Iam pleased to welcome you to the final production of the Armory’s 2025 Season, the North American premiere of The Faggots and Their Friends Between Revolutions, Philip Venables and Ted Huffman’s music-theater adaptation of Larry Mitchell and Ned Asta’s beloved 1977 cult manifesto. Brought to life by a stellar cast of storytellers and musicians, this new work brings us through a kaleidoscopic journey filled with deeply personal vignettes, satire, movement, and music ranging from baroque lute songs to Bossanova.
Huffman and Venables’ creative vision, matched with Mitchell and Asta’s singular source material, is an inspiring refusal of boundaries and genres that finds an ideal home within the Armory’s limitless Wade Thompson Drill Hall. Faggots and Their Friends furthers the Armory’s commitment to supporting works that push audience expectations into new territory and collaboration with artists imagining new paths for storytelling that expand what theatrical and musical performance can be.
Moreover, this work stands as a testament to the healing and joy that can be created through shared community. I hope this evening helps you find inspiration to foster togetherness in your own lives.
Rebecca Robertson
Adam R. Flatto Founding President and Executive Producer
The illustrations in this program were created by Ned Asta, both original works for this publication and original illustrations from the book The Faggots and Friends Between Revolutions.
NORTH AMERICAN PREMIERE THE FAGGOTS AND THEIR FRIENDS BETWEEN REVOLUTIONS
december 2 – 14, 2025
wade thompson drill hall
after the 1977 cult book of fables of the same name by Larry Mitchell and Ned Asta
Philip Venables Music
Ted Huffman Direction and Text
Yshani Perinpanayagam Music Direction
Theo Clinkard Choreography, Costume Design
Rosie Elnile Set Design
Bertrand Couderc Lighting Design
Simon Hendry Sound Design
Scottee Dramaturgy
Tamara Banješević, Valerie Barr, Kerry Bursey, Jacob Garside, Conor Gricmanis, Kit Green, Rianna Henriques, Mariamielle Lamagat, Themba Mvula, Yshani Perinpanayagam, Meriel Price, Collin Shay, Danny Shelvey, Joy Smith, Yandass Company
Produced by Factory International (Manchester) and Park Avenue Armory
Commissioned by Factory International (Manchester); Festival d’Aix-En Provence; Bregenzer Festspiele; Ruhrtriennale; The Southbank Centre; and NYU Skirball; in association with Holland Festival.
Under exclusive licence and courtesy by Nightboat Books, New York
This production runs approximately 90 minutes with no intermission.
The Faggots and Their Friends Between Revolutions is made possible with the support of Andrew Martin Weber and Beejan Land, and Joan Granlund. Additional support is provided by Helen Little.
Leadership support for the Armory’s artistic programming has been generously provided by the Anita K. Hersh Philanthropic Fund, Charina Endowment Fund, Donald A. Pels Charitable Trust, the Pinkerton Foundation, the Starr Foundation, and the Thompson Family Foundation.
Major support was also provided by the Emily Davie and Joseph S. Kornfeld Foundation, the Fan Fox and Leslie R. Samuels Foundation, The Harold and Mimi Steinberg Charitable Trust, the Horace W. Goldsmith Foundation, the Howard Gilman Foundation, the Marc Haas Foundation, The Shubert Foundation, the SHS Foundation, and Wescustogo Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support is provided 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 under the leadership of Speaker Adrienne Adams.
PUBLIC SUPPORT
OTHER HAPPENINGS
ARMORY AFTER HOURS
Join us after evening performances for libations with fellow attendees when the bar remains open in one of our historic rooms in a nod to the salon culture of the Gilded Age. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances.
ARTIST TALK: PHILIP VENABLES & TED HUFFMAN
THURSDAY, DECEMBER 4 AT 6:00PM
The production’s creators are joined in conversation with comedian, musician, and writer Morgan Bassichis and original book illustrator Ned Asta
ARMORY AFTER HOURS:
FOUR LETTER WORDS
FRIDAY, DECEMBER 5
– POST PERFORMANCE
Be a part of a special Armory After Hours where Kit Green and Yshani Perinpanayagam from the cast perform a set of songs from Green’s upcoming album Four Letter Words, a wry, musically diverse collection of songs about survival, love, joy, sex, and finding a way through a complex life with humor and passion.
Available for ticket holders to the Friday, December 5 performance
COMPANY
Tamara Banješević
Valerie Barr
Kerry Bursey
Jacob Garside
Kit Green
Conor Gricmanis
Rianna Henriques
Mariamielle Lamagat
Themba Mvula
Yshani Perinpanayagam
Meriel Price
Collin Shay
Danny Shelvey
Joy Smith
Yandass
LIFE LESSONS:
LARRY MITCHELL AND THE FAGGOTS AND THEIR FRIENDS BETWEEN REVOLUTIONS
The Faggots and Their Friends Between Revolutions is a story about surviving tyranny, and that can take many forms. Published in 1977, this parable about patriarchy takes place in and around the land of Ramrod, whose men make targets of those unlike them—the women, the faggots, the queers, and the queens. Its author, Larry Mitchell, first conceived of this story as a children’s book, but it grew to become a collection of wisdom, a manual of tactics, and a chronicle of the diversity of queer living. Searing in its critical view of power and loving in its embrace of all the ways that the oppressed have learned to endure it, Faggots and Their Friends became a legendary text, long out of print and circulated through dog-eared photocopies until it was republished in 2016 and then again in 2019 to mark the fiftieth anniversary of the Stonewall Uprising.
The story’s characters and texture are drawn from Mitchell’s experience of collective living in the 1970s, and the book was illustrated by his friend Ned Asta. He was a member of the long-running Lavender Hill Commune outside Ithaca, New York, which was composed of queer women, men, and others who branched out from an earlier commune (the 25 to 6 Baking and Trucking Society) of which Mitchell was also a core member. In the day-to-day of living with others, Mitchell saw how the effects of sexism, homophobia, and masculinity shaped their interactions. He was also a sociologist and, during this time, was teaching on Staten Island at Richmond College (now the College of Staten Island). As an activist, longhaired radical, and out gay professor, Mitchell helped build an experimental curriculum at the college. Inspired by feminism and gay liberation, he taught a long-running class on the “Sociology of Men” that took the form of dialogues with students about their life experiences and the ways that the restrictive rules of masculinity burdened—in very different ways—women, men, and others. Taking its cue from feminist consciousness-raising, the course looked at everyday behaviors and the ways they reflected larger power dynamics. That course was developed and taught over the same years that Mitchell was writing Faggots and Their Friends. The book’s generous and often funny fables can be understood as an alternate way of teaching about revolution, responsibility, and community survival. Written with both anger and loving self-mockery, this tale is meant to give insight, sustenance, and hope.
