The Damned

WELCOME Since our first production in 2007, the Armory has opened its doors to artists, directors, and impresarios who have provided audiences with immersive performances and installations that could not happen elsewhere in New York and are still revered as major and unique happenings in the cultural life of New York City. Joining that lineage is Ivo van Hove’s searing adaptation of the original screenplay by Luchino Visconti, which combines intrigue and ambition with betrayal and murder in the insidious struggle for power. As we approach the 50th anniversary of the film’s premiere, it is sobering how relevant these themes are today.

We are excited to welcome Ivo van Hove to the Armory with the production he created with Comédie-Française and to help realize this production, grandiose in both its physical and emotional scale. Originally conceived and performed at the sprawling Palais des Papes at the Avignon Festival, this visionary production is ideally suited for the Wade Thompson Drill Hall, utilizing its storied walls in the set design

to play with scale by juxtaposing vast space with extreme intimacy. Ivo van Hove and his work have redef ined conventiona l t heater, blending the modern and the technological with the foundationa l principles of Sh a ke spe a re a n a nd t he Gre ek s t r a ged ie s.

We are also thrilled to host the long overdue return of the prestigious Comédie-Française to New York for their first appearance in over a decade. For more than three centuries, this historic company has stood out as an exceptional, thriving, and creative force in the international theater landscape, and we are thrilled to share their artistic pursuits with New York audiences.

"For me, it's the celebration of evil," Ivo has said about this sharply drawn familial chronicle. “Love and art have no meaning in that world. The story of The Damned is the negative reflection of everything that is beautiful and good in the world.” It is a testament to the art form that theater can so powerfully explore these complex psychological areas and sophisticated emotions.

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

1 Cover Photo: © Jan Versweyveld / coll.Comédie-Française Thompson Arts Center at Park Avenue Armory

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PARK AVENUE ARMORY PRESENTS

THE DAMNED July 17-28, 2018 North American Premiere Wade Thompson Drill Hall Thompson Arts Center at Park Avenue Armory Based on the work of Luchino Visconti, Nicola Badalucco, and Enrico Medioli Ivo van Hove Jan Versweyveld An D’Huys Tal Yarden Eric Sleichim Bart Van den Eynde Laurent Delvert Roel Van Berckelaer François Thouret Lucas Lelièvre Sarah Elizabeth Ford Additional Casting by

Director Scenography and Lighting Designer Costume Designer Video Designer Original Sound Designer and Sound Concept Dramaturgy Assistant Director Assistant Scenographer Assistant Lighting Designer Assistant Sound Designer Stage Manager* Telsey + Company Adam Caldwell, CSA William Cantler, CSA Karyn Casl, CSA

A Comédie-Française Production Presented in Collaboration with Park Avenue Armory The production had its world premiere at the Avignon Festival on July 6, 2016.

With kind permission of L’Avant-Scène Cinéma. Text published at the Avant-Scène théâtre in July 2016.

Running Time: Approximately two hours and ten minutes, performed without intermission *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Season Sponsors The Damned is supported in part by the Cultural Services of the French Embassy.

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation.

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

ARTIST TALK: THE DAMNED thursday, july 19 at 6.00pm

Visionary director Ivo van Hove discusses the creative process and development of this landmark work with writer, director, visual artist, and vocalist Laurie Anderson.

CAST Sylvia Bergé—The Nurse & Lisa’s mother Eric Génovèse—Wolf von Aschenbach Denis Podalydès—Baron Konstantin von Essenbeck Alexandre Pavloff—The Commissioner & the Rector Guillaume Gallienne—Friedrich Bruckmann Elsa Lepoivre—Baronne Sophie von Essenbeck Loïc Corbery—Herbert Thallman Adeline d’Hermy—Elisabeth Thallman Clément Hervieu-Léger—Günther von Essenbeck Jennifer Decker—Olga Didier Sandre—Baron Joachim von Essenbeck Christophe Montenez—Martin von Essenbeck AND Sébastien Baulain—Janeck Basile Alaïmalaïs, Tristan Cottin, Thomas Gendronneau, Pierre Ostoya Magnin, Axel Mandron & Tom Wozniczka—Six Men in Black Madison Cluzel—Erika Gioia Benenati—Thilde Lucy-Lou Marino—Lisa

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SOUNDTRACK BY BL!NDMAN [SAX] Koen Maas—Soprano Saxophone Roeland Vanhoorne—Alto Saxophone Piet Rebel—Tenor Saxophone Raf Minten—Baritone Saxophone

