Robert Icke's "The Doctor"

THE DOCTOR

ROBERT ICKE

WELCOME

We are excited to welcome director Robert Icke back to the Armory for the North American premiere of his multi-award-winning West End hit The Doctor featuring acclaimed theater and film actor Juliet Stevenson in the title role. Robert is one of Britain’s most celebrated contemporary directors, and we could not be prouder to work with him again to bring this lauded production over from London.

Robert’s writing and adaptation transforms period texts into modern living pieces of art, rendering the plots completely accessible to audiences today. In The Doctor, Robert breathes fresh life into Arthur Schnitzler’s 1912 play Professor Bernhardi, reigniting what was revolutionary and controversial in its day to create a piece seemingly ripped from news today. Robert uses the medium of theater to incite dialogue and argument, drawing audiences into an enthralling moral dilemma around race, religion, science, and gender identity. The result is a compelling work that traces how the collision of personal beliefs reverberates into public conflict in a polarized society. It is a story of our times drawn from one written over 100 years ago.

Juliet leads this stellar cast as Professor Ruth Wolff, a role that earned her the Critics’ Circle Theatre Award for Best Actress and an Olivier nomination for productions at the Almeida Theatre and in London’s West End. The production marks Juliet’s third collaboration with Robert; she previously starred in his Almeida and West End productions of Mary Stuart and Hamlet. We are proud to bring her back to the New York stage for the first time in 20 years to revive this revelatory performance.

NORTH AMERICAN PREMIERE

THE DOCTOR

WADE THOMPSON DRILL HALL

JUNE 3 - AUGUST 19, 2023

Very freely adapted from Arthur Schnitzler’s Professor Bernhardi

Robert Icke Text and Direction

Hildegard Bechtler Set and Costume Design

Natasha Chivers Lighting Design

Tom Gibbons Sound Design and Composition

Anthony Almeida Revival Direction

Casting by Julia Horan, CDG

Additional casting by Jim Carnahan, CSA, and Alexandre Bleau, CSA

featuring

Bernice Brooks aka Miss Boom Boom, Chris Osikanlu Colquhoun, Doña Croll, Juliet Garricks, Preeya Kalidas, Hannah Ledwidge, Mariah Louca, John Mackay, Daniel Rabin, Jaime Schwarz*, Juliet Stevenson, Matilda Tucker, and Naomi Wirthner

Wyn Williams Company Stage Manager

Monica Trabucchi Deputy Stage Manager

Shana Ferguson* Stage Manager

Originally produced by the Almeida Theatre and produced in the West End by Ambassador Theatre Group Productions. UK General Management by Anthology Theatre.

This performance is approximately 2 hours and 45 minutes with one 20-minute intermission.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SPONSOR

PRODUCTION SPONSOR

Support for Park Avenue Armory’s artistic season has been generously provided by The Thompson Family Foundation, the Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Shubert 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 Marc Haas Foundation, the Prospect Hill Foundation, the Reed Foundation, Wescustogo Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, Gregory Annenberg Weingarten, GRoW @ Annenberg, The Emma and Georgina Bloomberg Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support for this program is provided, in part, by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature as well as the New York City Department of Cultural Affairs in partnership with the City Council.

The Doctor is made possible by a generous grant from The Roy Cockrum Foundation.

Cover image: Miles Aldridge.

THE DOCTOR IN CONTEXT:

ARTHUR SCHNITZLER AND HIS MEDICAL DRAMA PROFESSOR BERNHARDI

Doctors have appeared as characters in plays since late medieval times and were for centuries stereotyped as ineffectual comic figures, lewd and prone to drunkenness, touting bogus cures and enriching themselves at the expense of credulous patients. As medicine became more scientific, scope for satire remained, but doctors increasingly came to stand for common sense and common humanity. Since the later 19th century, the theater (and latterly also film and television) has shown us not only the doctor-patient relationship and the ethical dilemmas of clinical practice but also the institutional politics of the hospital. As a free adaptation of Arthur Schnitzler’s much-debated medical drama Professor Bernhardi (1912), Robert Icke’s The Doctor continues this tradition. In both plays the title figure, an eminent physician of Jewish descent, denies a Catholic priest access to a patient who is dying of sepsis following an unregulated abortion. The following four acts chart the personal and political fallout from that confrontation, asking whether it is possible for medicine to uphold a rational, humanist world-view that transcends identity politics. Despite the intervening century, both Schnitzler and Icke answer by presenting medical institutions riven by racial and religious differences, antisemitism, careerism, and political intrigue.

While Icke writes from a contemporary British perspective, Arthur Schnitzler was at once a major figure of European modernism and a quintessentially Viennese writer. He was born in the city in 1862, and it remained his home until his death in 1931. The topography of Vienna and its distinctive landmarks feature prominently in his work, together with a broad cross-section of its late 19th- and early 20th-century inhabitants—including, in Professor Bernhardi, fictional representatives of its medical establishment. Other identity markers that one might attach to Schnitzler are less neat. He was a doctor-writer, ultimately choosing a literary over a medical career but unmistakably influenced by his medical training. And, as he asserted in December 1914, he was “a Jew, an Austrian, a German.” Like the hyphenated compound “doctor-writer,” the juxtaposition of Jewish heritage, Austrian citizenship, and German culture speaks of complex and potentially conflicted private and public identities.

The Schnitzlers were a medical family. Arthur’s maternal grandfather had been a doctor; his father, Johann Schnitzler, was an eminent laryngologist; his brother, Julius, became a surgeon; and his sister,

Gisela, married her father’s protégé, Markus Hajek, whose patients were to include Sigmund Freud and Franz Kafka. It was taken for granted that Arthur would study medicine, and he duly qualified in 1885, subsequently becoming his father’s assistant; however, working in hospitals exacerbated his tendency to hypochondria, and he was never entirely committed to either clinical practice or medical research. Having started to publish poems in the 1880s, he wanted to be a professional writer and, after his father’s death in 1893, he resigned his post.

As a doctor-writer Schnitzler brought not only insider knowledge of the Viennese medical milieu but also a distinctive skill set to his literary work. Training in rational, evidence-based diagnosis can be applied to both literary characters and broader social ills, while writing medical case histories encourages clarity of expression and scrupulous attention to detail. As he admitted in his posthumously published autobiography, My Youth in Vienna , he was far more interested in afflictions of the mind than in those of the body, an interest rooted “not so much in medicine proper as in their poetic or literary character.” Indeed, the idea that literary diagnoses can be as insightful as medical ones was acknowledged by Freud, who in 1922 described Schnitzler as his Doppelgänger, a literary double who had achieved through intuition what he, Freud, had accomplished through painstaking clinical research. In his early work, Schnitzler directed his diagnostic gaze primarily towards the private sphere and its social regulation. Plays and stories depict love relationships and erotic encounters that frequently cut across the boundaries of social class, notably in his breakthrough play Liebelei (1895; Englishlanguage versions include Dalliance and Sweet Nothings) and in the scandalous sexual daisy chain Reigen (1900, known internationally as La Ronde).

Professor Bernhardi, completed in 1912, confounded expectations. There is no love interest, one female character (in a minor role), and only one moment of dramatic action—the confrontation between doctor and priest. Although the play draws on elements of Johann Schnitzler’s biography (like Bernhardi he co-founded a charitably funded hospital in 1872), the depiction of Viennese public life is more reflective of the early 20 th century, when Professor Bernhardi took shape. By then the liberals were a spent force in Austria’s parliament,

overwhelmed by the rise of radical mass parties on the right and left, and by the resulting climate of intolerance and intransigence; political language was often divisive and intemperate; and antisemitism was becoming increasingly commonplace. Coincidentally, these were the years when Adolf Hitler was eking out a living in Vienna. Resolving in 1909 to continue writing his “doctors play,” Schnitzler noted in his diary that he could work into it “a lot of his disgust” at contemporary public life.

Professor Bernhardi is not, however, a straightforward “state-of-thenation” play, any more than The Doctor conclusively takes sides. Schnitzler was too much of an individualist and saw too many complexities to write unequivocally in the service of any political cause. His title figure insists that he merely did what he believed to be right in a particular circumstance and rejects all attempts to politicize his case. In his obstinacy, Bernhardi becomes comic—indeed, Schnitzler privately termed the play a “comedy of character.” Attempts to read Professor Bernhardi as a state-of-the-nation play are also frustrated by Schnitzler’s refusal to use illness as a metaphor. This stance contrasts with Ibsen’s Enemy of the People (1882)—another “doctor play” with which Professor Bernhardi is often compared—where the contaminated water source becomes a rather obvious metaphor for political corruption. In Professor Bernhardi, the many references to syphilis—which, like the thematization of Alzheimer’s disease in The Doctor, remind us what is medically at stake—never become explicit symptoms of broader social malaise, and the young woman dying of sepsis (the word literally means putrefaction) remains as much an individual patient as a symbol of “something rotten” in the state of Austria.