This production of Faggots and Their Friends is the third adaptation of Mitchell’s parable. In 1981, Bil Sheldon, a theater student at Kent State was so excited by the copy a friend from San Francisco had sent him that he staged a reader’s theater version. Mitchell was unaware and only learned about it when he was told by the head of the National Gay Task Force, Lucia Valeska, who happened to be at the university for a conference and saw its single public performance. In the years since, Mitchell’s book continued to inspire as it passed from hand-to-hand, and there are many stories of devotees sharing its wisdom by sitting in a circle reading the text out loud to each other. In 2017, Morgan Bassichis organized a three-part musical adaptation for the New Museum of Contemporary Art that paid homage to this collective practice of reading the text. This production, produced by Park Avenue
Armory and Factory International, premiered at the Manchester International Festival in 2023, and went on to have runs at the Festival d’Aix-en-Provence, Bregenzer Festspiele, Southbank Centre, Holland Festival, and Ruhrtriennale Festival der Künste. Composer Philip Venables and director Ted Huffman reimagined Faggots and Their Friends as a collection of storytellers and musicians gathered to share these tales of community, strife, and survival. Their adaption updates and expands on the narrative of Mitchell’s text, adding new connections to political shifts in recent decades and offering an even more strident call for collective action and mutual support.
David J. Getsy is a writer who pursues histories of queer performance that are in danger of being forgotten, especially from 1970s New York. He is a 2025 Guggenheim Fellow and teaches at the University of Virginia.
‘IT’S
A METAPHOR FOR COMMUNITY, A POLITICS OF PLEASURE, AND THE VALORIZATION OF LOVE’
INTERVIEW WITH PHILIP VENABLES, COMPOSER AND TED HUFFMAN, AUTHOR AND STAGE DIRECTOR
Could you briefly describe the type of artistic collaboration that you’ve been fostering for several years now?
Philip Venables: We met in 2012 but didn’t start working together until 2016. During those first four years, we became fast friends, confiding in each other, sharing our experiences— everything from our work to our desires and heartbreaks—and along the way we discovered that we had very similar tastes in music theatre. That created the basis for our professional relationship.
In 2016, Ted joined me to direct 4.48 Psychosis, a commission I had from the Royal Opera House, based on the Sarah Kane play. The success of that work opened the way for our other projects, including Denis & Katya, The Faggots and Their Friends—we got the idea for each of those projects just a few months apart—and most recently We Are the Lucky Ones.
What I love about Ted’s work, and what resonates with my own, is his desire to create something that comes from the imagination rather than from representation, and something that can be considered from both a formal and narrative point of view. In addition, I appreciate Ted’s pared-back, direct aesthetic—even though I tend to veer more towards kitsch. But he’s very good at bringing me back on track!
Fundamentally, we share a desire for corporeal theater: theater that—through the action, the music and the text—involves the human body and creates a direct human connection with the audience. Even when we’ve employed video and other visual techniques in the past, they’ve never eclipsed our desire to create something that puts one human being in relation to another.
Ted Huffman: All of our early collaborations involved some kind of overt formal experimentation: we were trying to re-think for ourselves the relationship between text, music, and staging.
We both share a strong desire to tell new stories through music. That may seem like an obvious goal, but the opera world has been slow to think of itself as a generator of new stories. And we both tend to approach our work through a political lens, a tendency that shows itself in our choice of content, but also in the form and structure of our pieces. In Faggots, we’ve tried to create a more horizontal stage where the traditional hierarchies between different artists and different artistic disciplines aren’t present. Everyone sings, speaks, acts, dances, and plays instruments—and there isn’t a pecking order between those disciplines, there aren’t soloists and chorus, etc.
We both love what performers bring to the creative process, and we try to create platforms for improvisation and interpretation so that performers have a large degree of agency. A lot of the Faggots score and staging was developed through improvisation with the cast. We’re also both interested, thematically, in the malleability of identity, so performers rarely play fixed roles.
For us, neither the text, nor the music, nor the staging can be an end in itself. All of these elements should push us towards a fourth objective that is both intangible and clearly palpable: to create inside the imagination of the audience. To this end, we acknowledge within our work the theatricality of the situation: performers frequently speak to the audience simply to signify that they are in the same room as the people in the audience. We haven’t been, in these collaborations, particularly interested in representation—in the sense of figuration or illustration- because we feel over-representation deprives the audience of the possibility of completing the work. Instead, we’ve made pieces where boundary between stage and audience is entirely porous, and the work often feels more like a conversation or a ritual than a ‘show.’
Under what circumstances did you discover Larry Mitchell’s work, The Faggots and Their Friends Between Revolutions (1977)? Could you describe it in a few words? And can you tell us what made you want to turn it into a piece of music theater?
Philip Venables: American friends from the Radical Faerie movement sent me a PDF of the book in 2013 or ’14. It immediately resonated with me, but I don’t think I talked to Ted about it until 2017, after 4.48 Psychosis. I can’t remember if I sent it to him because I thought it’d make a good opera or because he’s a fag and I knew he’d love it (Laughs).
Ted Huffman: (Laughs)
Philip Venables: Probably both. And we quickly thought it would make a wonderful project. Ted Huffman: No, it was 2016. Phil turned to me and said, ‘Great material for an opera, isn’t it?’ More as a joke than anything else, because at the time, we never imagined it would be possible to find a producer for a project with that title. And it was only later, after the success of our first projects gave us more confidence, that we thought, ‘Maybe…’
Philip Venables: Yes, the title alone had the potential to halt things immediately.
Ted Huffman: The word faggot was the insult of choice when I was growing up. And of course, throughout history, the word has often been accompanied by physical violence or the threat of it. So Larry Mitchell’s use of the word in a completely different context—the most affectionate and festive context possible—still seems provocative today in its sheer audacity. It’s a way of asserting ourselves as we are, without having to apologize. And this provocation is a form of action - a gesture of reclamation that insists on visibility.
Philip Venables: Larry Mitchell’s book presents a sort of utopia, outlining potential paths for overcoming problems related to how we treat each other and how society treats us in general. These include, in no particular order: love, self-respect and respect for others, a search for allies, origins, resistance, etc. This utopia is presented in our piece through a kind of theatrical game: through singing, dancing, theater, and so on. It’s a metaphor for community, a politics of pleasure and the valorization of love.
How is that reflected in the libretto, the music, and the staging of your piece?
Philip Venables: We’ve tried to bring the book and its messages to life, but—and I often use this image—do it as if we were illuminating a manuscript. We stay close to the book, and the result hopefully feels like a lively narration—like an evening with a fantastic tale.
The music is based on various influences—in particular baroque music and vernacular music, which is traditionally associated with the principle of community, such as folk music. The score provides a ‘skeleton’ and then the artists make it their own, elaborating and embellishing, akin to baroque or folk traditions.
Our goal is not that the cast play a written score perfectly from beginning to end, but rather that moments emerge from material that can be used here and there from different entry points.
