater, PCLO, The MUNY. TV/Film: Madam Secretary and upcoming independent feature Deadman’s Barstool.

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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 can not 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 drill hall that defy traditional categorization and to 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 and the Artists Studio series in the newly restored Veterans Room. 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 $210-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

PARK AVENUE ARMORY STAFF Rebecca Robertson, President and Executive Producer Pierre Audi, Artistic Director Jenni Bowman, Producer Hanna Brody, Development Assistant David Burnhauser, Collection Manager Courtney Caldwell, Venue Events Manager Leandro Dasso, Porter Khemraj Dat, Accountant John Davis, Facilities Director Jordana De La Cruz, Special Projects Coordinator Mayra DeLeon, Porter Sam DeRubeis, Building Engineer Marcia Ebaugh-Pallán, Manager of Special Events Alexander Frenkel, Controller Lissa Frenkel, Managing Director Melanie Forman, Chief Development Officer Sharlyn Galarza, Education Assistant Peter Gee, Chief Financial and Administrative Officer Pip Gengenbach, Education Coordinator Carlie Guevara, Administrative Assistant, President’s Office Jennie Herreid, Ticket Services Manager Reginald Hunter, Building Mechanic Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Coordinator Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Production Operations Manager Jennifer Levine, Director of Special Events

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Michael Lonergan, Producing Director Wayne Lowery, Security Director Jason Lujan, Operations Manager Aidan Nelson, Production Coordinator Lori Nelson, Executive Assistant to the President Walter Nin, Security Manager Suzanne Onasanya, Special Events Coordinator Drew Petersen, Education Special Projects Manager Maxine Petry, Assistant Director of Development Charmaine Portis, Executive Assistant to the Chief Development Officer Morgan Powell, Membership Coordinator Kirsten Reoch, Director of Design and Construction Erik Rogers, Production Coordinator Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Jennifer Smith, Associate Director of Corporate Relations Tom Trayer, Director of Marketing Chris Van Alstyne, Technical Director Brandon Walker, Associate Technical Director Jessica Wasilewski, Producer Monica Weigel, Associate Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Joshua Zajdman, Press and Editorial Manager Olga Cruz, Mario Esquilin, Carlos Goris, Lina Molina, Josthen Noboa, Candice Rushin, Antonio Sanders Porters

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Spring 2017 Youth Corps Cohort Teja Caban, Chanse Catlyn, Rabia Khan Laraib, Aliyana Martinez, Jason Quizhpi, Darlyana Terrero, David Toledo, Saran Diawara, Anamaria Jovel, Anai Ortiz, Rafael Rosario, Kedesia Robinson, John Colon Rodriguez, Cory Sierra, Jessica Tapia, Keshawn Wallace 2016-2017 Youth Corps Advisory Board Jonatan Amaya, Tanai Estwick, Sharlyn Galarza, Nancy Gomez, Oscar Montenegro, Joanne Pereira Melo, Biviana Sanchez, Guycardine St Victor

STAFF FOR THE HAIRY APE Shayok Misha Chowdhury, Assistant Director Catherine Morgan, Assistant Scenic Designer Paul Hudson, Isabella Byrd, Assistant Lighting Designer Mike Winship, Associate Sound Designer Sara Sahin, Production Assistant Carol Blanco, Company Manager Marissa Hutton, Assistant Company Manager

Teaching Artists Vicki Behm, Kate Bell, Donna Costello, Hawley Hussey, Larry Jackson, Penelope McCourty, Peter Musante, Hector Morales, Amy Neuner, Drew Petersen, Vickie Tanner

Victoria Bek, Costume Supervisor Madeleine Pritner, Assistant Costume Coordinator

Teaching Assistants Emily Bruner, Sean Carvajal, Stephanie Mesquita, Ashley Ortiz, Leigh Poulos, Neil Tyrone Pritchard, Biviana Sanchez, Robert Stevenson, Catherine Talton