Schnitzler may stop short of making Professor Bernhardi an obvious state-of-the-nation play, but the Austrian censor recognized the potential and refused to license it for performance, with documentation later released citing as the main reason Schnitzler’s unflattering depiction of Austrian public life. Professor Bernhardi was first performed not in Vienna but in Berlin, on November 28, 1912. Against fierce Catholic and antisemitic opposition, Schnitzler’s cause, like that of his title figure, was taken up, in Austria’s parliament and in the press, by liberal and left-wing groups. The irony was not lost on Schnitzler. In a letter of October 1913, he admitted somewhat

sheepishly: “It has always been in my nature not to walk in step with others, even when I find myself sharing the path with friends.” Despite their efforts, the Viennese premiere of Professor Bernhardi had to wait until December 21, 1918. As Schnitzler remarked in a letter to his boyhood friend Eugen Deimel, who had emigrated to New York in 1882: “It took the fall of the House of Habsburg, the defeat of Austria, and a Revolution—to make that [production] possible. Somewhat costly, you’ll say, and rightly so.” The events of 1918 were to change radically what it meant to be Austrian, accelerating a process that was ultimately to deny Jewish citizens the right to identify as German and brutally suppress the Jewish contribution to cultural and intellectual life in the German-speaking world.

Professor Bernhardi reached New York whilst the play was still banned from performance in Austria. The Irving Place Theatre mounted a production for the city’s German-speaking community in January 1914, reviving it in March 1918, despite wartime antiGerman sentiment. An abridged translation by “Mrs Emil Pohli” (Kate Pohli-MacLoed) appeared in American bookshops in 1913 and was re-issued by Haldeman-Julius in the iconic “Little Blue Book” series in 1925. The new title, The Anti-Semites, makes clear which aspect of the play’s identity politics came to the fore. Thereafter the impetus switched to London, as a complete translation, produced for the Jewish Drama League in 1927, was taken up Simon and Schuster in America the following year. Readings of this text paved the way for the first English-language production, staged in London in 1936 and directed by Schnitzler’s son Heinrich. The uncertain months following the Nazi annexation of Austria in March 1938 saw Heinrich Schnitzler, who had secured American visas for himself and his family, negotiating feverishly to restage Professor Bernhardi in New York. His efforts came to naught and, aside from Vienna’s Burgtheater guesting at City Center in 1968, Schnitzler’s play has not been seen in the city since 1918.

UNRAVELLING UNCONSCIOUS BIAS

We are often told to trust our own instincts. “Listen to that feeling in the pit of your stomach,” we are reminded. We might think that our gut instinct is just an inner feeling—a secret interior voice—but in fact it is shaped by a perception of something visible around us, such as a facial expression, a tone of voice, or a visual inconsistency so fleeting that often we’re not even aware we’ve noticed it. We all rely so much on our first impressions of others. The way they look, the way they talk or walk, how tall they might be, what clothes they wear, whether they have a beard or not, whether they have tattoos or piercings, what accent they have, what religion they belong to, we quickly slot people we meet into the boxes and labels we have created in our brains. These are the mental models of the world we have formed as we have navigated through it since our early childhood, a sort of template that acts as a guide for us to quickly make sense of people and situations, and we match any incoming new information to these existing templates, much like a “visual matching game” we played as children.

A stressed, rushed, or tired person is more likely to resort to this visual matching. When they see a situation in front of them, they quickly match it to a sea of past experiences stored in a mental knowledge bank and then, based on a match, they assign meaning to the information in front of them. Social norms also underlie our gut instinct about people. Our default bias is associated with these social norms. Often bias is created when a particular object or person does not meet the normative standards in society, and our instinct is to view them with suspicion and to alienate or stigmatize them. Our beliefs and attitudes towards others can arise in two different ways as a result of two different processes: usually, there is the implicit or unconscious process (System 1), and the explicit or more conscious process (System 2), to exercise our cognitive rational thinking. System 1 is rapid, more subjective, and value-, context- and domainspecific. System 2 is more controlled. When we are rushed, stressed, and relying on gut instinct there is no time to deploy the slower and more deliberate System 2, and we are more likely to fall back on our implicit biases.

Often our perceptions of the world go unchallenged, being shaped by what we hear and see around us, what kind of people we interact with, what the political messaging is, what the media, magazines, newspapers tell us. And we selectively choose people’s attributes that confirm our existing stereotypes. It is too uncomfortable and tiring

to shift our mindsets; it is much less cognitively taxing to stick with what we have always believed in.

The philosopher Karl Popper proposed that there is a tendency to confirm a hypothesis rather than falsify it, and so if—because of a prior experience or because of what you have read in books and research— you already believe that men are better at reading maps than women, then you might place greater importance on any “evidence” that supports what you already believe, and rate it more relevant, rather than focus on facts and evidence that help you disprove this bias. In an election, people will seek out information that confirms their favored candidate as the best. They have a bias towards a particular candidate because they might have similar beliefs as theirs, or because of their race or gender. They might even seek “proof” that further backs up this belief while discounting examples that don’t support the idea. Unfortunately, this stops them from making an informed and rational decision. We are motivated to protect our own existing views, also called my-side bias. Often, people refer to this as “trusting their gut.”

Humans are not naturally rational. Information overload is exhausting and confusing for us, so we filter out the noise. We only see parts of the world. We tend to notice things that are repeating, whether there are any patterns or outliers, and we tend to preserve memory and prevent cognitive overload by generalizing and resorting to type. We bullet-point our memories, draw conclusions from sparse data and use cognitive shortcuts to create a version of reality that we implicitly want to believe in. Once this reduced stream of information comes in, we connect the dots, fill in the gaps with stuff we already think we know, and update our mental models of the world. But when this happens, we can sometimes filter out information that would help us make rational, logical, and unbiased decisions, and we are more likely to imagine connections and information that reinforce the biases we carry.

Humans form in-group/out-group associations, drawing lines where none exist. We want to feel a sense of belonging, and so we are likely to conform to the wider view of those who are part of our in-group, those membership groups that we feel most affinity with, and those we consider to be instrumental in defining our identities, e.g., people who are of the same race or gender or support the same football team or political party. And then we favor the in-group members but perceive

the out-group people as a single homogenous mass and more likely to stereotype them. We find it easier to ignore the quirks and foibles of those who we consider to be in-group, and more likely to discriminate against those that are “outsiders”: we are evolutionarily designed to see them as threat, and often these differences and memberships and affinities can be shaped by polarized political messaging. Divide and rule has worked for a long time.

Technology is not bias-free either. It can be sexist, racist, ableist, ageist. Using technology and AI isn’t the panacea to resolving or bypassing our implicit biases. Instead, they imitate the biases of the design team and wider society, they inherit the biases in the dataset they have learned and trained on, and they bring these biases to the decision-making process. If the design team is not diverse, they have cognitive blind spots. The team is unlikely to even consider the lack of inclusivity or the bias they are embedding in the technology they are creating.

We often think that unconscious bias only covers race and gender, but it is far more pervasive than that. Disability, sexuality, body size, religious affiliation, political association, profession, and so on all influence the assessments we make of people and form the basis of our relationship with others and the world at large. Stand-up comedians often exploit our unconscious biases to deliver effective punchlines, testing our implicit bias through the use of paraprosdokians —a figure of speech that allows a speaker to play with expectations, to introduce new meanings by tapping into our tendency to form quick judgements and biases. For instance, Groucho Marx said, “I’ve had a perfectly wonderful evening; but this wasn’t it.” See what he did?! We assume he is talking about this particular evening, but of course he isn’t. He moves away from the cliché and delivers the punchline, testing our implicit bias. In producing meaning, the paraprosdokian goes beyond our expectations of language, with the joke resolving only when we find the right framework in which to interpret it. Then there’s a “click” and realization of an incongruity, and we have the sudden shift in perspective.

This is “Incongruity Resolution Theory,” where manipulations of our mental categories and schemas—processes of which we are not consciously aware—are given an off-beat spin. A play like The Doctor also does this. Here this creates discomfort and irony, when we suddenly become aware of how much we have relied on our own

unconscious biases. In other circumstances it can have significant social consequences, since in normal everyday situations we rarely have the opportunity to resolve the incongruities.

Numerous studies and datasets have beyond doubt shown that disparity and inequality exist, and it is difficult to explain this from a purely structural point of view without considering implicit bias and prejudice. I believe that psychological bias and societal norms and practices interact to create inequities, and neither is more significant than the other; rather they act together to create outcomes that are different in different contexts.

Understanding more about unconscious bias is not going to magically fix all the injustices in the world. But, if we start becoming more aware of our unconscious bias and what triggers when we are most vulnerable to it, we will become more attuned to the consequences of externalizing our unconscious biases in the form of behavioral outcomes. And if we actively exercise strategies to mitigate and counter our unconscious biases, we can hopefully finally put a dent in them.

In examining our internalized implicit biases and stereotypes, reflecting on them, flipping, a knowledge framework is being created within which we start holding people morally responsible and accountable for their implicitly held beliefs and any prejudicial and discriminatory actions resulting from this bias. We can do this while not attributing bias to these individuals, so that the focus remains on the harmful effect of their actions rather than the focus being primarily on making the biased individual feel guilty or legally responsible for their unconscious biases. Then again, as soon as we become aware of our beliefs and stereotypes but do nothing to minimize them, we are completely morally responsible for any actions that result from such stereotypical beliefs.

Pragya Agarwal is a behavioral and data scientist, Professor of Social Inequities and Injustice in the UK, a Fulbright scholar, and author of Sway: Unravelling Unconscious Bias (2020, Bloomsbury) that examines the scientific, technological and societal basis- and impacts-of bias from an intersectional perspective. © Pragya Agarwal, printed with permission.