Ted Huffman: As Philip said, we stayed very close to the book, also in the text of the libretto. Working with Mitchell’s text is a constant joy and inspiration.
The main liberty I took was writing scenes that project Mitchell’s allegory into the present day (and beyond). Even in this work, I acted like a magpie, borrowing bits and pieces from Mitchell’s text and style in an act of fanboy ventriloquism.
Philip and I often work in opera houses but for this project, we’ve worked with incredible cross-disciplinary institutions like Park Avenue Armory and the originator of the project, Manchester International Festival, who are not only presenting opera in their seasons, but also theater, dance, performance art, and much in between. It’s been important for us to be in these spaces that are intended for wide and varied audience.
Philip Venables: I’d also like to add that, although the starting point for this work is queerness, it’s obviously not just a story about queer people and for queer people. The themes tackled, although viewed through that lens, are universal: they’re the various forms that oppression can take—especially when it originates from capitalism and patriarchal structures—and the ways to break free from them.
Ted Huffman: At the beginning of the book, there’s a passage that says something like ‘Everyone could be a faggot or their friend, and they once were.’ In reclaiming the word faggot, Larry Mitchell also manages to redefine the word, something we have in turn attempted by setting this word musically and theatrically in the most loving contexts possible.
The book is about seeing the world as a whole and understanding that every injustice must be examined and solved together: racism, sexism, the destruction of the environment, economic injustice, and so on. You can’t have one solution without the others. For me, this is one of the most important ideas of the book, especially today. It’s not so much a book about the liberation of gay people, but rather a queer book about the liberation of humanity.
ABOUT THE TEAM
PHILIP VENABLES’S (MUSIC) previous music-theater works, 4.48 Psychosis (2016, text: Kane), Denis & Katya (2019, text: Huffman), The Faggots and Their Friends Between Revolutions (2023, text: Huffman after Mitchell), and We Are The Lucky Ones (2025, text: Huffman & Segal) have been performed by leading companies in London, New York, Paris, Amsterdam, Strasbourg, Manchester, Aix-en-Provence, Dresden, Philadelphia, Hannover, and Montpellier. The operas have won the Fedora Prize, and RPS and Ivor Novello awards, as well as shortlisted nominations for Olivier and Sky Arts South Bank awards. Concert works include Answer Machine Tape, 1987, based on archive material from David Wojnarowicz; My Favourite Piece is the Goldberg Variations (Text: Ted Huffman); a series of pieces based on Numbers by poet Simon Howard; several pieces with drag/performance artist David Hoyle (Illusions, Canal Street); and Venables plays Bartók with violinist Pekka Kuusisto for the BBC Proms. Venables’s debut album Below the Belt was released on NMC in 2018. Other roles include: fellow at Yaddo, MacDowell, and Bogliasco; doctoral composer in residence with the Royal Opera and Guildhall School of Music & Drama; and Associate of the Royal Academy of Music. Venables is represented by OWL Artist Management and published by Opera Edition and Ricordi Berlin.
TED HUFFMAN (DIRECTION AND TEXT) is a writer and director for the stage. He was recently appointed General Director of the Festival d’Aix-en-Provence, succeeding Pierre Audi. Recent directing credits: The Story of Billy Budd, Sailor (Aix), Eugene Onegin (Covent Garden), Street Scene (Paris Opera), L’incoronazione di Poppea (Aix, Versailles, Cologne, Nederlandse Reisopera, Rennes, Toulon, Valencia); world premieres of Stefan Wirth’s The Girl with the Pearl Earring (Zürich) and Kris Defoort’s The Time of our Singing (Brussels, St. Gallen). Original pieces with Philip Venables: We Are the Lucky Ones (Amsterdam, Ruhrtriennale); Denis & Katya (Opera Philadelphia, Amsterdam, Hannover, Montpellier, Music Theatre Wales; 2019 Fedora Generali Prize, 2020 Ivor Novello Award for Stage Work); 4.48 Psychosis (Royal Opera London, Protoype Festival, Opéra national du Rhin; 2016 UK Theatre Award for Opera; nominations, Olivier Award, Royal Philharmonic Society, and Sky Arts South Bank awards). Other past productions: Madama Butterfly (Zürich), Rinaldo (Frankfurt), Salome (Cologne), Arthur Lavandier’s Le premier meurtre (Lille), A Midsummer Night’s Dream (Deutsche Oper Berlin, Montpellier), Il trionfo del tempo e del disinganno (Copenhagen), Luke Styles’ Macbeth (Glyndebourne), Ana Sokolovic’s Svádba (Aix), and Les mamelles de Tirésias (Brussels, Aix, Amsterdam, Juilliard, Aldeburgh). Next projects: The Cunning Little Vixen (Staatsoper Berlin), Werther (Opéra Comique), and Tosca (Glyndebourne). Alumni, Yale and Merola Opera Program. 2017 MacDowell Fellow.
YSHANI PERINPANAYAGAM (MUSIC DIRECTION, PERFORMER) is a pianist, music director, and composer known for the breadth of her artistry across genres and disciplines. She has performed at venues from Wigmore Hall to the London Palladium, at events from Royal Albert Hall’s Lion King in Concert to All Your Bass Festival, and with artists from the Mischief Theatre to Ruthie Henshall. Perinpanayagam is committed to new writing, premiering works including by Charlotte Bray, Hannah Kendall, Claudia Molitor and Alex Paxton, with her own commissioners ranging from London Sinfonietta to diverse theater companies. She is a regular guest broadcaster on BBC Radio 3. Music director/ conductor credits: Opéra de Paris’s Street SceneS (MC93); Emilia (Vaudeville); Showstopper! The Improvised Musical (Lyric); Little Bulb / Royal Opera’s Wolf Witch Giant Fairy (Linbury); Passion (Hope Mill, starring Ruthie Henshall); Circa’s The Return (Barbican); Cheeyang Ng and Eric Sorrels’ Māyā (London industry showcase); Lost Dog Dance’s Goat (Rambert).
THEO CLINKARD
(CHOREOGRAPHY, COSTUME
DESIGN) works as a choreographer, designer, performer, mentor, and teacher, creating works for his project-based dance company and collaborating with artists across film, opera, theater, performance, and television. Works for his dance company include Ordinary Courage, Of Land & Tongue, and This Bright Field, his choreography has also been commissioned by Tanztheater Wuppertal Pina Bausch, Danza Contemporanea de Cuba, and Candoco Dance Company. Movement Direction work includes Aida at København Opera, films Good Luck to you Leo Grande and Jimpa, The Sewing Group at The Royal Court, and Spymonkey’s The Complete Deaths of Shakespeare. As a costume designer, Clinkard has worked with Sydney Dance Company, Skånes Dansteater, Adrian Howells, Bette Bourne, and Scottish Dance Theatre; his collaboration with designer and director Stewart Laing has brought his costumes to Scottish Opera, Opera La Scala, Malmo Opera, and Untitled Productions The Salon Project Associate Artist, Brighton Dome; Honorary Fellow, Plymouth University.