FILMED SEQUENCES Basile Alaïmalaïs, Sébastien Baulain, Fred Colas, Stéphane Daublain, Mathieu Demars, Antoine Formica, Thomas Gendronneau, Axel Granberger, Romain Grard, Ghislain Grellier, Luca Gucciardi, Valentin Johner, Simon Larvaron, Yannick Laurent, Ludovic Le Lez, Oscar Lesage, Guillaume Maréchal, Franck Micque, Nicolas Orlando, Léo Reynaud, Joffrey Roggeman, Jules Sagot, Dennis Silence Van de Weghe, Stephen Tordo, Victor Veyron, Tom Wozniczka

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PRODUCTION TEAM Benoît Simon—Technical Director Coline Jodelet—Tour Manager Camille Enault—Stage Manager (on stage) Ruth Orthmann—Script Manager Marc Noally—Chief Hand Deputy 1 Stéphane Desmidt—Chief Hand Deputy 2 Alexandre Barban—Chief Upholstering Gilles Dieutegard—Chief Electrician Balthazar Lesage—Chief Prop Master Nicolas Faguet—Video Engineer Jean-Luc Ristord—Sound Engineer 1 Pierre Mancel—Sound Engineer 2 Éric Richard—Chief Wardrobe, Dresser (on stage) Pascal Ferrero—Chief Dresser / Makeup Caroline Chargois—Dresser (on stage) Claire Cohen—Hair Dresser / Makeup (on stage) Vadim Alsayed—Camerman 1 (on stage) Céline Baril—Camerman 2 (on stage)

Julianna Slaten—Company Manager Amelia Parenteau—Assistant Company Manager Mark Grey—Sound Consultant Simon Nathan—Audio Supervisor Aaron Copp—Lighting Supervisor Nick Houfek—Assistant Lighting Supervisor Dylan Carrow—Head Audio Vaneik Echeverria—Head Carpenter Dave Polato—Head Lighting Adam Bishop—Head Video Victoria Bek—Head Wardrobe Laura Aupert, Lee Goffin-Bonenfant, Segolene Marchand—Translators Gregory Bruhn—Supertitles Noah Silva—Production Assistant

PRODUCTION ACKNOWLEDGEMENTS The Lighting Syndicate Five OHM Productions Premier Stagehands Lighting and Rigging Equipment by Production Resource Group *The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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LUCHINO VISCONTI’S THE DAMNED (1969): ORIGINS, THEMES, STYLE, AND RECEPTION Luchino Visconti’s film The Damned was released in 1969 to commercial and critical success, particularly in the United States. Many saw parallels between the turmoil of the late 1960s in the Western world, and the history depicted in the film portraying the effects of the early years of Hitler’s Nazi regime on the milieu of Germany’s top industrialists. It is also a tragedy of a family falling apart due to power clashes, hate, violence, revenge, and a growing affiliation with and contamination by a destructive and murderous regime.

The birthday party of patriarch Joachim von Essenbeck is disrupted by news of the 1933 Fire of the Reichstag in Berlin, exposing the political and familial conflicts within the Essenbeck family. Grandfather Joachim is a clear representation of the old Wilhelminian aristocracy and has only reluctantly agreed to collaborate with—in his view—the vulgar new Nazi regime for the sake of his business, the Essenbeck steelworks.

His second son Konstantin is a sturdy, brutal, and not-tooclever brownshirt from the SA, who is representative of the powers that promoted Hitler to state chancellor. Joachim’s elegant, shrewd, and icy daughter-in-law Sophie, wife of his late oldest son, is a modern Lady Macbeth, supporting the rise to power of her lover Friedrich Bruckmann. Sophie and Friedrich ally with the family’s SS cousin Aschenbach; but the smoothtalking Aschenbach has his own agenda, plotting the downfall and elimination of the family. Joachim’s youngest daughter, the sweet and soft Elisabeth, has married the social-democrat Herbert Thalmann, who is emblematic of the previous Weimar Republic—which has lost its power just like Herbert himself.

The Essenbecks ally with the Nazis to use the regime’s influence for personal and professional gain, though it becomes clear as the family continues to disintegrate that the Nazis are in fact in control of the family and their business.