NAVIGATING CIRCLES

EXPLORING ARTISTIC EXPRESSION WITH ARMORY ARTS EDUCATION

PROGRAMS

The circles we encounter in our lives can provide great comfort—our inner circle of friends, moments that come full circle, and even, in a very meta way, the circle of life. But the circles that audiences encounter in Robert Icke’s The Doctor seem to strike a different tone. Here, we see people either literally running in circles or standing frozen while the world literally circles around them. Here, what’s perceived as your inner circle can be used against you. Here, arguments circle around and around with no resolution. Today’s young people are intimately familiar with the kind of ever-spinning circle of conflict depicted in The Doctor. They have grown up with the internet and its comment threads, and they have witnessed demands for accountability being used as weapons against meaningful and important discourse. But this familiarity and their associated ability to deftly navigate these spirals may also mean that they are the ones in the best position to find a new way forward. The Armory’s Arts Education programs support young people’s advocacy for change by offering art—both the consuming and the making of it—as a way to get to the root of the issues they hope to address.

Arts Education at Park Avenue Armory provides unique artistic engagements and educational programming free of charge to New York City public school students, offering opportunities for students to think creatively and trust their own aesthetic judgments, while encouraging the arts as an avenue for personal experience, reflection, and expression. Approximately 400 New York City public high school students dove into The Doctor through the Armory’s ProductionBased Program, attending a student-only matinee at the end of the school year. Pre-visit workshops used embodied text from the script to explore the concepts of ethics and identity prior to seeing the show, with students thinking about what it means to be “right” and who gets to choose that, and how one’s identity (individual and group; chosen and assigned) impacts that equation. In post-show workshops, students used different art forms to think creatively about how the arts can be an antidote to life’s more menacing circles by forging the human-to-human relationships necessary to navigate the complexities of life. Additionally, through the Armory’s Partner School Program—

which offers long-term, customized residencies that support school curriculum and community goals at eight current partner schools— creative writing students from Vanguard High School used The Doctor (and the Armory’s previous production of Alexander Zeldin’s LOVE ) as inspiration for a spring semester project. Students identified connections between the two plays and created digital zines featuring dance and original poetry that focused on the underpinning call for radical love and hope found in the two productions.

The Armory’s Youth Corps Program offers paid and closely mentored internship programs for students ages 16-25+. This summer, High School Youth Corps interns are creating art that explores ethical dilemmas, inspired by The Doctor. As participants work towards their culminating project, they are interrogating the ethical and moral dilemmas that most interest them through arts-based activities, trips, and robust discussions. This project starts with students seeing Icke’s play and engaging with members of the creative team to understand the concept, artistic choices, and creative process that led up to this work. Additionally, they are experiencing art outside of the Armory that further tasks them to investigate ethical and moral dilemmas that exist in our world. With this foundation, they are collaborating over the course of the summer to produce their own site-specific performance and visual installations that they are sharing at the end of the program.

Circles may be the strongest shape in nature, but that quality also means that cycles can be the hardest patterns to break. Arts Education programs at Park Avenue Armory offer young people in New York City opportunities and agency to explore artistic expression as a way to move away from the ongoing circular fight—that right vs. wrong, me vs. you, us vs. them—and explore the possibilities that are only found in the middle. Because once you can acknowledge that instead of a narrow ring there can be a full sphere with its “technicolour, thousand-fold complexity,” you can start to find the “silver bullet ” of hope that Ruth speaks of in the play; hope for cycles to shift, common ground to be found, and communities to connect.

CAST IN ORDER OF APPEARANCE

Juliet Stevenson Ruth Wolff

Juliet Garricks Charlie

Daniel Rabin Murphy

Jaime Schwarz* Junior

Naomi Wirthner Hardiman

Chris Osikanlu Colquhoun Copley

John Mackay Father

Doña Croll Cyprian

Matilda Tucker Sami

Mariah Louca Roberts

Preeya Kalidas Flint

Hannah Ledwidge Drummer and Additional Sound Compositions

Bernice Brooks aka Miss Boom Boom† Alternate Drummer

† Jun 28; Jul 1 mat, 8 mat, 12, 15 mat, 19, 22 mat, 26, 29 mat; Aug 2, 5 mat, 9, 12 mat, 16, 19 mat

UNDERSTUDIES

Jonathan Fielding* Father, Murphy

Isuri Wijesundara* Sami, Junior, Flint

Dee Nelson* Ruth, Roberts

Darlene Hope* Cyprian, Hardiman, Charlie

Yao Dogbe* Copley

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Mangers in the United States.

OTHER HAPPENINGS

ARTIST TALK: THE DOCTOR

Thursday, June 29 at 5:30pm

Playwright and director Robert Icke discusses the process of creating the play and its relevance for New York audiences today.

ARMORY AFTER HOURS

Join us after select evening performances for libations at a special bar in one of our historic period rooms.

TOUR THE ARMORY

Get an insider’s look at the Armory with a guided walking tour of the building. Explore from the soaring 55,000-square-foot Wade Thompson 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.

CREATIVE TEAM

ROBERT ICKE (TEXT AND DIRECTION)

Robert Icke is a writer and director. His recent productions include Judas, Children of Nora , and Oedipus at Internationaal Theater Amsterdam; Enemy of the People (Park Avenue Armory); Animal Farm (UK Tour); and The Doctor (Adelaide Festival/Almeida/West End/Burgtheater Vienna). His work while Associate Director at the Almeida (2013-19) included adapting and directing The Wild Duck, Mary Stuart (also West End/national tour), Uncle Vanya , Oresteia (also West End/Park Avenue Armory), and 1984 (co-created with Duncan Macmillan, also Broadway/West End/national and international tours). As a director, his productions included Hamlet (also West End/ BBC2/Park Avenue Armory), The Fever, and Mr Burns. His awards include two Evening Standard “Best Director” Awards, the Critics’ Circle Award, the Kurt Hübner Award for his debut production in Germany, and the Olivier Award for “Best Director” for Oresteia , of which he is the youngest ever winner. He is a Fellow of the Royal Society of Literature.

HILDEGARD BECHTLER (SET AND COSTUME DESIGN)

Select theater: Arcadia , Primo, Hedda Gabler, The Seagull (Broadway); The Sunshine Boys (LA); After the Dance (Olivier Award); Iphigenia at Aulis (Evening Standard nom.); Hansard , Antony and Cleopatra (Royal National Theatre); Top Hat (Olivier nom.), Old Times, The Crucible, The Master Builder, The Misanthrope, Consent (West End); Krapp’s Last Tape with Harold Pinter (Royal Court); Private Lives (Donmar); Four Quartets with Ralph Fiennes (West End, film). With Robert Icke: Hamlet, Oresteia , Enemy of the People (Park Avenue Armory); Oresteia (Olivier nom.), Hamlet, Mary Stuart (Almeida/ West End); The Doctor (Almeida/West End/Internationaal Theater Amsterdam/Burgtheater Vienna); Uncle Vanya (Almeida); Oedipus, Kinderen van Nora , Judas (Internationaal Theater Amsterdam). Designs for opera and ballet include: productions for Opéra National de Paris, Salzburg Festival, Santa Fe Opera, La Scala, Royal Opera House; world premieres of The Exterminating Angel (Met Opera) and The Cellist (Royal Ballet/Zurich Ballet). Bechtler won the Australian Green Room Award for Lady Macbeth of Mtsensk (Sydney Opera House).

NATASHA CHIVERS (LIGHTING DESIGN)

Her extensive work in theater includes Prima Facie (West End/ Broadway); SYLVIA , The American Clock (Old Vic); Enemy of People (Park Avenue Armory); Kan Ya Ma Kan (Riyadh); Message in a Bottle, Electric Hotel , Gravity Fatigue (Sadler’s Wells); Drive and Live : La

Bohème (ENO); The Doctor, Hamlet, Oresteia (Almeida/West End/ Park Avenue Armory); Oedipus (Toneelgroep Amsterdam); The Antipodes, Statement of Regret (National Theatre); Allelujah! (The Bridge Theatre); 1984 (West End/Broadway); Electric Counterpoint, Strapless (Royal Ballet); Green Snake (National Theatre of China); Macbeth (Broadway); Sunday in the Park with George (West End). She has won both Olivier and UK Theatre awards and received a Drama Desk nomination in 2018 for 1984 on Broadway. She was nominated for 2023 Olivier, Drama Desk, and Tony awards for Prima Facie.

TOM GIBBONS (SOUND DESIGN AND COMPOSITION)

Theater includes: Grey House, West Side Story, Who’s Afraid of Virginia Woolf? (Broadway); Best of Enemies (West End/Young Vic); Hamlet, Oresteia (Park Avenue Armory/Almeida Theatre/West End); Animal Farm (UK tour); All About Eve (West End); Cabaret (Göteborg Opera); Judas, Oedipus, The Doctor (Internationaal Theatre Amsterdam); The Antipodes, Home, I’m Darling, People, Places and Things (Olivier Award for Best Sound Design), Hedda Gabler, The Red Barn (National Theatre/West End); The Doctor, Wild Duck (Almeida/ West End); Madness of King George III (Nottingham Playhouse); The Crucible (Theatre Basel/Broadway); 1984 (Almeida/West End/ Broadway); Fanny a nd Alexander, The Lorax (Old Vic); A View From the Bridge (Young Vic/West End/Broadway); Obsession (Barbican); Happy Days, Disco Pigs (Young Vic); White Devil , As You Like It (RSC); Translations, Plenty (Sheffield Crucible); After Life, Romeo & Juliet (Headlong); Lion Boy (Complicite); Henry IV, Julius Caesar (Donmar/St Ann’s Warehouse); The End of History, Pah La , Goats (Royal Court).