Simon Nathan, Audio Supervisor Mark Fiore, Audio Engineer

Sara Donovan, Hair & Makeup Artist

Coral Cohen, House Manager Jonatan Amaya, Lucy Arnerich-Hatch, Rachel Cappy, Wednesday Derrico, Assistant House Managers Kara Kaufman, Box Office Manager Erik Olson, Assistant Box Office Manager Production Acknowledgement Rebecca Habel, Line Producer Joshua Dachs, Fisher Dachs Associates Akustiks, LLC – Paul Scarbrough, Acoustic Consultant Turntable and automation provided by Hudson Scenic Studio, Inc. Scenery refurbishment and new scenery constructed and painted by Daedalus Design and Production Inc. Special effects props by Jauchem and Meeh, Inc. and Lydic!

Design and Production.

Other props by All of the Things Lighting Equipment by PRG Sound equipment by PRG and Audio Production Services, Inc. Rehearsed at the New 42nd Street Studios 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 FLEXN EVOLUTION

of interactive film, and inventive music to consider the ways in which we reconstruct and deal with traumatic life events.

Soprano Miah Person sings live, combined with replayed loops of herself and the voice of baritone Roderick Williams in 3D film to create haunting musical passages and ensembles and, in the process, an entirely new form of opera.

MAY 18–21

“…[a] searing example of dance as protest” — The Boston Globe FLEXN testifies and bears witness to a surging movement in America that will not be turned back and cannot be ignored.

With power, grace, soul, and sheer exhilaration, love and justice are explored in a variety of electrifying flex dance techniques and powerful personal narratives. After dazzling audiences in 2015, this thrilling group of dance innovators returns to the Armory with directors Reggie “Regg Roc” Gray and Peter Sellars for an evolved version of their original production that showcases the unquenchable energy and blazing focus of this contemporary dance form.

HANSEL & GRETEL JUNE 7–AUGUST 6

“[Herzog & de Meuron] are always dedicated to enlarging experience where others would flatten it… They are champions of nuance” — Architectural Review “…it is the essence of Ai’s activism:…work that unleashes the political power of art.” — The Guardian (UK) In a new commission that is both object and environment, this spectacular installation by Pritzker Prize-winning architects Jacques Herzog and Pierre de Meuron with artist/ activist Ai Weiwei explores the meaning of public space in our surveillance-laden world, referencing the story of Hansel and Gretel in which the children lose their way and feel a sense of menace in a space they know and trust.

BLANK OUT SEPTEMBER 21–25 & 27

“A wonderfully fluent and effective piece of music theatre” — The Guardian (UK)

RÉPONS OCTOBER 6–7

“It’s gritty and rigorous, but also sumptuous and fanciful– the sheer visceral excitement of being caught in the middle was like nothing else in music.” — The New York Times Rarely staged in concert halls given its unconventional configuration of the space, Pierre Boulez’s spatial masterwork is written for and realized at the Armory by Ensemble intercontemporain and conductor Matthias Pintscher, who perform this emblematic work twice in succession each evening, with the audience changing seats in between to gain a new sonic perspective. This remarkable presentation marks the first performance in New York of a major work by Boulez since his death in early 2016.

KANATA DECEMBER 5–19

“Known as the alchemist of modern imagistic theatre, Robert Lepage is one of the most challenging and chimeric directors of our time.” — The Guardian (UK) Director, playwright, and actor Robert Lepage melds his creative vision with the legendary theater ensemble Le Théâtre du Soleil, marking the first time that its founder Ariane Mnouchkine has invited an outside director to work with her troupe, for an epic new work commissioned by the Armory that explores the treatment of the indigenous people of Canada. Making its world premiere, this three-part theater piece combines deeply personal stories and collective memory to find a shared humanity.

Based on the life and work of South African poet Ingrid Jonker, this groundbreaking work by innovative composer and creator Michel van der Aa combines live action, innovative techniques 14

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ARTISTS STUDIO

RECITAL SERIES

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.