The family members are representative of different groups in German society, making the story somewhat of a microcosm. The setting, the art, and the costumes confirm their separate worlds: we see family photos and photos of the Kaiser and Hindenburg in Joachim’s room; Expressionist painting in Herbert’s room; and in Konstantin’s room, no art but instead photos referencing Hitler. The film uses remarkable cinematography, marked by zoom—for example, the zoom out in the opening shot of the dining table—and several exploratory camera shots typical of Visconti’s films. As Sophie copes with trauma in a catatonic state, we see her hands scanning objects from Martin’s youth: a little beret with ribbons, a school

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notebook, and a lock of hair that she caresses and compares with her own. She looks aside in despair: her own flesh and blood has become a monster. The lock of hair is therefore an object that encapsulates both memory and a fearful intimation of the future. A short time later we experience a new, exploratory long take as Friedrich tries to reach out to Sophie in vain. In her grief-stricken state she does not listen, and allows herself to be injected with morphine while looking at children’s drawings beside her on the bed. The shot begins with the doctor entering her room with his ominous, Nosferatu-like shadow gliding over her before taking her arm and injecting her. The camera first zooms in on her arm, glides towards Sophie’s face and then scans her whole body, down to her arm with the lock of Martin’s hair, ending at the children’s drawings. The first drawing has the caption ‘Mutti und Martin’ [mummy and Martin], the second ‘Martin tötet Mutti’ [Martin kills mummy]. The second drawing shows a blond boy in a blue sailor suit stabbing a woman with a feathered hat.

The downfall of the family and the gradual changes in family leadership are symbolically represented by an everemptier dining table and the repeated gesture of the slap on the table by the consecutive head of the family: Joachim, Konstantin, Friedrich, and finally Martin. The growing number of empty seats at the dining room table around which the family gathers throughout the film are ominous references to lost family members—gone because of the actions, or negligence, of those who remain. In The Damned experience opulent yet suffocating interior settings where emotions come to outbursts —most notably at the dining table—and there seems to be no way out. As in many other Visconti films, we see a family fall apart. The influence was partly autobiographical, as Visconti was devastated by his parents’ divorce in the 1920s, resulting in a court case over money and also the splitting up of the children. The eldest children went to live with the father, while the youngest, including Luchino, lived with the mother. It is therefore striking that in The Damned the father disappears at the start of the film—in many of Visconti’s other films fathers are absent completely.

In 2004 I interviewed scriptwriter Nicola Badalucco about his involvement in the Visconti films The Damned and Death in Venice. For The Damned, Visconto went to the Ente di Stato del Cinema [the state’s cinema foundation], then presided

by Mario Gallo, who would go on to produce Death in Venice.

Passionate about Shakespeare’s work—Visconti’s epitaph should

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have been: ‘He adored Shakespeare, Chekhov, and Verdi’, he once said himself, Badalucco recalled, “Visconti wanted to make a film based on Macbeth, as a metaphor for crime and power, but situated in the 20th century. During a dinner with Gallo, Visconti told him about an episode in his younger years when he visited Germany between the Fire of the Reichstag (1933) and the Night of the Long Knives (1934). Gallo then asked him: ‘Maestro, why don’t we film this then?’ Visconti answered him: ‘You’re right, but who can write this?’” Gallo knew Badalucco well, who had been a journalist for many years, and gave him the assignment. As a passionate lover of 1920s and 1930s German history, Badalucco had the first draft within a few days. As the Visconti Archive in Rome shows, many subsequent versions followed. Some substantial alterations were made, such as the elimination of a stern grandmother, now still recognizable in the character of Sophie. The characters were only indirectly based on true people: Martin, the film’s enfant terrible, was loosely based on Arndt von Bohlen-Halbach, German heir and last member of the Krupp dynasty, while the young girls were based on visions of Visconti’s own sisters when they were little.

On the structure of the plot, Badalucco said: “While Visconti focused on imagery and memories, I was fixated on construction. The more solid a structure is, the more the director can then at ease enjoy himself with the world of images. If that structure is not made of iron, then the images will float off while the film remains on the ground. A common thread, which I followed from The Damned and Death in Venice and in my main films afterwards, is my structural concept— not just a story in so many acts, but also the power of melodrama. The film borrows from melodrama the synthesis, the emphasis, the close up, and the romance of the tenor and the soprano who sing their story. So, The Damned is a series of romances, quartets, with an intermezzo musicale— the Night of the Long Knives— almost without dialogue.”

Between July and October 1969 The Damned was shot on location in Germany (at Attersee for the Knight of the Long Knives), at the Terni steelworks in Italy, and in the studios of Cinecittà. The Roman premiere took place on October 15, 1969, with the US premiere on December 18, 1969.