ANTHONY ALMEIDA (REVIVAL DIRECTION)

Anthony Almeida is the only director to have won both the RTST Sir Peter Hall Director Award and the European Opera Director Prize. Last year, Almeida made his debut at The Royal Opera House, Covent Garden, directing a double bill of Stravinsky’s Mavra and Schönberg’s Pierrot Lunaire ; and was also nominated for Rising Star at the International Opera Awards. Other opera includes: Brecht and Eisler’s Die Maßnahme (Birmingham Opera Company). He will direct a new production of The Turn of the Screw for the Royal Danish Opera this fall. Almeida was awarded the 2021 Genesis Kickstart Fund Grant, nominated by the Almeida Theatre, where he has a new production in development. Other theater includes: Cat on a Hot Tin Roof (Leicester Curve/Liverpool Everyman and Playhouse/English Touring Theatre), for which he was nominated for Best Director at The Stage Debut Awards.

TD MOYO (RESIDENT DIRECTION, UK)

TD Moyo is a director, writer, acting coach, and South London activist who believes in theater’s capacity to illicit genuine change and social reform. As director: Chicken Burger and Chips (Brixton House); Karmen (Opera Holland Park); Love & Money (LAMDA); Mami Wata , Kind Regards (Royal Opera House); Caste-ing (Noveau Riche/Barbican); Dark & Lovely (Rose/Kingston); 32 Peak St. (Tristan Bates); Fifty Years (Theatre Royal/Stratford East); Mind Body & Soul (Bussey Building). As writer/director: Don’t Kill Kola , FEELS (Lyric/Hammersmith); Jungle (Courtyard); Scene (UK tour). As associate/resident/assistant director: The Doctor (Duke of York/ International tours/Almeida/Adelaide Festival); Blues for an Alabama Sky, AFTERLIFE (National); Mad House (Ambassador); MUM (Soho/Theatre Royal Plymouth); The Knife of Dawn (Royal Opera House); Beyond the Cannon (RADA); Scenes with Girls (Royal Court); The Diary of Anne Frank (Headlong); For Black Boys Who Have Considered Suicide (Apollo Theatre). Moyo is Artistic Director of Mwarsha Featre and holds a Masters in Contemporary Performance Practice from University of Kent.

MIRANDA CORNELL (RESIDENT DIRECTION, US)

Park Avenue Armory: Enemy of the People (assistant director to Robert Icke). She has directed and developed work with the Roundabout Underground, Ma-Yi Theatre Company, Playwrights Realm, Yale Summer Cabaret, Mercury Store, The 24-Hour Plays, The Brick, Leviathan Lab, the Asian American Arts Alliance (A4), New Ohio/Ice Factory, NYMF, and various colleges and universities around the country. As associate/ assistant director: The Outsiders (La Jolla Playhouse/pre-Broadway labs), Kristina Wong, Sweatshop Overlord (NYTW/La Jolla Playhouse/Portland Center Stage/Center Theatre Group), Dear Evan Hansen (Broadway/ North American tour), Park Avenue Armory, The Public, McCarter, and The TEAM. Cornell was the 2020 Van Lier Fellow in Theater at A4, a member of the Roundabout Directors Group (Cohort 2), and is a current 2050 Artistic Fellow at NYTW. BA: Vassar College.

JULIA HORAN, CDG (CASTING, UK)

Recent theater: The Wife of Willesden , Pass Over (Kiln); Macbeth, The Duchess of Malfi, The Doctor, Three Sisters, The Wild Duck, Machinal , The Writer, Oil , Uncle Vanya , Game, Mr Burns (Almeida); Summer and Smoke, Mary Stuart, Chimerica (Almeida/West End); The Inheritance (Young Vic/Noel Coward/Ethel Barrymore); The Jungle (Young Vic/ Playhouse/St Ann’s/Curran); Yerma (Young Vic/Park Ave Armory); A View From The Bridge (Young Vic/Wyndhams/Broadway); Blood Wedding, Jesus Hopped the A Train , Fun Home, Life of Galileo, Once in a Lifetime, Blue/Orange, Ah, Wilderness, Happy Days (Young Vic); Appropriate (Donmar); All About Eve (Noel Coward); Harry Potter and The Cursed Child (Palace Theatre/Lyric Theater); Hamlet (Barbican); Clybourne Park, Tribes, Adler & Gibb, Birdland (Royal Court); The Nether (Royal Court/West End); The Events (ATC/Young Vic/NYTW); A Doll’s House (Young Vic/West End/BAM). Recent Film/TV: The Exception; Departure ; The Read , Together, Hamlet, Why It’s Kicking Off Everywhere (BBC); The Trial – A Murder in the Family (C4).

JIM CARNAHAN CSA (CASTING, US)

Jim Carnahan, CSA has cast over 150 Broadway shows. Current Broadway: New York, New York ; A Doll’s House ; A Beautiful Noise ; Leopoldstadt ; Funny Girl ; Harry Potter ; and Moulin Rouge!. Upcoming Broadway includes: Merrily We Roll Along. Recent Broadway includes: Take Me Out ; Almost Famous ; Caroline, or Change ; Lehman Trilogy Recent London includes: Lemons, Lemons, Lemons, Lemons, Lemons (Harold Pinter); Best of Enemies (Noel Coward); Eureka Day (Old Vic); Mad House (Ambassadors); The 47th (Old Vic). Off-Broadway includes: Merrily We Roll Along (NTYW); Little Shop of Horrors (Westside Theatre). Television/Film: Ari Aster’s Beau is Afraid ; John Mulaney & The Sack Lunch Bunch (Netflix); The Seagull ; A Home At The End Of The World ; Flicka ; and Glee (Emmy nom).

WYN WILLIAMS (COMPANY STAGE MANAGER)

Off-Broadway: The Jungle (St. Ann’s Warehouse/Shakespeare Theatre Company, DC). West End: To Kill a Mockingbird, Anything Goes, The Inheritance, The Ferryman, Charlie and the Chocolate Factory, Women on the Verge of a Nervous Breakdown, The Commitments, Sweet Bird of Youth (Old Vic), Constellations, Admissions, Jumpy, Democracy, All New People, School of Rock, The Dumb Waiter, Art. Off-West End: My Brilliant Friend (National Theatre). Regional/Touring: Sunny Afternoon, Strictly Come Dancing, Corrie!, We Will Rock You. International: The Doctor (Adelaide Festival), Corrie! (New Zealand). Film: Romeo & Juliet (National Theatre Film). MA: Roehampton (Creative Writing). BA: Aberystwyth (Drama).

MONICA TRABUCCHI (DEPUTY STAGE MANAGER)

Monica Trabucchi is a Deputy Stage Manager, originally from Italy, with several years of experience in touring, West End, and regional productions, in both plays and musicals. Previous shows include the UK tour of Animal Farm (also directed by Robert Icke), the world premiere of Trouble in Butetown at Donmar Warehouse (London), Billionaire Boy (based on the children’s book by David Walliams) on tour and at the Garrick Theatre (West End, London), and the West End transfer of The Doctor. This is her first time in New York, and she’s thrilled to spend the summer working at Park Avenue Amory.

SHANA FERGUSON* (STAGE MANAGER)

Select credits include Broadway/National Tours: Harry Potter and the Cursed Child (San Francisco), Beautiful – The Carole King Musical , Hadestown , Motown the Musical , Living On Love. Off-Broadway: Emilie: La Marquise du Châtelet Defends Her Life Tonight, Play On! Shakespeare, Trip of Love, Songbird , Bedbugs!!!. New York: Cabin in the Sky (New York City Center Encores!), Here’s Hoover ! (Abrons Arts Center). Regional: Room Service (Westport Country Playhouse), Double Trouble, The BFG, James and the Giant Peach (Imagination Stage). Proud alumna of the University of Maryland.

COMPANY

BERNICE BROOKS AKA MISS BOOM BOOM (ALTERNATE DRUMMER)

Bernice Brooks is a drummer, producer, and teaching artist. A versatile female drummer who performs locally, nationally, and internationally, she has honed her skills from performing across a variety of genres, including blues, rock, gospel, and jazz groups, with tap dancers, for commercials and theater, as well as on many recordings. She has performed with Elvis Costello, Taylor Mac, Shelia E, Gregory Hines, and many more. She is to have had the honor to perform with the Berlin Philharmonic Orchestra and to have received a “Cultural Community Leadership Citation” from the New York City Council.

CHRIS OSIKANLU COLQUHOUN (COPLEY)

With Robert Icke: The Doctor, Mary Stuart (Almeida, West End). Select theater: Yellowman (Young Vic); Simply Heavenly (West End); Comedy of Errors, Moby Dick, King Lear, The Tempest, The Merchant of Venice (RSC); Troilus and Cressida (Shakespeare’s Globe); A Midsummer Night’s Dream (Regents Park); The Thief of Baghdad (Royal Opera House); Saint Joan (National Theatre); The Lion King, The Color Purple, Five Guys Named Moe, Ain’t Misbehavin , Angels in America . The Believers (Frantic Assembly). Film: iBOY, O Happy Day. Select TV: The Man Who Fell to Earth, Sandman , Absentia , Fleabag, Law and Order, Casualty.