ROSIE ELNILE (SET DESIGN) is a performance designer based in the UK. She was a recipient of the 2020 Jerwood Live Art Fund and runs a course for early career designers in collaboration with the Gate Theatre and Jerwood Foundation. Her work includes: Die Glasmenagerie (Staatsschauspiel Basel); Taming of the Shrew, Titus Andronicus (Shakespeare’s Globe); The Faggots and Their Friends Between Revolutions (Festival d’Aix en Provence); Jason Medea Medley (Staatsschauspiel, Dresden); Goats and Primetime (Royal Court Theatre); Paradise Now! (Bush Theatre); Violet (Britten Pears Arts); Prayer, The Ridiculous Darkness, The Unknown Island, and The Convert (Gate Theatre); Our Town (Regent’s Park Open Air Theatre); The Wolves (Theatre Royal Stratford East); The Mysteries and Drei Schwestern (Royal Exchange Theatre); Abandon (Lyric Hammersmith); and Returning to Haifa (Finborough Theatre).
BERTRAND COUDERC (LIGHTING DESIGN) works across theater and opera. He previously collaborated with Ted Huffman on Mozart’s L’incoronazione di Poppea (Aix-enProvence) and has worked with notable artists such as Patrice Chéreau, Pierre Boulez, Luc Bondy, Barbtas, the Académie équestre de Versailles, Éric Ruf, and Raphaël Pichon, among others. Credits include: Così fan tutte (Aix-en-Provence, Paris Opera); From the House of the Dead (Met Opera, Theater an der Wien, Paris Opera); Charlotte Salomon (Salzburg); Ivanov (Odéon-Théâtre de l’Europe); Davide penitente; La Cenerentola, Manon (Paris Opera); La Vie Parisienne (Théâtre des Champs-Élysées); Tristan and Isolde, Anna Bolena (La Scala); Boris Godunov (Monte Carlo); Die Frau ohne Schatten (Vienna); The Cherry Orchard, Angels in America, Romeo and Juliet, Life of Galileo, Bajazet (ComédieFrançaise); Silêncio (Lisbon); Falstaff (Lille); Night Just Before the Forests; Funeral of Louis XIV (Versailles); Bach’s St John Passion (Paris Philharmonie); Monteverdi Vespers; Mein Traum; Dido and Aeneas; Immersions; Pelléas et Mélisande, Romeo and Juliet (Opéra Comique).
SIMON HENDRY (SOUND DESIGN) is a British sound designer and engineer specializing in orchestral, opera, theater, and contemporary music. Orchestral credits include numerous programs with the London Contemporary Orchestra, BBC Symphony Orchestra, Royal Northern Sinfonia, London Sinfonietta, and the Scottish Ensemble. Opera credits include numerous productions for English National Opera and the Royal Opera House. Theatrical design credits include Broken Wings (Theatre Royal Haymarket), Umm Kulthum (Palladium), and Rumi (Coliseum). Hendry has developed scores for live film screenings including Phantom Thread (Paul Thomas Anderson / Jonny Greenwood) and Eighth Grade (Bo Burnham / Anna Meredith). Hendry is a professional member of the Association of Sound Designers.
SCOTTEE (DRAMATURGY), multi-award-winning, self-taugh artist and broadcaster, makes performance, paintings, and audio often described as political or confronting. He cut his teeth in subsidized art projects at age 14 following school expulsion; supported by youth workers and artists, he was trained on the job. He is CoDirector of UK theater collective Scottee & Friends Ltd; his stage work with the company has received critical acclaim and awards in their pursuit to discuss poverty, class, and fatness with European audiences. Scottee is also Founder of Working Class Artist Group; a support group for working class artists working in theater. Audio roles include: Host and Creator of cult podcast After the Tone; Presenter of Taxi Drivers for BBC Radio 4, a series looking at the relationship artists have with assistants and assistance; Co-Host on BBC Radio 4’s Loose Ends; and regular contributor on BBC Radio, including the shows Front Row and Short Cuts; among others.
TRISH CLOWES (ASSOCIATE MUSIC DIRECTION), saxophonist and composer, is currently an Associate Artist at London’s Wigmore Hall. In November 2024 she appeared as a guest soloist with the German NDR Big Band, performing a new set of her own music entitled “Radiant Resistance.” Other notable performances include Toronto Jazz Festival, Bray Jazz Festival (Ireland) with US trumpeter Dave Douglas, Celtic Connections with BBC Scottish Symphony Orchestra, and premiering Joe Cutler’s saxophone concerto Hawaii Hawaii Hawaii (2019). From 2012–14 Clowes was a BBC Radio 3 New Generation Artist, and during that time she was commissioned to write for the BBC Concert Orchestra, a piece that won her a British Composer Award (2015). Other recent commissions include Riot Ensemble (supported by the Vaughan Williams Foundation) and London Sinfonietta. Clowes holds a PhD in Musical Composition, and teaches at Guildhall School of Music and Drama, the Royal Academy of Music, and the Royal College of Music.
SONOKO KAMIMURA (ASSISTANT DIRECTION) is from Japan, based in Berlin, and studied at Rotterdam’s Codarts Hoogschool voor de Kunsten. After her professional dance career at Scapino Ballet Rotterdam and The Forsythe Company, she became a freelance movement director and a revival director for opera productions. Work with Ted Huffman includes: Madama Butterfly (Zurich Opera House, 2017); Il trionfo del tempo e del disinganno (Royal Danish Opera, 2019; Opéra National de Montpellier, 2020); Les Mamelles de Tirésias (Palau de les Arts Reina Sofía, 2019); Die Vogel (Opéra National du Rhin, 2022); and The Girl with a Pearl Earring (Opernhaus Zürich, 2022). Other roles include: movement director, R.B. Schlather’s Madame Butterfly (Frankfurter Oper, 2022); work with Christopher Roman on Mexico Aura (Neuköllner Oper Berlin, 2022); consultant, Madame Butterfly (Royal Opera House, 2022); assisting staging and co-costume design, We Are The Lucky Ones (DNO, 2025); and Co-Costume and Co-Set Design, The Story of Billy Budd, Sailor (Festival d’Aix-en-Provence, 2025).
TAMARA BANJEŠEVIC ´ (PERFORMER) is celebrated for her luminous lyric voice and compelling stage presence. In the 2024-25 season, she made her debut as Salome at the Nationaltheater Weimar, portrayed Woglinde in the late Pierre Audi’s new Götterdämmerung at La Monnaie, and returned to the Opéra de Lyon as Fiordiligi in Così fan tutte. She has appeared with major European houses including the Opéra national de Paris, Opéra de Lausanne, Staatsoper Stuttgart, and Oper Köln. A graduate of the Juilliard School, Banješević has collaborated, among others, with distinguished artists such as Ted Huffman, Marie-Ève Signeyrole, Calixto Bieito, Philippe Jordan, Marc Albrecht, and Sir Simon Rattle.