The film won several awards in Italy and abroad (for example, the USA National Board of Review Award in 1970), and was nominated for Best Film, Best Director, Best Screenplay, and Best Newcomer for the New York Film Critics Circle Awards.

Helmut Berger (Martin) was nominated for a Golden Globe

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as Best Newcomer, and the script was nominated for an Academy Award in 1970. Though the film lost to the more commercial Butch Cassidy, Badalucco noted of the Oscar nomination: “American scriptwriters seem to have preferred The Damned, though, I was told.”

Ivo Blom Author of Reframing Luchino Visconti: Film and Art (2018)

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INTERVIEW WITH: IVO VAN HOVE, JAN VERSWEYVELD, TAL YARDEN AND ERIC SLEICHIM Within just a few years, you have adapted for the stage four of Visconti’s screenplays: Rocco and His Brothers, Ludwig, Obsession, and The Damned. Where does your passion for this particular director come from?

Ivo van Hove. When I was about 20 years old, I saw all the films by Visconti, starting with Death in Venice in 1976 or 1977.

These films are not meant to be “crowd-pleasers”, but they stir up emotion and broach controversial topics. When I re-read the screenplay for The Damned, there were several areas I found of great interest (I did not watch the film again, since it is vital for me that the stage performance not be an adaptation of the film).

Of course, there is the union of the world of the steel industry’s economy and finance and that of politics represented by Nazi ideology convinced that its utopian idea will prevail. What interested me in The Damned was the tragic thread at the center of this rich and powerful, yet cold, family. The mother doesn’t care about her son and attempts to impose her lover as the head of her empire while the brothers fight between themselves, the tangle of vipers festers increasingly from one scene to the next and the complete trust we should have in the father, mother, or grandfather is impossible because the only thing that counts is power. Thirdly, and possibly most important for me, the two young men: Martin (Christophe Montenez) and his cousin Günther (Clément HervieuLéger) are completely apolitical at the outset, but end up becoming Nazis each for his own reasons. They both begin to hate; Martin hates his mother (Elsa Lepoivre), while Günther hates the killer of his father (Denis Podalydès), to the extent that they become killers themselves. How can one not think of the young men who commit massacres in American nightclubs (The Pulse in Orlando) or Parisian concert hall (Bataclan), because they are not so much inspired as transformed into mere tools by an ideology?

The screenplay puts a heavy emphasis on the change in values in the two cousins. At the beginning, Martin is being manipulated, but at the end he is the one who manipulates. This process is all the more blatant, since at the beginning he is a “useless” young man, with no moral compass, unable to learn. I believe that in life everything needs to be learned, including love. We know nothing at the beginning. When we have not been educated in love, we cannot make love. It is not innate. Parents, education, the men and women we meet through life are all essential to this process. We must learn how to live. Martin’s tragedy is that he learns nothing.

Scene after scene, the magnitude of this flaw becomes more and more evident. He may be perverse, but fundamentally he is not bad and doesn’t have bad intentions. We could even call him “innocent.” He is the anti-Aschenbach. Aschenbach (Éric Génovèse) has but one goal and approaches it scene by scene.

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What were the particular spatial challenges and what were the greatest organizational decisions in terms of stage design?

Jan Versweyveld. In order to demonstrate the Ritual of Evil, I created a space in the form of an installation reminiscent of other spaces dedicated to performance of rituals, such as courts, parliaments and churches. All the objects have a very precise, specific purpose: beds for incest rituals, tables with mirrors for transformation rituals, coffins for death rituals, with a platform where the actors are able to stand and see the other actors perform the rituals. The staging is very free. I was inspired by the steel industry for the colors and materials. And the huge orange floor represents fire.

To touch upon the use of the camera, the impression it gives is an overlay of intimacy, a sort of authenticity of the characters in contrast to the relentless History that crushes the individual.

Was this contrast important in your work with the actors?

Ivo v. H. Absolutely, what I appreciate in actors is authenticity on stage, that they are “present,” and not just “play.”

J. V. The video screen is an LED, so we can project images onto it in any level of lighting. They are like a magnifying glass.

We can get extremely close.

You also project archival images, though in general there is a tendency to erase historical references. How do you move from this historical mooring to a more abstract dimension?

I. v. H. We use “iconic” historical images at three specific instances that take place in the screenplay: the burning of the Reichstag, the auto da fes, and Dachau. I say “iconic” because the burning of books or of a parliament is something that goes beyond the anectodal reality of history. That is what I would like to convey by using these images. I’m not interested in merely showing a historical fact.

Tal Yarden, how have you contributed to the video footage for this show?