DOÑA CROLL (CYPRIAN)

Doña Croll has been acting for over 47 years. Recent theater: Marjorie in Home (Chichester); John of Gaunt (Globe Theatre); Lady Catherine de Bourgh (Regents Park); Kate Keller (Royal Exchange); Juanita in Heresy of Love, Mrs. Quickly (RSC); Maria in Twelfth Night (Sheffield Crucible); Anastasia in Elmina’s Kitchen (National/ Garrick); Olivia in The American Plan (Bath Theatre Royal); Mrs. Overdone in Measure for Measure (Plymouth Theatre/tour); Gloria/ Mother Theresa in The Last Days of Judas Iscariot (Almeida); Cleopatra in Anthony and Cleopatra (Talawa). Television includes: The Long Song, West of Liberty, Dr. Who, Death in Paradise, Ice Cream Girls, The Shadow in the North. Film includes: Mr. Malcom’s List, Eastern Promises, Hallelujah Anyhow, Manderlay, Mammoth.

YAO DOGBE* (U/S COPLEY)

Yao Dogbe (he/him) is a first-generation Ghanaian American actor and activist for African cultural and dialectical authenticity on stage and film for the African diaspora. Off-Broadway: Nollywood Dreams. Tours: Othello, Love’s Labour’s Lost (Montana Shakespeare in the Parks); Prince Caspian: The Chronicles of Narnia , Christmas

Carol (Hampstead Stage Company). Regional: Nollywood Dreams, Ohio State Murders (Round House Theatre); Fly (Capital Repertory Theatre); Intimate Apparel (Northlight Theatre); Routes ( Remy Bumppo Theatre Company). Shakespeare roles with Shakespeare Theatre Cmpany, Chicago Shakespeare Theater, and the Houston and Utah Shakespeare festivals. Other: Everett D. Mitchell Documentary, “Homebound” web series. MFA Acting, University of Houston; BFA Fine Arts/Graphic Design, Norfolk State.

JONATHAN FIELDING* (U/S FATHER, MURPHY)

Jonathan Fielding is an actor, writer, and co-founder of the Harbor Stage Company on Cape Cod. On Broadway he has appeared in The Play That Goes Wrong, Noises Off, The Seagull, and Pygmalion; other recent credits include projects at The Old Globe (Time and the Conways), The Pool (The Ding Dongs), Penguin Rep (Greetings!), and Amphibian Stage (Northside Hollow, Artist Descending a Staircase). Film and Television credits include Castle Rock (Hulu), Law and Order: SVU (NBC), and Gotham (Fox). He is delighted to work at Park Avenue Armory and join this incredible company. MFA, Rutgers University.

JULIET GARRICKS (CHARLIE)

Training: ALRA, London. Theater credits include: The Doctor (West End/Broadway). Film and television credits include: Murder They Hope (UK TVGold), Reliable Witness (NFTS), Phallacy (Academy Films), South Facing (Cooc Productions).

DARLENE HOPE* (U/S CYPRIAN, HARDIMAN, CHARLIE)

Perhaps best known as the title character in A Visit from Aunt Flo, the Cannes Lion Award-winning viral video that has received over three million views, worldwide, Darlene Hope has toured extensively throughout the US, South America, and the Caribbean combining her bright and captivating performances with philanthropy, humanitarian relief, and young artist mentorship. Off-Broadway: Sistas the Musical, Normalcy. Select regional: Oregon Shakespeare Festival, Chicago Shakespeare Theater, Alabama Shakespeare Festival, Asolo Rep, George Street Playhouse, Shakespeare Theatre of New Jersey, Miami New Drama, Norwegian Cruise Lines. Film/TV: Halston, The Blacklist, Blue Bloods, FBI, God Friended Me, Strut, Commedia By Fava, Don’t Shoot the Messenger

PREEYA KALIDAS (FLINT)

Stage credits: original London production, Priya in Bombay Dreams; The Narrator in Joseph and His Amazing Technicolor

Dreamcoat; Bend It Like Beckham: The Musical (Olivier nominated); Patty di Marco in Original London Production School of Rock; Miss Hedge in Everybody’s Talking About Jamie; Oxford Street (Royal Court); Khandan (Birmingham Rep/Royal Court); Chiaroscuro (Bush Theatre); The Good Life (Theatre Royal); The Doctor (West End). Film credits: Bend It Like Beckham; The Three Musketeers; Four Lions; Paso Doble; Jump Boy TV credits: Bodies, Mistresses, Eastenders, Banglatown Banquet, Doctors, Casualty, New Blood, Hotel Babylon (BBC); Bollywood Carmen (BBC3); Mister Eleven (ITV); Britz (C4).

HANNAH LEDWIDGE (DRUMMER AND ADDITIONAL SOUND COMPOSITIONS)

Hannah Ledwidge is a talented multi-instrumentalist, music producer, educator, and entrepreneur. She has performed at several top venues including Wembley Stadium and Jazz Café. She has worked with Robert Icke, Tom Gibbons, Almeida Theatre, ThisEgg Theatre, Ambassador Theatre Group, Deborah Frances White, and London Sync Ltd, to name a few. Her versatility has seen her play and compose music genres from gospel to punk rock to Jazz. Ledwidge’s sound is a unique blend of cinematic and perfectly fused drum patterns. Ledwidge is the cofounder of Adlib Music Ltd; she is a born leader and endeavors to liberate her creativity through her individuality.

MARIAH LOUCA (ROBERTS)

Theater includes: The Doctor (Almeida Theatre/Adelaide Festival/West End); Best Of Enemies (Young Vic/West End); Maryland (Royal Court/Battersea Arts Centre); The Ministry Of Lesbian Affairs (Soho Theatre); Queer Upstairs (Royal Court); Cherry Jezebel (Liverpool Everyman); All Mod Cons (Lyric, Belfast); Tuesdays At Tesco’s, Bloom, Blossom, Bloom (Southwark Playhouse); Bumps (Theatre503); The Vagina Monologues (Theatre Deli, Sheffield); The Interview (The Mono Box @ The Biscuit Factory); Julius Caesar, Playing For Time, A Dream, The Sheffield Mysteries, 20 Tiny Plays About Sheffield (Sheffield Crucible). TV includes: Eastenders, Casualty, Waterloo Road, Doctors (BBC). Film includes: Re-displacement (short).

JOHN MACKAY (FATHER)

Theater includes: The Doctor (West End); Home (Chichester Festival Theatre); Richard II, Machinal, Oresteia (Almeida); Occupational Hazards, Wild, Drawing the Line, 55 Days (Hampstead Theatre); The Sewing Group

(Royal Court); Going Dark, Measure for Measure (Young Vic); Six Characters in Search of an Author (West End). Mackay is an associate artist of the RSC, where he has performed various roles including Agecheek in Twelfth Night, Cassius in Julius Caesar, and Jack Cade and The Dauphin in The Histories Television includes: The Crown, Great Expectations, Dr Who, Nolly, Landscapers, Bridgerton, The Canterville Ghost, Call the Midwife, Black Earth Rising, The Hollow Crown II, The Honourable Woman Films include: Blitz, Living, Judy, Cruella, Ammonite, The Power.

DEE NELSON* (U/S RUTH, ROBERTS)

Dee Nelson appeared in the most recent Broadway revival of The Heiress with Jessica Chastain and David Strathairn, and in the original productions of Stephen Karam’s Sons of the Prophet, Craig Lucas’s I Was Most Alive with You, and Ken Urban’s The A wake Favorite regional roles include Williamina Fleming in Silent Sky, Margie in Good People, Hesione in Heartbreak House, Amanda in The Glass Menagerie, and Hermione in The Winter’s Tale Film and TV: Don’t Look Up, Finestkind, Dexter: New Blood, FBI, Olive Kitteridge, Grey’s Anatomy, Judging Amy, Friday Night Lights, others.

DANIEL RABIN (MURPHY)

Theater: The Doctor, King Lear, Mary Stuart, Hamlet, 1984 (W est End); Pericles, The Winter’s Tale, King John, Tis Pity She’s a Whore, Antony and Cleopatra, Holy Warriors (The G lobe Theatre); Oedipus (Nottingham Playhouse/Spoleto Festival); Ignorance (Hampstead Theatre); Blue Remembered Hills (Chichester); Th e Bomb (Tricycle); The Great Game ( Tricycle/US t our/Pentagon performances); Sixty Six Books (The Bush); “The Fever Chart” (Trafalgar Studios/Theatre Royal York); Enemy of the People (Arcola Theatre); All Quiet on the Western Front, Chicken Soup with Barley (Nottingham Playhouse); Shoreditch Madonna, Diamond, Jerusalem Syndrome (Soho Theatre). Television: The Royals, Game of Thrones, Ambassadors, Our Men, Murder on the Home Front, Casualty, The Roman Mysteries, Money Can’t Buy You Love.

JAIME SCHWARZ* (JUNIOR)

Previous theater credits: East West Players (CA), Sheen Arts Center (NY). TV: Difficult People, Younger, Jane the Virgin, an d Sorry for Your Loss Education: BFA Acting, Pace University. In addition to acting, Schwarz is a writer and has written, starred in, and produced the short film “On a Scale” making its festival debut this fall. Endless love to their family, friends, MJ Management, and Gersh.