Experience enchanting musical moments in the most personal of settings, including the recital debuts of opera greats as well as the next generation of brilliant singers, thoughtfully curated programs of both lieder and contemporary works, and electrifying performances by musical luminaries that take their intrepid artistry in thrilling new directions.

UPCOMING EVENTS: RYUICHI SAKAMOTO April 25—26 LAWRENCE BROWNLEE, tenor MYR A HUANG AND JASON MOR AN, piano

August 9—11 R ASHA AD NEWSOME November 7 JO LAWRY AND KAVITA SHAH November 21

UPCOMING EVENTS: WU MAN AND THE SHANGHAI QUARTET June 20–21 LAWRENCE BROWNLEE, tenor MYR A HUANG & JASON MOR AN, piano August 9 – 11 SABINE DEVIEILHE, soprano ANNA LE BOZEC, piano October 1 – 3 PATRICIA KOPATCHINSKAJA, violin JAY CAMPBELL, cello October 9 – 10 BARBAR A HANNIGAN, soprano REINBERT DE LEEUW, piano November 16 – 18

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OTHER HAPPENINGS AT THE ARMORY INTERROGATIONS OF FORM: CONVERSATION SERIES

ARTISTS-IN-RESIDENCE

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

UPCOMING EVENTS: CONFRONTATIONAL COMEDY Monday, May 22 at 7:00pm Following a sold-out event in 2016 headlined by Hari Kondabolu, Confrontational Comedy returns to the Armory featuring an afternoon of comedy sets performed by challenging and relevant comedians and a conversation highlighting the power of humor to confront stereotypes and engage audiences around uncomfortable topics.

HANSEL & GRETEL THE COUR AGE OF ART SYMPOSIUM Wednesday–Saturday, June 7–10 ARTIST TALK Wednesday, June 7 at 6:00pm Jacques Herzog, Pierre de Meuron, and Ai Weiwei discuss the inspirations, ideas, and creative process behind their latest collaboration.

The symposium continues with artists, activists, academics, and journalists responding to the artistic collaboration by engaging in a series of debates about the role of artists as catalysts for change. Participants to be announced.

MALKIN LECTURE SERIES

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.

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.

HISTORIC INTERIORS TOURS

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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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 performace artist Tania Bruguera, composer and guitarist Marvin Sewell, and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray.

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.

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JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP

BENEFACTOR $1,000

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, updates as of April 25, 2016:

FRIEND $100 $70 is tax deductible

» Members only pre-sale access for Armory performances » Invitation to the opening night preview for visual art installations » Free admission for you and a guest to Armory visual arts installations » Discounts at local partnered restaurants and hotels » 10% discount on merchandise sold during Armory performances

SUPPORTER $250 $200 is tax deductible

All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Free admission for you and a guest to guided tours of the Armory*** » Discount on tickets to the Malkin Lecture Series* » Discount on tickets to Artist Talks and Public Programs*

$200 is tax deductible

All benefits of the Associate membership plus: » Recognition in Armory printed programs » No wait, no line ticket pick up at the patron desk » Handling fees waived on ticket purchases* » Invitation to a private Chairman’s Circle event for you and a guest » Two complimentary tickets to the Under Construction Series, Recital Series, or Artists Studio*

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, access to priority seating and the Armory’s concierge ticket service.

AVANT-GARDE The Avant-Garde is a new membership group designed for supporters in their 20s and 30s, providing exclusive access to the Armory and its artists through events designed specifically for this group.Each membership applies to one household, and one membership card is mailed upon membership activation.