VALERIE BARR (PERFORMER) is a Scottish accordionist acclaimed for her versatility across classical and contemporary stages. Based in the United Kingdom, she has performed with leading orchestras such as the BBC Philharmonic, the Hallé, and Opera North, and has appeared at international festivals including the Buxton Festival and the Ruhrtriennale Festival der Künste. Passionate about chamber music and collaborative performance, she has worked with Shakespeare’s Globe Theatre and Gecko Theatre, and most recently performed in the world premiere of Marina Abramović’s Balkan Erotic Epic. She studied with Djordje Gajic at the Royal Conservatoire of Scotland.
KERRY BURSEY (PERFORMER) is a Montreal-born tenor and plucked-string instrumentalist specializing in early music and self-accompaniment. He has appeared as a soloist in major European and North American festivals. A staple of the Canadian early music scene as a singer and player, he performs with ensembles such as l’Harmonie des Saisons, Ensemble Caprice, the Toronto Consort, and the Studio de musique ancienne de Montréal. He also tours internationally with his group Ménestrel, which completed a 2024 pan-Canadian tour of all provinces. Bursey collaborates with Ubisoft, contributing to the Assassin’s Creed series, and composes soundtracks for film.
JACOB GARSIDE (PERFORMER) is a cellist and viola da gamba player based in London. He attended the RAM studying with Jonathan Manson, RCM with Richard Boothby and Reiko Ichise, as well as the Konzertexamen course at Hochschule in Köln with Robert Smith. He has played orchestrally for St James Baroque, LNM, AAM, ITT, Oxford Bach Soloists, Gabrieli Consort, Det Norske Blåseensemble, ETO and OAE. A keen chamber musician, he has played for Rachel Podger’s Brecon Baroque, Spiritato, Opera Settecento, Endelienta Baroque and the viol consorts Fretwork, Newes Vialles and London Viols. In 2020, Garside was a founding member of The Hampstead Collective.
KIT GREEN (PERFORMER) is an artist working across theater, writing, music, and broadcast. She is an Olivier Award winner, and this year was nominated as Best Supporting Actress in the UK National Film Awards for her role as Tinkerbell in Peter Pan’s Neverland Nightmare. Green’s work was last seen in New York when her show Prurience was the first theatrical commission by the Guggenheim Gallery. Green was the first Artist in Residence at the British Library in London. In 2026 she will play both Virginia Woolf’s Mrs Dalloway and trans icon Roberta Cowell on stage. Her second solo album Four Letter Words will have its American launch at the Armory on December 5th.
CONOR GRICMANIS (PERFORMER) performs as a chamber musician, director, and soloist across the UK, Europe, US, and Asia. He appears regularly with the Academy of Ancient Music and Irish Baroque Orchestra and is a frequent guest concertmaster and soloist with Il Gardellino. Gricmanis founded English baroque ensemble Noxwode and Belgian Rococo ensemble The Wig Society. Recordings include a debut solo album of Uccellini Violin Sonatas (First Hand Records) and The Wig Society’s debut album of Mannheim chamber works (Arcana). He has also collaborated in cross-disciplinary performances combining early music with jazz, electronics, and contemporary dance. Studies: Royal Academy of Music with Rachel Podger; Royal College of Music with Bojan Čičić.
RIANNA HENRIQUES (PERFORMER) is an accomplished woodwind doubler and a 2025 graduate of the Royal College of Music, holding a Master of Performance in flute. Most recently, Henriques was a woodwind tripler in the Globe Theater’s Troilus and Cressida and previously in the Royal Shakespeare Company’s Pericles, which later transferred to the Chicago Shakespeare Theater, where she also served as the cover Musical Director. Henriques has toured with RAYE, performed at the Royal Albert Hall with J Hus, and featured in an orchestral rendition of “If I Ain’t Got You” alongside Alicia Keys. Her collaborations include Vogue, Netflix, and BBC Radio 3, as well as artists including Little Simz, Jorja Smith, and Craig David.
MARIAMIELLE LAMAGAT (PERFORMER), a graduate of the Conservatoire National Supérieur de Musique et de Danse de Paris, is known for her expressive interpretations across Baroque and contemporary repertoires. Winner of prizes at the Innsbrucker Festwochen der Alten Musik and the Concours International de la Mélodie de Gordes, she co-founded Ensemble Théodora, currently Ensemble-in-Residence at the Fondation Singer-Polignac. Their debut recording, Tranquilles cœurs, will be released on Alpha Classics in 2026. Recent honors include awards from the Concours International de Chant Lyrique de Vivonne and the Grandes Voix Lyriques d’Afrique.
THEMBA MVULA (PERFORMER), Zambian-born baritone, trained at the Royal Birmingham Conservatoire, where he won the Gordon Clinton English Song Prize. Notable roles include: Schaunard (La bohème), English Touring Opera; Marullo (Rigoletto), Opera North; Le Dancaïre (Carmen), Opera Holland Park; Frazier (Porgy and Bess), Theatre an der Wien; The Engineer (Lady Macbeth of Mtsensk), Birmingham Opera Company; Belcore (L’elisir d’amore), King’s Head Theatre. Role premieres include: Anthony (Blaze of Glory!), Welsh National Opera; the title role in Bhekizizwe, Opera Ddraig on the BBC; Dom (Link in My Bio), Théâtres de la Ville de Luxembourg. He appears on the first complete cast recording of Kurt Weill’s Love Life as Magician and Interlocutor with Opera North.
COLLIN SHAY (PERFORMER) is a French-American countertenor and multi-instrumentalist living in London. Upcoming world premieres: bodies by Michael Betteridge with Britten Sinfonia, and The Great Wave by Dai Fujikura at Scottish Opera. Career highlights include performing at the Royal Opera House, the Barbican, Wigmore Hall, Hackney Empire, Garsington, Opera North, and Eurovision 2023. Education: McGill University; Guildhall School of Music (Early Keyboard Junior Artist Fellow). Upcoming solo album Simple Passion to be released in 2026.
DANNY SHELVEY (PERFORMER), Liverpool-born baritone, made his debut as Marchese d’Obigny La Traviata at Glyndebourne. Other engagements include Maximilian Candide, Luiz The Gondoliers, Torero Ainadamar, Morales Carmen all for Scottish Opera; Baldr The Monstrous Child for Royal Ballet and Opera; Ozzie On The Town at Tokyo Bunka Kaikan; Oreste Iphigenie en Tauride for Blackheath Halls. Shelvey will be making his company and role debut as Silvio Pagliacci with English Touring Opera in the 2026 season. A Glyndebourne Jerwood Young Artist, Danny Shelvey completed his studies at RNCM, GSMD and National Opera Studio.