JULIET STEVENSON (RUTH WOLFF)

Juliet Stevenson, CBE, is one of the UK’s finest actresses. Her legendary RSC and NT stage work includes Olivier Award-nominated roles in Measure for Measure, As You Like It, Les Liaisons Dangereuses, Yerma, and Death and the Maiden, which won her an Olivier. Recent theater includes: the title role in The Doctor (Winner, Critics Circle Best Actress Award), Mary Stuart, Duet for One (Olivier nomination), Hamlet (Almeida/West End); Wings, Happy Days (Young Vic). Film appearances include Truly, Madly, Deeply (Winner, Evening Standard BestActress,BAFTAnomination), Emma, BendItLikeBeckham, Mona Lisa Smile, Being Julia, Infamous. She also received three nominations for TV BAFTAs for A Doll’s House, The Politician’s Wife, and Accused and most recently worked on Wolf (BBC1) and The Man Who Fell to Earth (CBS).

MATILDA TUCKER (SAMI)

Matilda Tucker trained at LAMDA. She plays the recurring role of Suzette in Dangerous Liaisons and will be seen in Wonka later this year. She made her West End debut in Robert Icke’s production of The Doctor and is delighted to be reprising the role of Sami in New York. Other theater credits include Gerda in The Snow Queen at Yvonne Arnaud and Sophie in the Queen Theatre’s 10th Anniversary production of The Kitchen Sink. She can be heard on the Centenary Anniversary Recording of T. S. Eliot’s The Waste Land and in Dr Who – God of War for Big Finish.

ISURI WIJESUNDARA* (U/S SAMI, JUNIOR, FLINT)

Isuri Wijesundara (she/her) is a Sri Lankan artist thrilled to be making her Off-Broadway debut with this prestigious company and thought-provoking play. Eternal gratitude to Ammi, Thaththi, Zack, family, and friends for their continued support. To all those who dare to dream! Credits: Little America S2 (lead: Apple TV+); Conjurors’ Club (American Rep); Marjana and The Forty Thieves (Target Margin Theatre); The Crushed Earth (People’s Light); The InBetween (NAATCO); The Promotion (C1 Media). MFA Yale Drama, BFA Adelphi University, LAMDA.

NAOMI WIRTHNER (HARDIMAN)

Naomi Wirthner trained at the Bristol Old Vic Theatre School. Recent theater includes: Paradise, An Evening at The Talkhouse, Marat Sade (National Theatre); The Doctor (Duke of York/Almeida Theatre); Against (Almeida Theatre); Cymbeline, The Taming of the Shrew (Royal Shakespeare Company). Television includes: The Continental , Slow Horses Series 2, Alex Rider Series 1, Fiona’s Stor y. Film includes: The Outrun , The Unlikely Pilgrimage of Harold Fry. Radio includes: Ntombi: Morning Story, Travels in West Africa , Running Dogs Wirthner is the Artistic Director of The Barebones Project. Recent directing credits include: I, Cinna (The Poet) (Unicorn Theatre).

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Mangers in the United States.

PRODUCTION CREDITS

PRODUCTION STAFF

TD Moyo Resident Direction, UK

Miranda Cornell Resident Direction, US

Hector Murray Associate Lighting Design

Johnny Edwards, Andrew Josephs

Associate Sound Design

Kanako Morita Company Manager

Jan Mizushima Assistant Company Manager

Jason Quizphi Production Assistant, Programming

Laura Aupert Assistant Production Manager

Paul Hennessy Production Management, UK

Daniel Walker Lighting Consultant

Carolyn Wong Lighting Supervisor

Carl Whipple Production Carpenter

Justin Hill Deck Carpenter

Stephen Pucci Production Rigger

Dave “Tater” Polato Production Electrician

Laura Howells Lighting Programmer

Christopher Stowell Light Board Operator

James Palmer Deck Electrician, Automation

ALMEIDA THEATRE

The Almeida Theatre makes brave new work that asks big questions: of plays, of theater, and of the world around us. Whether new work or reinvigorated classics, the Almeida brings together the most exciting artists to take risks; to provoke, inspire and surprise our audiences. Since 2013, the Almeida has been led by Artistic Director Rupert Goold and Executive Director Denise Wood. Recent highlights include: Associate Director Rebecca Frecknall’s production of A Streetcar Named Desire (transferred to the West End; nominated for six Olivier Awards, winner of three); Rupert Goold’s productions of Tammy Faye, a new musical from Elton John, Jake Shears, and James Graham (nominated for four Olivier Awards, winner of two); Peter Morgan’s Patriots (Critics’ Circle Theatre Award for Best New Play); Steven Sater and Duncan Sheik’s musical Spring Awakening ; Danya Taymor’s production of Jeremy O. Harris’ “Daddy” ; Yaël Farber’s production of The Tragedy of Macbeth (nominated for the Olivier Award for Best Revival).

Mark Grey Audio Supervisor

Matthew Davis Production Audio

Jeffrey Rowell Head Audio

Walter Tillman Audio Engineer

Robert McGarrity A2

Michelle Bristow Costume Supervision, UK

Victoria Bek Costume Supervision, US

Olivia Rivera, Jazmine Curie Dressers

Daniel Santamaria Production Video

PRODUCTION ACKNOWLEDGMENTS

BNW Rigging; Covey Law; Five Ohm Productions; Mind the Gap; Premier Stagehands; Audio Equipment by Masque Sound; Lighting Equipment by 4Wall Entertainment and PRG Lighting; Rigging Equipment by 4Wall Entertainment; Scenery built by Tom Carroll Scenery; Video Equipment by 4Wall Entertainment; Automation by Hudson Scenic Studios

CASTING

Julia Horan, CDG

Jim Carnahan Casting

Jim Carnahan, CSA; Alexandre Bleau, CSA

Maureen Kelleher, CSA; Jason Thinger, CSA

Joely Garcia

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.

AMBASSADOR THEATRE GROUP PRODUCTIONS

Ambassador Theatre Group Productions is the awardwinning international producing and general management arm of Ambassador Theatre Group. ATG Productions is dedicated to producing critically acclaimed, commercially successful, and creatively ambitious work for the West End, Broadway, and beyond. Productions include: seven-time Olivier Award-winning Cabaret (Kit Kat Club/Playhouse); Pretty Woman the Musical (Savoy/Nederlander/US & UK Tour); A Streetcar Named Desire with Paul Mescal, The Seagull with Emilia Clarke, Dear Evan Hansen (West End); A Doll’s House with Jessica Chastain, Parade, Plaza Suite with Sarah Jessica Parker and Matthew Broderick, Mad House with David Harbour and Bill Pullman, David Byrne’s American Utopia, Caroline, or Change, Sea Wall/A Life, Sunday in the Park with George (Broadway); The Curious Case of Benjamin Button (Southwark); The Wiz (Fox); One Woman Show (Greenwich House/West End); I Should Be So Lucky (UK Tour); Mother Goose with Ian McKellen, The Doctor (Duke of York’s/UK Tour); Cyrano de Bergerac with James McAvoy (West End/Glasgow Theatre Royal/BAM); Betrayal with Tom Hiddleston (West End/Broadway); 9 to 5 the Musical (West End/UK Tour/Australia/South Korea).

ANTHOLOGY THEATRE

Founded by Bob Benton in 2010, Anthology Theatre commissioned, developed, and invested in theater, before relaunching in 2020 as a full-scale production company, producing its own work under Executive Producer Lil Lambley. Following the success of their inaugural production, the 60th Anniversary production of Samuel Beckett’s Happy Days directed by Trevor Nunn (Riverside Studios), Anthology are proud to be producing and managing the adaptation of the BBC comedy series, Bleak Expectations, currently running at the Criterion Theatre in London’s West End. Recent production highlights include: The Collaboration (Manhattan Theatre Club/ Young Vic); the critically acclaimed adaptation of Michael Morpurgo’s The Mozart Question (Barn Theatre/ Cirencester); The Lehman Trilogy (Gillian Lynne); The Great British Bake Off (Noel Coward Theatre); The Two Popes (Royal & Derngate/UK tour) and The Wipers Times (UK tours/Arts Theatre). As Executive Producer and General Manager: Kan Yama Kan (International Tour), and as General Manager: Titanic (UK tour); CAGES (Riverside Studios).

Lil Lambley MD and Executive Producer

Matt Cullum Executive Director

Sarah Murray Associate General Manager

ABOUT PARK AVENUE ARMORY

Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.

The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders around the important issues of our time; and the Malkin Lecture Series that features

BOARD OF DIRECTORS

Chairman Emeritus

Elihu Rose, PhD

Co-Chairs

Adam R. Flatto

Amanda J.T. Riegel

President

Rebecca Robertson

Vice Presidents

David Fox

Pablo Legorreta

Emanuel Stern

Treasurer

Emanuel Stern

presentations by scholars and writers on topics related to Park Avenue Armory and its history. In addition, the Armory also has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices.

The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institution’s artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum. Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals.

The Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.

Marina Abramović

Abigail Baratta

Joyce F. Brown

Cora Cahan

Hélène Comfort

Paul Cronson

Jonathan Davis

Tina R. Davis

Jessie Ding

Sanford B. Ehrenkranz

Roberta Garza

Andrew Gundlach

Samhita Jayanti

Branden Jacobs-Jenkins

EdwardG.Klein, BrigadierGeneralNYNG(Ret.)

Ralph Lemon

Jason Moran

Janet C. Ross

Joan Steinberg

Peter Zhou

Directors Emeriti

Harrison M. Bains, Jr.