ASSOCIATE $500

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

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**

For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812

$200 is tax deductible

*Subject to ticket availability **Certain restrictions apply ***Reservations required

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BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson

Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Martin Brand Cora Cahan Peter C. Charrington Hélène Comfort Paul Cronson Emme Levin Deland Sanford B. Ehrenkranz David Fox

Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary T. Kush Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross Gwendolyn Adams Norton Joel Press Genie H. Rice

Amanda J.T. Riegel Janet C. Ross Joan Steinberg Emanuel Stern Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck

Sonya Bebber and Martin Brand Wendy Belzberg and Strauss Zelnick A. Cary Brown and Steven Epstein Elizabeth Coleman Hélène and Stuyvesant Comfort Emme and Jonathan Deland Krystyna Doerfler Olivia and Adam Flatto Anita K. Hersh

Wendy Keys Ken Kuchin and Tyler Morgan Chad A. Leat Aaron Lieber and Bruce Horten Christina and Alan MacDonald Elizabeth and Frank Newman Janet and David P. Nolan Gwen and Peter Norton Slobodan Randjelović and Jon Stryker

Richard and Amanda J.T. Riegel Susan and Elihu Rose Susan Rudin Joan and Michael Steinberg Liz and Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach Richard and Franny Heller Zorn

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

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

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 + Charina Endowment Fund 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*

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The Zelnick/Belzberg Charitable Trust Anonymous $500,000 to $999,999 Lisa and Sanford B. Ehrenkranz 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 Bloomberg Philanthropies Citi Michael Field Olivia and Adam Flatto Ken Kuchin and Tyler Morgan 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 Altman Foundation Linda and Earle S. Altman Booth Ferris Foundation Martin Brand

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The W. L. Lyons Brown Jr. Charitable Foundation Hélène and Stuyvesant Comfort Emme and Jonathan Deland Marjorie and Gurnee Hart Kirkland & Ellis LLP Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. David P. Nolan Foundation 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 Mimi Klein Sternlicht Mr. and Mrs. William C. Tomson Deborah C. van Eck

$25,000 to $99,999 The Avenue Association Harrison and Leslie Bains Ginette and Joshua A. Becker Emily and Len Blavatnik Emma Bloomberg and Chris Frissora BMW of Manhattan Carolyn S. Brody Noreen and Ken Buckfire Janna Bullock The Cowles Charitable Trust Mary Cronson / Evelyn Sharp Foundation Caroline and Paul Cronson Ellie and Edgar Cullman Drake / Anderson Stuart J. Ellman and Susan H.B. Ellman The Emma and Georgina Bloomberg Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Mr. and Mrs. Martin Geller Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Golub Captial LLC Agnes Gund Mr. and Mrs. Andrew Gundlach Mr. and Mrs. Mikel Halvorson The Hearst Foundations Josefin and Paul Hilal Daniel Clay Houghton Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Wendy Keys La Perla Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation Andrea Markezin and Joel Press Cindy and David Moross National Endowment for the Arts National Philanthropic Trust New York State Council on the Arts Elizabeth and Frank Newman Stavros Niarchos Foundation Slobodan Randjelović and Jon Stryker The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Rebecca Robertson and Byron Knief Jack and Susan Rudin The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Skadden, Arps, Slate, Meagher & Flom LLP

Sanford L. Smith Sarah Billinghurst Solomon and Howard Solomon Thor Industries, Inc. Tishman Construction, an AECOM Company VIA Art Fund Robert Vila and Diana Barrett Anonymous (2) $10,000 to $24,999 ADCO Electrical Corporation Gina Addeo Benigno Aguilar and Gerald Erickson AR Global Investments, LLC Jody and John Arnhold Sara Steinhardt Berman Debra and Leon Black Marian and Russell Burke Eileen Campbell and Struan Robertson Elizabeth Coleman Con Edison Margaret Crotty and Rory Riggs Krystyna Doerfler William F. Draper Andra and John Ehrenkranz Alicia Ernst and John Katzman Florence Fearrington Fisher Marantz Stone, Inc. Ella M. Foshay and Michael B. Rothfeld Amandine and Steve Freidheim Kiendl and John Gordon Jeff and Kim Greenberg Elizabeth and Dale Hemmerdinger Anita K. Hersh Marlene Hess and James D. Zirin Jil Sander Nancy Josephson William and Elizabeth Kahane Kaplen Brothers Fund Erin and Alex Klatskin Suzie and Bruce Kovner Jill and Peter Kraus Chad A. Leat Leon Levy Foundation Richard H. Levy & Lorraine Gallard Aaron Lieber and Bruce Horten Kamie and Richard Lightburn Lili Lynton and Michael Ryan Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Mr. and Mrs. Michael Newhouse Northern Bay Contractors, Inc. Peter and Beverly Orthwein Joan and Joel I. Picket PBDW Architects LLP Mr. and Mrs. Robert Pruzan