JOY SMITH (PERFORMER) is a harpist, radical storyteller, and sound alchemist. Born in Cornwall, she met her first harp at six and has since traveled the world with seven of them, exploring sound from medieval to 21st-century. She has appeared at the Royal Opera House, Royal Albert Hall, Southbank Centre, Glastonbury Festival, with the OAE, Gabrieli Consort, The Sixteen, and as soloist at Bayerische Staatsoper, Teatro Real Madrid, Glyndebourne Opera, Radio Science Orchestra, David Gray, Sophie Ellis Bextor, Paul Hartnoll, and The Joy Formidable. Professor of Historical Harps at the Guildhall School of Music & Drama, she is also a writer, producer, performer, and cultural activist with a desire to reinvent the narrative.
MERIEL PRICE (PERFORMER) is a transdisciplinary artist, composer, performer, and musician, creating works that lie between visual art, music, theater, choreography, and film. Her works have been shown at Museum Tinguely, Basel (solo exhibition) and festivals like the Munich Biennale, BAM Berlin Festival for New Music Theatre, OUT·SIDE Santa Mònica Barcelona, and Art Assembly at Manchester Art Gallery. She creates new music theater with her ensembles DieOrdnungDerDinge and Aside and performs on saxophone with the Berlin Philharmonic, NDR Elbphilharmonic, and MDR Leipzig Radio Symphony orchestras. Education: Royal Northern College of Music, Manchester; University of the Arts, Berlin; PhD, Manchester School of Arts and the Royal Northern College of Music.
YANDASS (PERFORMER) Select movement/choreography: Let The Right One In, Bloody Elle, Astronauts, [M]others-Co:lab (Royal Exchange); Everything All Of The Time (Contact); The Walk: Little Amal (MIF, Good Chance); VUKA (MCR Museum); Cryptomnesia (Future Ventures, ACE); See Me After (PUSH-HOME); Yandass.mov (Channel 4, Random Acts). Select acting: Electric Rosary, Macbeth, Our Town, Nothing (Royal Exchange); Birth: Orchid & Syria (WHO); Negging (Old Vic); Dead Certain (Hopemill); Jubilee (Lyric Hammersmith). Select dance: Alphabus, FlexN Manchester, Flexn Young Identity (Factory International); Festival Number 6 (Portmeirion); Icaria (Nowness, MIF); The X Factor (ITV); Boy Blue Elevate (HOME); Run Boy Run (Channel 4, Random Acts). Founder and Artistic Director, I M Pact Collective.
PRODUCTION CREDITS
TOURING PRODUCTION STAFF
Trish Clowes Associate Music Direction
Sonoko Kamimura Assistant Direction
KJ Lighting Associate
Josh Bobby Sound Associate and Operator
Ric Watts Executive Producer, Factory International
Katherine Wilde Producer, Factory International
Rosa Beuzeval Production Administrator, Factory International
Steve Wald Production Manager
Bonnie Poole Company Manager
Ellen Swailes Stage Manager
Jambi Darnton Deputy Stage Manager
Bláithín McReynolds Assistant Stage Manager
Evie Akerman Wardrobe Manager with thanks to original cast members Katherine Goforth, Eric Lamb, Deepa Johnny, and Sally Swanson; John McGrath, Eva Pepper, Hannah Falvey, Tracey Low, Mai Komoriya, and all at Factory International; Anya Tavkar and Peter Holland; Jay Wegman at NYU Skirball; Susan Morris; and original wardrobe supervisor and costume collaborator Sophie Donaldson
ARMORY PRODUCTION STAFF
Kanako Morita Company Manager
Janneurys Colon Assistant Company Manager
Eden Battice, Naomi Santos, Hillary Ramirez Perez, Felipe Aguirre Production Assistants, Programming
Ruby Carmel Production Assistant, Production
Carl Whipple Production Carpenter
Colin Gold Deck Carpenter
Nicholas Houfek Lighting Supervisor
Claire Waggoner Production Electrician
Omri Schwartz Light Board Operator
Ciara McAloon Deck Electrician
Mark Grey Audio Supervisor
Max Helburn Audio Systems Engineer
Jeff Rowell Production Sound
Marion Ayers A2
Victoria Bek Wardrobe Supervisor
Olivia Rivera Dresser
James Tullos Production Rigger
Theodore Sarge Seating Supervisor
PRODUCTION ACKNOWLEDGMENTS
BNW Rigging Covey Law
Five Ohm Productions
Odeum Labor Services
M Stevens Production Consultants
Lighting and Rigging Equipment by 4Wall Entertainment
Audio Equipment by Masque Sound
SteelDeck NY
SPECIAL THANKS
Ted Huffman and Philip Venables would like to sincerely thank MacDowell for their residency in 2017, where the preliminary work on this piece was done.
Lee Clark and Will Spitz Covey Law
Ned Asta Illustration
Tai Shani, Marcelo Gabriel Yañez, Louise Wallwein, Rikki Beadle-Blair, Ashkan
Sepahvand, Tolu Ajayi, Dan Daw, and Kate O’Donnell
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 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 institutions 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.
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
Marina Abramović
Abigail Baratta
Joyce F. Brown Cora Cahan
Hélène Comfort
Paul Cronson
Tina R. Davis
Jessie Ding
Sanford B. Ehrenkranz
Roberta Garza
Kim Greenberg
Samhita Jayanti
Branden Jacobs-Jenkins
Edward G. Klein, Brigadier
General
NYNG (Ret.)