Angela E. Thompson

Avant Garde Chair

Adrienne Katz

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

Pierre Audi, Marina Kellen French Artistic Director

PARK AVENUE ARMORY STAFF

Rebecca Robertson Adam R. Flatto Founding President and Executive Producer

Pierre Audi Marina Kellen French Artistic Director

ARTISTIC PLANNING & PROGRAMMING

Michael Lonergan Chief Artistic Producer

Kevin Condardo General Manager, Programming

Rachel Rosado Producer

Samantha Cortez Producer

Darian Suggs Associate Director, Public Programming

Kanako Morita Associate Producer / Company Manager

Oscar Peña Programming Coordinator

ARTISTIC PRODUCTION

Paul E. King Director of Production

Claire Marberg Deputy Director of Production

Nicholas Lazzaro Technical Director

Lars Nelson Technical Director

Aidan Nelson Technical Director

Rachel Baumann Production Coordinator

ARTS EDUCATION

Cassidy L. Jones Chief Education Officer

Monica Weigel McCarthy Director of Education

Aarti Ogirala Associate Director of Education, School Programs

Nadia Parfait School Programs Coordinator

Ciara Ward Youth Corps Manager

Bev Vega Youth Corps Manager

Drew Petersen Education Special Projects Manager

Kate Bell, Emily Bruner, Donna Costello, Alexander Davis, Asma Feyijinmi, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Vickie Tanner Teaching Artists

Wilson Castro, Shar Galarza, Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, Stephanie Mesquita, Paola Ocampo, Amo Ortiz Teaching Associates

Arabia Elliot Currence, Victoria Fernandez, Sebastian Harris, Melissa Velasquez Teaching Apprentices

Kenny Amesquita, Darling Batista, Eden Battice, Victoria Braga Dos Santos

Casey, Britney Carryl, Issbel Collado, Aya Elfatihi, Laisha Estevez, Deborah Figueroa, Annalisa Fortune, Safinaz Ishrar, Alan Munoz, Denivia Rivera, Naomi Santos Youth Corps

BUILDING AND MANAGEMENT OPERATIONS

Jenni Kim Chief Operating Officer

Ashlee Willaman Director of Human Resources

Marc Von Braunsberg Director of Operations and Security

Paul Sutter Director of Facilities and Capital Projects

Chris Sperry Facilities Manager

Williams Say Superintendent

Leandro Dasso, Mayra DeLeon, Mario Esquilin, Jeferson Avila, Olga Cruz, Kariema Levy, Cristina Moreira, Tyrell Shannon Castillo Maintenance Staff

Jason Moran Curator, Artists Studio Tavia Nyong’o Curator, Public Programming

Oku Okoko Director of IT

Ethan Cohen IT Administrator

Bobby Wolf Senior House Manager

Alejandra Ortiz House Manager

Drew O’Bryan Assistant House Manager

Jacqueline Babek, Emma Buford, Sarah Gallick, Daniel Gomez, Eboni Green, Maxim Ibadov, Sandra Kitt, Christine Lemme, Beth Miller, Jon Ovadia, Regina Pearsall, Ava Probst, Shimel Purnell, Gloriveht Ortiz, Eileen Rourke, Heather Sandler, Michael Simon, Kin Tam, Kathleen White Ushers

CAPITAL PROJECTS AND ARCHIVES

Kirsten Moffett Director of Capital Planning, Preservation, and Institutional Relations

David Burnhauser Collection Manager

DEVELOPMENT

Melanie Forman Chief Development Officer

Charmaine Portis Executive Assistant to the Chief Development Officer

Sarah Rodriguez Director of Development

Rachel Risso-Gill Senior Director of Individual Giving

Jennifer Ramon Associate Director of Individual Giving

Chiara Bosco Individual Giving Coordinator

Angel Genares Manager of Institutional Giving

Kelly Carr Associate Director of Special Events

Rose Cole-Cohen Special Events Manager

Michael Buffer Database Manager

EXECUTIVE OFFICE

Lori Nelson Executive Assistant to the President

Nathalie Etienne Administrative Assistant, President’s Office

Simone Elhart Rental Events and Project Manager

FINANCE

Jim McGlynn Chief Financial Officer

Christy Kidd Controller

Khemraj Dat Accounting Manager

Zeinebou Dia Junior Accountant

MARKETING, COMMUNICATIONS, AND BOX OFFICE

Tom Trayer Chief Marketing Officer

Nick Yarbrough Senior Digital Marketing Manager

Allison Abbott Press and Editorial Manager

Joe Petrowski Director of Ticketing and Customer Relations

Monica Diaz Box Office Manager

Ashley Brooks, John Hooper Box Office Leads

Victor Daniel Ayala, Isabelle Graham, Meghan Lara Hrinkevich, Sarah Jack, Tyra Jefferson, Max Komisar, John Henry Malone, Mary McDonnell, Michelle Meged, Elisabeth Oliveri, Maeghan Suzik Box Office Associates

Resnicow + Associates, Inc. Press Representatives

armoryonpark.org

NEXT AT THE ARMORY

MAKING SPACE

SALON: HIDDEN CONVERSATIONS

Sunday, June 18

In celebration of Juneteenth Day, Park Avenue Armory partners with National Black Theatre to illuminate and share the wisdom of the forebearers of culture and society. This event will create cultural awareness and fresh excitement around hidden cultural moments that shaped thoughts, experiences, and visions for the future.

RECITAL SERIES

JULIA BULLOCK, SOPRANO

September 11 & 13

Known for “communicat[ing] intense, authentic feeling, as if she were singing right from her soul” (Opera News), American soprano Julia Bullock returns to the Armory after the North American premiere of Michel van der Aa’s technologically ambitious chamber opera Upload in 2022 for an intimate program in the Board of Officers room that beautifully showcases her versatile artistry and probing intellect.

DOPPELGANGER

September 22 - 28

World Premiere, A Park Avenue Armory Commission

Franz Schubert ’s Schwanengesang (Swan Song) traverses a myriad of emotions, from despair and delusion to ecstasy and love, to form a series of masterful snapshots of all that life can offer. These emotive works are given a thrilling new life in the world premiere of a theatrical staging by Claus Guth. Performed by tenor Jonas Kaufmann with pianist Helmut Deutsch, the heart-melting collection of songs is amplified by additional Schubert repertory, an evocative soundscape, and transformative light and video projections to create a production that is part performance and part installation art. Named for the last song “Der Döppelganger,” in which a soldier comes to terms with death, this Armory commission explores the hunger for life and the idea that death is not a sudden moment but a last journey.

RECITAL SERIES SANDBOX PERCUSSION

October 1 & 3

Sandbox Percussion has established themselves as a leading proponent of this generation of contemporary percussion chamber music, captivating audiences with performances that are both visually and aurally striking while showcasing the imagination, integrity, and courage of their music making. Their unique mix of youthful energy with the precision of a well-established group is on full display in the Veterans Room with a lively program that vibrantly underscores their solid technique, rhythmical musicality, and lively showmanship.

JOIN THE ARMORY

Become a Park Avenue Armory member and join us in our mission to present unconventional works that cannot be fully realized elsewhere in New York City. Members play an important role in helping us push the boundaries of creativity and expression.

FRIEND $100

$64 is tax deductible

• 10% discount on tickets to all Armory tours and performances taking place after September 5th, 2023*

• 20% discount on member subscription packages*

• Invitations to member preview party for visual art installations

• Complimentary admission for two to visual art installations

• Access to the Membership Hotline for ticket assistance

• Discounts at local partnered restaurants

SUPPORTER $250

$194 is tax deductible

All benefits of the Friend membership plus:

• Fees waived on ticket exchanges*

• Two free tickets to Armory Public Tours***

• Invitation to annual Member Event

ASSOCIATE $500

$348 is tax deductible

All benefits of the Supporter membership plus:

• Complimentary admission for two additional guests (a total of four) to visual art installations and member preview party

• Two free passes to annual fairs held at the Armory, such as TEFAF**

• Access to the Patron Lounge at select productions

BENEFACTOR $1,000

$824 is tax deductible

All benefits of the Associate membership plus:

• Recognition in Armory printed programs

• No-wait ticket pick up at the patron desk

• Handling fees waived on ticket purchases*

• Invitation for you and a guest to a private Chairman’s Circle event

• Two complimentary tickets to the Malkin Lecture Series*

CHAIRMAN’S CIRCLE

starting at $2,500

Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building. In grateful appreciation of their support, they are provided unique and exclusive opportunities to experience the Armory and interact with our world-class artists.

AVANT-GARDE

starting at $350

The Avant-Garde is a group for adventurous art enthusiasts in their 20s to early 40s. Members enjoy an intimate look at Armory productions, as well as invitations to forward-thinking art events around New York City.

Each membership applies to one household, and one membership card is mailed upon membership activation.

For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org.

*Subject to ticket availability

For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org.

**Certain restrictions apply

armoryonpark.org

***Reservations required

ARTISTIC COUNCIL

Co-Chairs

Noreen Buckfire

Lisa Miller

Anonymous (2)

Anne-Victoire Auriault / Goldman

Sachs Gives

Abigail and Joseph Baratta

Noreen and Ken Buckfire

Hélène and Stuyvesant Comfort

Caroline and Paul Cronson

Courtney and Jonathan Davis

Jessie Ding and Ning Jin

Lisa and Sanford B. Ehrenkranz

LEGACY CIRCLE

Founding Members

Angela and Wade F.B. Thompson

Co-Chairs

Lisa and Sanford B. Ehrenkranz

Marjorie and Gurnee Hart

PATRONS

$1,000,000 +

Charina Endowment Fund

Citi

Empire State Local Development Corporation

Adam R. Flatto

Marina Kellen French

Barbara and Andrew Gundlach

Anna-Maria and Stephen Kellen Foundation, Inc.

Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc.

Richard and Ronay Menschel

New York City Council and Council Member

Daniel R. Garodnick

New York City Department of Cultural Affairs

New York State Assemblymember Dan Quart and the New York State Assembly

Pershing Square Foundation

Susan and Elihu Rose

The Arthur Ross Foundation and J & AR Foundation

Joan Smilow and Joel Smilow*

The Thompson Family Foundation

Wade F.B. Thompson*

The Zelnick/Belzberg Charitable Trust

Anonymous

The Lehoczky Escobar Family

Adam R. Flatto

Roberta Garza

Lorraine Gallard and Richard H. Levy

Barbara and Peter Georgescu

Kim and Jeff Greenberg

Barbara and Andrew Gundlach

Anita K. Hersh

Samhita and Ignacio Jayanti

Wendy Keys

Kameron Kordestani

Fernand Lamesch

Almudena and Pablo Legorreta

Christina and Alan MacDonald

Lily O’Boyle

Valerie Pels

Amanda J.T. and Richard E. Riegel

Susan and Elihu Rose

Janet C. Ross

Caryn Schacht and David Fox

Brian S. Snyder

Joan and Michael Steinberg

John and Lisa Miller

Emanuel Stern

Jon Stryker and Slobodan Randjelović

Merryl and James Tisch

Saundra Whitney

Peter Zhou and Lisa Lee

The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s outside-the-box artistic programming, Arts Education Programs, and historic preservation into the future.

Members

The Estate of Ginette Becker

Wendy Belzberg and Strauss Zelnick

Emme and Jonathan Deland

Lisa and Sanford B. Ehrenkranz

Adam R. Flatto

Roberta Garza

Marjorie and Gurnee Hart

Ken Kuchin

Heidi McWilliams

Michelle Perr

Amanda Riegel

Rebecca Robertson and Byron Knief

Susan and Elihu Rose

Francesca Schwartz

Joan and Michael Steinberg

Angela and Wade F.B. Thompson

$500,000 to $999,999

Bloomberg Philanthropies

Lisa and Sanford B. Ehrenkranz

Almudena and Pablo Legorreta

The Andrew W. Mellon Foundation

Adam R. Rose and Peter R. McQuillan

Donna and Marvin Schwartz

Emanuel Stern

Anonymous

$250,000 to $499,999

American Express

Abigail and Joseph Baratta

Michael Field

Roberta Garza

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 and Wendy Adams

Linda and Earle Altman

Booth Ferris Foundation

Hélène and Stuyvesant Comfort

Courtney and Jonathan Davis

Jessie Ding and Ning Jin

Howard Gilman Foundation

Marjorie and Gurnee Hart

Samhita and Ignacio Jayanti

Kirkland & Ellis LLP

Leonard & Judy Lauder Fund

Mr. and Mrs. Lester Morse

New York State Assembly

New York State Council on the Arts

Stavros Niarchos Foundation

Donald Pels Charitable Trust

Daniel and Joanna S. Rose

Mrs. Janet C. Ross

Caryn Schacht and David Fox

Stacy Schiff and Marc de La Bruyère

Harold and Mimi Steinberg Charitable Trust

$24,999

Jill and Michael J. Franco

Teri Friedman and Babak Yaghmaie

Kiendl and John Gordon

Ralph and Cornelia Heins

Herzog & de Meuron

Lawrence and Sharon Hite

Kameron Kordestani

Suzie and Bruce Kovner

Fernand Lamesch

Julia Ledda and Hassan Taher

Leon Levy Foundation

Christina and Alan MacDonald

James Marlas

AECOM Tishman

Jody and John Arnhold

Milton and Sally Avery Arts Foundation

Harrison and Leslie Bains

Debra and Leon Black

Emma Bloomberg

Noreen and Ken Buckfire

Tim Cameron

Coach

Ania Coffey

Con Edison

William F. Draper

Martin and Rebecca Eisenberg Foundation

Carla Emil and Rich Silverstein

Caryl S. Englander

Dr. Nancy Eppler-Wolff and Mr. John Wolff

The Felicia Fund

Andrew and Theresa Fenster

Bart Friedman and Wendy A. Stein

Martin and Lauren Geller

Heather & Andrew Georges

The Georgetown Company

Elizabeth and David Granville-Smith

Dedrea and Paul Gray

Great Performances

Guenther Greiner

Allen and Deborah Grubman

George and Patty Grunebaum

Tania Higgins

Claire King

The David L. Klein, Jr. Foundation

Sheila and Bill Lambert

Kate Lauprete

Chad A. Leat

Gail and Alan Levenstein

Shelly and Tony Malkin

Charles and Georgette Mallory

Marian Goodman Gallery

Arthur J. Gallagher & Co

Mr. and Mrs. Matthew McLennan

Joyce F. Menschel

Helen Nash

James and Margo Nederlander

Jesse and Stéphanie Newhouse

Anna Nikolayevsky

Lynn Nottage and Tony Gerber

Arlena Olsten

David Orentreich, MD / Orentreich Family Foundation

PBDW Architects

Susan Porter

Preserve New York, a grant program of Preservation League of New York

Frances A. Resheske

Frank Richardson and Kimbra Wood

Richenthal Foundation

Robert Rosen and Dr. Dale Atkins Rosen

Ida and William Rosenthal Foundation

Valerie Rubsamen and Cedomir Crnkovic

Robyn and Seymour Sammell

Susan Savitsky

Carol and Chuck Schaefer

Sara Lee and Axel Schupf

David Schwartz Foundation Inc.

Matthew and Stephanie Sharp

Lea Simonds

Patricia Brown Specter

Doug C. Steiner

Beatrice Stern

Michael & Allison Stillman

Michael Tuch Foundation

L.F. Turner

Cynthia and Jan van Eck

Alyssa Varadhan

Theodora Velys

Bob Vila and Diana Barrett

Danilovich

David Schwartz Foundation, Inc.

Jennie L. and Richard K. DeScherer

Krystyna Doerfler

Jeanne Donovan Fisher

Peggy and Millard Drexler Family Foundation

Douglas and Susanne Durst

J. Christopher and Violet Eagan

Cristina von Bargen and Jonathan McHardy

Anastasia Vournas and J. William Uhrig

George Wang

Mr. and Mrs. Stanford Warshawsky

Isak and Rose Weinman Foundation, Inc.

Gary and Nina Wexler

Valda Witt and Jay Hatfield

Lisa and David Wolf

and Austin Fragomen

Amandine Freidheim

Eleanor Friedman and Jonathan J. Cohen

Julie Geden

Emanuel E. Geduld

Rosalind and Eugene Glaser

Sylvia Golden and Warren Friedman

Robert and Trudy Gottesman

Robert S. Gregory

Phillip Gulley Ian and Lea Highet

Andrea Hirsch

Johanna Hudgens and Matthew Wilson

Phyllis Hyde

Laura Isenberg

Islam and Fay Sardjono

Jadow Tianyue Jiang

and Leslie Johnson

Kanders Jennie A. Kassanoff and Daniel H. Schulman

Kern

and Jessica Kisling

Klopp

and Judith Krupp

& George Krupp

and Adeline Kurz

and Sara Lande

and Christian Lange

Charitable Trust

Yeux Art Foundation Inc.

Lynton and Michael Ryan

Maslin

B. Matis

and Leni May

and Eduardo Mazzi

D. McCann, MD

McNaughton and Anastasia Antoniev

and H. Roemer McPhee

and Jane Muqaddam

and Curt Myers

and Peter*

(9) $1,000 to $2,499 Diane and Arthur Abbey

Marina Abramovic´ Travis Acquavella Gina Addeo

Benigno Aguilar and Gerald Erickson Eric Altmann

Ksenia Anisimova

Dr. Lora Aroyo

Page Ashley

Catherine S.G. Atterbury

Joe Baio & Anne Griffin

Barbara and Jude Barbera

Laurie G Beckelman

Stefan Beckman

Richard Berndt and Marie-Camille Havard

Elaine S. Bernstein Bluestem Prairie Foundation

Boehm Family Foundation

Maegan Boger

Jill and Sheldon Bonovitz

Polly Shih Brandmeyer

Daniel and Estrellita Brodsky

Spencer Brownstone

Hugh Burns and Molly Duffy

Cora Cahan

Janel Anderberg Callon

Sana Clegg

Christine Connolly

Dr. and Mrs. Bradley A. Connor

Andre Cornelius

Marina Couloucoundis

Sophie Coumantaros

Abby and Andrew Crisses

Austen and Ernesto Cruz

Sasha Cutter and Aaron Hsu

John Charles and Nathalie Danilovich

Richard and Peggy Danziger

Richard and Barbara Debs

David desJardins & Nancy Blachman

Amy and Tony Downer

Eleanor and Jack Dunn

Eamon Early

Marla Eisbruck

Patricia Ellis

& Isabel Wilkinson Schor

Cristina Enriquez-Bocobo

Dasha Epstein

Darice and Jason Fadeyi

Patricia Falkenberg

Mr. and Mrs. Thomas N. Farmakis

Femenella & Associates, Inc.

Walter and Judith Flamenbaum

Frances Fontaine and Anthony Chedid

Melanie and Robert Forman

Kristin Gamble

Sayuri Ganepola and Jeff Kaczynski

Bruce and Alice Geismar

DeNora Getachew

David and Susan Getz

Katja Goldman

Mitch Gordon and Julie Appel

Notoya Green and Fred Mwangaguhunga