Katharine and William Rayner David J. Remnick and Esther B. Fein Mary Jane Robertson and James A. Clark Mr. and Mrs. Jeffrey Rosen Deborah and Chuck Royce May and Samuel Rudin Family Foundation, Inc. Mr. and Mrs. William Sandholm Oscar S. Schafer Stacy Schiff and Marc de la Bruyere Dr. and Mrs. Thomas P. Sculco Juliet Lea Hillman Simonds Foundation Lea Simonds Sotheby’s Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs The Jay and Kelly Sugarman Foundation Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Barbara and Donald Tober Jane and Robert Toll Mr. and Mrs. Ronald Ulrich Mary Wallach Mike Weil and Shirley Madhere-Weil Isak and Rose Weinman Foundation, Inc. William Morris Endeavor Entertainment Foundation Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Anonymous (2) $5,000 to $9,999 ABS Partners Real Estate, LLC Ark Restaurants Corp.

Milton and Sally Avery Arts Foundation Abigail Baratta Mr. and Mrs. Victor Barnett The David Berg Foundation, Inc. Amy Bermingham and Charles Wilson Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Tom and Meredith Brokaw Veronica Bulgari and Stephan Haimo Amanda M. Burden CBRE Betsy Cohn Sarah and Ronald Collins Mrs. Daniel Cowin Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Constance and Gregory Dalvito Diana Davenport and John Bernstein Antoinette Delruelle and Joshua L. Steiner Jennie L. and Richard K. DeScherer

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Liz Diller and Ricardo Scofidio Jeanne Donovan Fisher Peggy and Millard Drexler Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Ehrenkranz & Ehrenkranz LLP Inger McCabe Elliott Dr. Nancy Eppler-Wolff and Mr. John Wolff The Felicia Fund Barbara and Peter Georgescu The Georgetown Company Debbi Gibbs Richard Gilder and Lois Chiles Mr. and Mrs. David Golub Sarah Gould and David Steinhardt Mindy and Jon Gray Great Performances Jamee and Peter Gregory Gunther E. Greiner Marieline Grinda and Ahmad Deek Deborah Grubman Mr. and Mrs. George Grunebaum John Hargraves Molly Butler Hart and Michael D. Griffin Mr. and Mrs. Lawrence Hite Mr. and Mrs. Daniel Hurwitz Tony Ingrao and Randy Kemper Max MF Power Jacobellis Jennie Kassanoff and Dan Schulman Mr. and Mrs. Richard Katzman Nancy Kestenbaum and David Klafter Mr. and Mrs. Fernand Lamesch Sahra T. Lese Gail and Alan Levenstein Mr. and Mrs. Aaron Levine Judith and Michael Margulies Angela Mariani Diane and Adam E. Max Véronique Mazard and Andrew Vogel Joyce F. Menschel Adriana and Robert Mnuchin Mary Kathryn Navab Nancy and Morris W. Offit David Orentreich, MD / Orentreich Family Foundation Mindy Papp Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Heidi Rieger Jonathan F.P. and Diana Rose Liz Rosen and Michael Rozen Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig H.O. Ruding and Renee RudingHekking