Ralph Lemon
Jason Moran
Janet C. Ross
Stephanie Sharp
Joan Steinberg
Dabie Tsai
Ying Zhou
Avant-Garde Chair
Adrienne Katz
Directors Emeriti Harrison M. Bains
Angela E. Thompson*
Wade F.B. Thompson*
Founding Chairman, 20002009
Pierre Audi*
Anita K. Hersh Artistic Director *In memoriam
PARK AVENUE ARMORY STAFF
Rebecca Robertson Adam R. Flatto Founding President and Executive Producer
Pierre Audi* Anita K. Hersh Artistic Director
Jason Moran Curator, Artists Studio
Tavia Nyong’o Curator, Public Programming
ARTISTIC PLANNING AND PROGRAMMING
Michael Lonergan Senior Vice President and Chief Artistic Producer
Chris Greiner General Manager
Rachel Rosado Producer
Samantha Cortez Producer
Darian Suggs Associate Director, Public Programming
Kanako Morita Company Manager/Associate Producer
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
Mars Doutey Technical Director
Rachel Baumann Assistant Production Manager
ARTS EDUCATION
Cassidy L. Jones Anita K. Hersh Chief Education Officer
Monica Weigel McCarthy Director of Education
Naima Warden Associate Director of School Programs
Biviana Sanchez School Programs Manager
Nadia Parfait Education Programs Manager
Ciara Ward Youth Corps Manager
Bev Vega Youth Corps Manager
Milen Yimer Youth Corps Assistant
Drew Petersen Education Special Projects Manager
Emily Bruner, Donna Costello,
Alberto Denis, Alexander Davis, Asma Feyijinmi, Shar Galarza, Hawley Hussey, Larry Jackson, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Bairon Reyes Luna, Vickie Tanner, Jono Waldman Teaching Artists
Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, sunyoung kim, Amo Ortiz Teaching Associates
Arabia Elliot Currence, Sebastian Harris, Oscar Montenegro, Adriana Taboada Teaching Assistants
Eden Battice, Koralys De La Cruz, Azrael Hernandez, Nephthali Mathieu, Blue Price, AJ Volkov Youth Corps Advisory Board
Felipe Aguilar, Eden Battice, Terry Beaupierre, Andrew Duer, Hillary Ramirez Perez, Naomi Santos, Brianna Trivino Youth Corps, Post High School Advanced Interns
Medina Anthony, Mariela Bonilla, Djenabou Diallo, Lucas Flores, Daniela Garcia, Jenaia Godoy, Gabi Gonzalez, Besa Hasanovic, Angelina Jacobs, Ria Matula, Jacy Melendez, Steven Merino, Isaiah Morgan, Gabe Morris, Jay Quijano, Tirso Reyna, Jayden Rodriguez, Ash Taghizadeh Youth Corps, High School
BUILDING OPERATIONS
Marc Von Braunsberg Chief of Building Operations
Samuel Denitz Director of Facilities
Xavier Everett Security/Operations Manager
Williams Say Superintendent
Olga Cruz, Leandro Dasso, Mayra
DeLeon, Jeferson Avila, Felipe Calle, Edwin Fell, Jonathan Mays, Tyrell
Shannon Castillo Maintenance Staff
DEVELOPMENT
Patrick Galvin Chief Development Officer
Alan Lane Director of Development
Caity Miret Executive Assistant to the Chief Development Officer
Jessica Pomeroy Rocca Major Gifts Officer
Angel Genares Director of Institutional Giving
Hans Rasch Manager of Institutional Giving
Margaret Breed Director of Special Events
Séverine Kaufman Manager of Special Events
Michael Buffer Director of Database and Development Operations
Adonai Fletcher-Jones, Aiyana Greene, Beth Miller, Billie Martineau, Blue Price, Christina Johns, Christine Lemme, David Lawson, Denise Williams, Eboni Greene, Edwin Adkins, Eileen Rourke, Elijah Tejeda, Eliza Goldsteen, Emmett Pryor, Felipe Aguirre, Glori Ortiz, Grace Hazen, Heather Sandler, Hector Rivera, Hillary Ramirez Perez, John Summers, Joseph Balbuena, Kathleen Rodriguez, Kathleen White, Kedesia Robinson, Kin Tam, Konlan Yenupaak, Lana Hankinson, Mae Cote, Maria Inkateshta, Mariel Mercedes, Mathew Tom, Melina Jorge, MJ Ryerson, Myren Mandap, Naomi Santos, Regina Pearsall, Sandra Kitt, Sarah Gallick, Sebastian Harris, Shannon Wallace, Tess Kondratiev, Yesenia Mayers, Zulay Calamari Ushers
Resnicow + Associates Press Representatives
*In memoriam
JOIN THE ARMORY
in Armory programs
for two to a Chairman’s Circle event
complimentary tickets to the Malkin Lecture Series
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. *Subject to ticket availability **Certain restrictions apply ***Reservations required
For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org.
For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org.
Each membership applies to one household, and one membership card is mailed upon membership activation.
ARTISTIC COUNCIL
The Artistic Council is a culturally adventurous leadership group that champions our full season of “only at the Armory” productions in the Wade Thompson Drill Hall.
Chair
Lisa Miller
Abigail and Joseph Baratta
Blavatnik Family Foundation♦
Jeanne-Marie Champagne
Sasha Cutter and Aaron Hsu
Hélène and Stuyvesant Comfort
Caroline and Paul Cronson
Jessie Ding and Ning Jin
Misook Doolittle♦
Lisa and Sanford B. Ehrenkranz
The Lehoczky Escobar Family
Adam and Abigail Flatto
Robin Fowler
Roberta Garza and Roberto Mendoza
Lorraine Gallard and Richard H. Levy
Barbara and Peter Georgescu
Joan Granlund♦
Kim and Jeff Greenberg
Lawrence and Sharon Hite
Samhita and Ignacio Jayanti
Carola Jain
Wendy Keys
Irene Kohn
Fernand Lamesch
Almudena and Pablo Legorreta
Christina and Alan MacDonald
Andrew Martin-Weber and Beejan
Land♦
John and Lisa Miller♦
Lily O’Boyle
Valerie Pels
Susan Pernick
Slobodan Randjelović and Jon Stryker♦
Amanda J.T. and Richard E. Riegel
Ben Rodriguez-Cubeñas
Thomas Rom
Susan and Elihu Rose
Janet C. Ross
Caryn Schacht and David Fox
Stephanie and Matthew Sharp
Brian S. Snyder
Sarah Billinghurst Solomon
Joan and Michael Steinberg
Emanuel Stern
Saundra Whitney
Maria Wirth
Ku-Ling Yurman
Ying Zhou and Run Ye
Anonymous (2)
♦ Artistic Council Luminary Member. Recognizes individuals whose generous philanthropic support helps underwrite a specific Drill Hall production in this or future seasons.
LEGACY CIRCLE
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 out-the-box artistic programming, Arts Education Programs, and historic preservation into the future.