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Mr. and Mrs. Matthew Ruesch Jeanne Ruesch Mr. and Mrs. Jeff Sagansky Caroline Schmidt-Barnett Mr. Leigh Seippel Stephanie and Fred Shuman Sara Solomon Sonnier & Castle Daisy M. Soros Patricia Brown Specter Mr. and Mrs. Jeffrey Stevenson Diane and Sam Stewart Angeline Straka Elizabeth Stribling and Guy Robinson Michael Tuch Foundation Liliana Vaamonde and Richard Pretsfelder Anastasia Vournas and J. William Uhrig David Wassong and Cynthia Clift Kate R. Whitney and Franklin A. Thomas Valda Witt and Jay Hatfield Amy Yenkin and Robert Usdan Anonymous $2,500 to $4,999 Patrick Baldoni, Femenella & Associates, Inc. Tony Bechara Judy and Howard Berkowitz Mr. and Mrs. Robert Birnbaum Cathleen P. Black and Thomas E. Harvey Allison M. Blinken Amy Brown Mr. and Mrs. Donald Calder Alexandre and Lori Chemla Mr. and Mrs. David Cohen Emy Cohenca Mr. and Mrs. Tony Coles Connelly & McLaughlin Creative Artists Agency The Cultivist Sasha Cutter and Aaron Hsu Joan K. Davidson (The J.M. Kaplan Fund) Luis y Cora Delgado Francesca and Michael Donner Mr. and Mrs. Christopher Duda Karen Eckhoff Cheryl and Blair Effron Anne and Joel Ehrenkranz Alice and David Elgart Mr. and Mrs. Jared Feldman Laura Jane Finn Edmée and Nicholas Firth Megan Flanigan Claudia Fleming & George Bitar Melanie and Robert Forman Susan Freedman and Richard J. Jacobs Bart Friedman and Wendy A. Stein

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Teri Friedman Mr. and Mrs. Trevor Gibbons Sylvia Golden Marjorie and Ellery Gordon Elizabeth and David Granville-Smith Mr. and Mrs. Jeff Greene Mr. Jeff Greene and Ms. Kim Lovejoy Roger and Susan Hertog Augusta Hoffman and Jonathan Swygert Caron and Geoffrey Johnson Paul Kanavos and Dayssi Olarte de Kanavos Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Diana King / The Charles & Lucille King Family Foundation Knickerbocker Greys Phyllis L. Kossoff The Ronald and Jo Carole Lauder Foundation Bonnie Englebardt Lautenberg Mr. and Mrs. Thomas Lehrman Levien & Company, Inc. Heather Lubov Luhring Augustine Gallery Mr. and Mrs. Richard E. Mayberry, Jr. Constance and H. Roemer McPhee Mr. and Mrs. William Michaelcheck Sergio and Malu Millerman Claire Milonas Frank Moore Mr. and Mrs. Robert Morse Barbara and Howard Morse Mr. and Mrs. Saleem Muqaddam James C. Marlas and Marie NugentHead Marlas Francesca and Dick Nye Kathleen O’Grady Madison J Papp Elizabeth and Jeffrey Peek George Petrides Joseph Piacentile Marnie Pillsbury Eileen and Tom Pulling Jeff Rabin, TEFAF NY & Michael Plummer, TEFAF NY Frank and Kimba Richardson Susan and Jon Rotenstreich Valerie Rubsamen and Cedomir Crnkovic Bonnie J. Sacerdote Nathan E. Saint-Amand Mr. and Mrs. Matthew Satnick Susan and Charles Sawyers Mr. Paul Scarbrough / Akustiks, LLC. Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Kimia Setoodeh Alan and Sandy Siegel Denise Simon and Paulo Vieiradacunha Stephanie and Dick Solar Mr. and Mrs. Stephen Spahn

Squadron A Foundation Douglas C. Steiner Mr. and Mrs. Tom Strauss Bill and Ellen Taubman Lindsey Turner Mr. and Mrs. Jan van Eck Herbert P. Van Ingen Ambassador and Mrs. William J. vanden Heuvel Susan and Kevin Walsh Mati Weiderpass David Reed Weinreb Jacqueline Weld Drake Katherine Wenning and Michael Dennis Judy Francis Zankel Zubatkin Owner Representation, LLC Anonymous (2) $1,000 to $2,499 Marina Abramović Lindsey Adelman Eric Altmann Steve Bakunas Joslyn Barnes and Anita Nayar The Bay and Paul Foundations, Inc. Norton Belknap Kristine Bell Dale and Max Berger Elaine S. Bernstein Katherine Birch Hana Bitton Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Barbara Brandt Mr. and Mrs. Louis Brause Cora Cahan and Bernard Gersten Chanda Chapin Anna Chapman Shirin and Kasper Christoffersen Alexander Cooper Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Boykin Curry Mr. and Mrs. Charles Daniels Virginia Davies and Willard Taylor Jiggs Davis Suzanne Dawson Mr. and Mrs. Thomas de Neufville Mr. and Mrs. Maurice Deane Richard and Barbara Debs Diana Diamond and John H. Alschuler Hester Diamond Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Marty Eisenberg Amy Grovas Elliott Amy Fine Collins and Bradley Collins Ann Fitzpatrick Brown Paul and Jody Fleming

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Mr. and Mrs. Marc Fox Mr. and Mrs. Scott Gerber Kathleen and David Glaymon Nina Gorrissen von Maltzahn Mr. and Mrs. Peter Greenleaf Jessica Guff Robert H. Haines Lynn and Martin Halbfinger Stephanie Hessler Maria E Hidrobo Kaufman and Gabriel Kaufman William T. Hillman Mr. and Mrs. Michael Ho Susanna Hong Patrick Janelle Jennifer Joel Mr. and Mrs. David Johnson Hilda Jones Mr. and Mrs. Kenneth Julian Hattie K. Jutagir The Kandell Fund / Donald J. Gordon Jeanne Kanders Drs. Sylvia and Byram Karasu Adrienne Katz Margot Kenly and Bill Cumming Lauren Kenny Major General Edward G. Klein, NYNG (Ret.) Gloria and Richard Kobrin Beth Kojima Kate Krauss Mr. and Mrs. Kenneth Krueger Justin Kush Katherine Kwei Polly and Frank Lagemann Nanette L. Laitman Barbara Landau Judith Langer Kate Lauprete Mark and Taryn Leavitt Lexi Lehman Ralph Lemon Phyllis Levin Donna and Wayne Lowery Liz MacNeill Mr. and Mrs. Anthony Mansour Match 65 Brasserie Mr. and Mrs. Patrick McClymont Melissa Meeschaert Mr. and Mrs. Berk Mesta Mr. and Mrs. Anthony Meyer Abby and Howard Milstein Sandra Earl Mintz Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Sue Morris Leslie and Curt Myers Nicholson & Galloway, Inc. Mr. and Mrs. Marvin Numeroff Ellen Oelsner Robert Ouimette Will Palley

Mr. and Ms. Joseph Patton Mr. and Mrs. Brian Pfeifler Mr. and Mrs. Lyon Polk Mr. and Mrs. Joshua Prentice Prime Parking Systems Anna Rabinowitz Mr. and Mrs. Richard Reiss Diana and Charles Revson Michael D. Rhea Rodgers & Hammerstein Foundation Isabel Rose and Jeffrey Fagen Marjorie P. Rosenthal Jane Royal and John Lantis Kathy Ruland Elizabeth Sarnoff and Andrew S. Cohen Pat Schoenfeld Mr. and Mrs. Jonathan Schulhof Marshall Sebring and Pepper Binkley Nadine Shaoul and Mark Schonberger Claude Shaw and Lara Meiland-Shaw Gil Shiva Mr. and Mrs. Michael Shuman Laura Skoler Phyllis Smith Jeremy Snyder and Maggie Nemser Mr. and Mrs. Michael Spies Mr. and Mrs. Benjamin Steiner Colleen Stenzler Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Summit Security Services, Inc. Mr. and Mrs. John Vogelstein Mr. and Mrs. Alexander von Perfall Amanda and John Waldron Claude Wasserstein Lauren and Andrew Weisenfeld Christina Westley Ruth Wilson Reva Wurtzburger Mr. and Mrs. Michael Young Michel Zaleski Mr. and Mrs. Adam Zurofsky Anonymous (5) List as of March 1, 2017 * Deceased

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