Founding Members
Angela and Wade F.B. Thompson*
Co-Chairs
Lisa and Sanford B. Ehrenkranz
Marjorie and Gurnee Hart
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
Anita K. Hersh*
Ken Kuchin
Heidi McWilliams
Gwendolyn and Peter Norton
Michelle Perr
Amanda J.T. Riegel
Rebecca Robertson and Byron Knief
Susan and Elihu Rose
Francesca Schwartz
Joan and Michael Steinberg
Angela and Wade F.B. Thompson*
PATRONS
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
Adam and Abigail Flatto
Anita K. Hersh Philanthropic Fund
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
Susan and Elihu Rose
The Arthur Ross Foundation and J & AR Foundation
Joan Smilow and Joel Smilow*
Sanford L. Smith*
Starr Foundation
The Thompson Family Foundation
Wade F.B. Thompson*
Anonymous (3)
$500,000 to $999,999
Bloomberg Philanthropies
Lisa and Sanford B. Ehrenkranz
Almudena and Pablo Legorreta
Adam R. Rose and Peter R. McQuillan
Marvin and Donna K. Schwartz
Emanuel Stern
$250,000 to $499,999
American Express
Abigail and Joseph Baratta
Michael Field and Doug Hamilton
Kim and Jeff Greenberg
Ken Kuchin and Tyler Morgan
Marshall Rose Family Foundation
$100,000 to $249,999
R. Mark and Wendy Adams
Linda and Earle Altman
Blavatnik Family Foundation
Hélène and Stuyvesant Comfort
Dance Reflections by Van Cleef & Arpels
Jessie Ding and Ning Jin
Misook Doolittle
Caryn Schacht and David Fox
Roberta Garza
Howard Gilman Foundation
Joan Granlund
Marjorie and Gurnee Hart
Samhita and Ignacio Jayanti
Kirkland & Ellis LLP
The Emily Davie and Joseph S. Kornfeld Foundation
Julia Ledda and Hassan Taher
Mr. and Mrs. Lester Morse
New York State Assembly
Stavros Niarchos Foundation
Donald A. Pels Charitable Trust
The Pinkerton Foundation
Amanda J.T. and Richard E. Riegel
Daniel and Joanna S. Rose
Mrs. Janet C. Ross
Matthew and Stephanie Sharp
Harold and Mimi Steinberg Charitable Trust
Jane Toll
Mr. William C. Tomson
Wescustogo Foundation
Ying Zhou and Run Ye
Anonymous (3)
$25,000 to $99,999
Arthur R. and Alice E. Adams Charitable Foundation
Judith Hart Angelo
Sarah Arison
Jody and John Arnhold
The Avenue Association
Susan and Jeff Campbell
The Cowles Charitable Trust
Caroline and Paul Cronson
Sasha Cutter and Aaron Hsu
Jenna Fagnan and Thomas Jacquot
Lorraine Gallard and Richard H. Levy
Elizabeth Morse Genius Foundation
Barbara and Peter Georgescu
John R. and Kiendl Dauphinot Gordon
The Gladys Krieble Delmas Foundation
Agnes Gund*
Janet Halvorson
Janine and J. Tomilson Hill
Howard Hughes Corporation
Carola Jain
The Lehoczky Escobar Family
Christina and Alan MacDonald
Marc Haas Foundation
James C. Marlas
Andrew Martin-Weber and Beejan Land
Lisa S. Miller and John N. Miller
New York State Council on the Arts
Lily O’Boyle
Slobodan Randjelović and Jon Stryker
Rhodebeck Charitable Trust
Genie and Donald Rice
Rebecca Robertson and Byron Knief
Jordan Roth and Richie Jackson
The Fan Fox & Leslie R. Samuels Foundation
The SHS Foundation
The Shubert Foundation
Sydney* and Stanley S. Shuman
Amy and Jeffrey Silverman
The Society of Memorial Sloan Kettering
Joan and Michael Steinberg
TEFAF NY
Tishman Speyer
Susan Unterberg
Doris Valle Risso
Saundra Whitney
Maria Wirth
Ku-Ling Yurman
Anonymous (5)
$10,000 to $24,999
The Achelis and Bodman Foundations
AECOM Tishman
Barbara Goldstein Amster
Arthur J. Gallagher & Co.
Kenneth Ashley
Anne-Victoire Auriault / Goldman Sachs Gives
Milton and Sally Avery Arts Foundation
Harrison and Leslie Bains
Susan Bram
Dr. Joyce F. Brown and Mr. H. Carl McCall
Alexandra Andrea Cahill
Jeanne Donovan Fisher
Ella M. Foshay and Michael B. Rothfeld
Robin Fowler
Jill and Michael J. Franco
Buzzy Geduld
Mrs. Heather Hoyt Georges
Suzanne and John Golden
Mark Kingdon and Anla Cheng
Suzie and Bruce Kovner
Sheila and Bill Lambert
Fernand Lamesch
Judy and Leonard* Lauder
Leon Levy Foundation
Nancy Maruyama
Danny and Audrey Meyer
Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation
Stéphanie and Jesse Newhouse
Susan Pernick
Michael Peterson
Susan Porter
The Prospect Hill Foundation
Katharine Rayner
Thomas Rom
Marjorie P. Rosenthal
Chuck and Stacy Rosenzweig
Valerie Rubsamen and Cedomir Crnkovic
Fiona and Eric Rudin
Mrs. William H. Sandholm
Cynthia and Tom Sculco
Brian S. Snyder
Howard & Sarah D. Solomon Foundation
Agnes Hsu-Tang and Oscar Tang
Barbara D. Tober
Dabie Tsai
Michael Tuch Foundation
Wendy vanden Heuvel
Nina and Nicholas von Moltke
Shanshan Xu and George Wang
Diane Wege
Anonymous (2)
$5,000 to $9,999
Carolina Abed Gaona
Amy and David Abrams
Arthur J. Gallagher & Co.
Page Ashley
Candace and Rick Beinecke
John and Gaily Beinecke
Rick Berndt and Marie-Camille Havard
Stephanie Bernheim
The Emma and Georgina Bloomberg Foundation
Melanie Bouvard and Matthew Bird
Nicholas Brawer
Matthew Brown
Amanda M. Burden
Arthur and Linda Carter
Nancy Coles and Jeffrey Goldstein
Michael Woloz
Judith-Ann Corrente
Andrew and Mimi Crawford
Joshua Dachs / Fisher Dachs Associates
David L. Klein, Jr. Foundation
Jennie L. and Richard K.* DeScherer
Therme US
Beatrice M Disman
Jamie Drake
Dr. Nancy Eppler-Wolff and Mr. John Wolff
The Felicia Fund
Andrew and Theresa Fenster
Jennivée Fiorese
Amandine Freidheim
Bart Friedman and Wendy A. Stein
The Georgetown Company
Kurt Gilman and Paul Phillips
Elaine Golin
Great Performances
George and Patty Grunebaum
Harkness Foundation for Dance
Rolf Heitmeyer
Barbara Hoffman
Shujaat Islam and Fay Sardjono
Adrienne Katz
Amelia Kaymen
Leona Kern
Claire King
Brittany and Zachary Kurz
Stephen Lash and Wendy Lash
Chad A. Leat
Sherry Lee
Gail and Alan Levenstein
William and Helen Little
Charles and Georgette Mallory
Lara Marcon
Joanie Martinez
Ellen Michelson
Virginia A. Millhiser
Linda Mirels and Gerard Mossé
Pericles and Neda Navab
Mark and Lorry Newhouse
Katie O’Boyle
Olympic Plumbing and Heating Services, Inc.
Orentreich Family Foundation / Dr. Catherine Orentreich
Claudia and Gunnar Overstrom
Perennial Roofing & Restoration
Joan R. and Joel I. Picket
Anne and Skip Pratt
Preserve New York, a grant program of Preservation League of New York
Richenthal Foundation
Laura and Gerald Rosberg
Rosenberg & Estis, P.C.
Ida and William Rosenthal Foundation
Jane Fearer Safer
Ami Sagy
Sara Lee and Axel Schupf
Baroness Lulu Dalkanat Sezercan and Derin Sezercan