Tal Yarden. After my discussions with Ivo and Jan, what seemed particularly interesting was the contrast between the very intimate moments captured by the camera in constant motion and the bureaucratic machine of the State, which for me is represented by the orange floor. We decided to film from above the large groups on the orange floor, such as the SA (Sturmabteilung/ Brownshirts) spending a free afternoon by a lake. Over these,

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we can superimpose the more intimate images filmed live and show the functioning and the dysfunction of the family. This overlay allows us on the one hand to emphasize the contrast and on the other to demonstrate the extremely organized background of this world run solely by political will.

Does the music also help to emphasize the context with the songs, while at the same time distancing itself thanks to an atmospheric soundscape of leitmotifs in Wagnerian arrangements, Bach chorals, and heavy metal?

Eric Sleichim. All of the music used during the performance is original or inspired by other music. To accompany the rituals, I resorted to Schütz, Buxtehude, and Bach, the three grand masters of the German baroque. Schütz lived during the Thirty Years’ War, the deadliest period in Western history prior to the Second World War. This is a very clear reference. In the historical context of the screenplay, I also wanted to evoke the occasionally very ambiguous position of some of the German artists with regard to the Nazi regime, notably Richard Strauss. I made a brief allusion to him in Günther’s bass clarinet solo in the first act. As a rule, for the theater I don’t write music which would be recorded and broadcast during the performances. Except for Ivo van Hove.

At the end there is no love. You have said you wanted to show the audience a world where we really do not want to live …?

I. v. H. The end is absolutely horrible. But it is like visiting the Reina Sofía Museum in Madrid to see Picasso’s Guernica. In Guernica there is not a trace of joy. There is only war. But it is better to face that in art than in real life… and to hold on to the idea that, like according to Herbert, despite everything, love and humanism cannot ever completely disappear.

“Monstrous spectacle”, “shock wave”: such were the epithets used to describe The Damned when it first showed at Avignon.

What is your reaction to the reception of the audience and the press?

I. v. H. Finding myself in the middle of an audience of two thousand completely silent spectators focusing for two hours and ten minutes without interruption was deeply moving. And every night, not to hear immediate applause, as if we were all in a state of collective shock before receiving a long ovation. It seemed to me that the show had an inevitable urgency. I was very touched.

How come you have also used the German heavy metal band Rammstein?

E. S. I like breaking things up. Within the realm of German rock, Rammstein is a relatively modern band, and in my view, their music has “fascistoid” accents, not in the idea but in its expression. It works very well in moments of fracture, pivotal moments, which is what this show needs.

T. Y. It is a type of music that expresses industrialization very well, it is defined as “industrial metal.” There is a sensation of wanting to create new means of mass destruction in the music.

Does The Damned tell the story of European destiny if we take into account the historical context and the history of fascism?

I. v. H. No. It is what Americans believe, but the populist extreme right is on the rise everywhere in the world. The Damned shines a light on an elite, who listen to Beethoven and Schubert, who love beauty, art, but who are completely ignorant of how people live and who, above all, do not see change in society.

That is exactly what is going on today. The world is undergoing radical change.

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Interview conducted by Frédéric Maurin, author and professor of theater studies, and Laurent Muhleisen, literary advisor to the Comédie-Française, in 2016.

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ABOUT COMÉDIE-FRANÇAISE Also commonly known as the Maison de Molière (House of Molière), the Comédie-Française was founded in 1680 and since then, has been perpetuating the work and heritage of Molière, playwright, actor, and troupe leader. With a repertoire of more than 3,000 plays, “Le Français” presents a mixture of classic, modern, and contemporary works by French and foreign playwrights.

It presents approximately 800 performances per year on its three stages: the Salle Richelieu, the Théâtre du Vieux-Colombier, and the Studio Theatre, and attracts an audience of more than 350,000 people annually. The Comédie-Française has toured extensively in Europe, USA, Korea, Japan, Australia, South America, and most recently visited London, New York, and Moscow. The very first international trip was to London in 1867.

For more than three centuries, the Comédie-Française has constantly surprised and stood out as an exceptional, thriving,

and creative “theater factory.” To deserve this definition, it carefully founds its exceptional status, its durability, and its vitality on pillars that are as solid as they are immutable: the Troupe, the Repertoire, and the demanding principle of alternating productions.

More information on www.comedie-francaise.fr/en Éric Ruf—General Administrator Olivier Giel—Broadcast Director

The Comédie-Française wishes to thank Mr. Étienne Binant for his support.

The Comédie-Française also thanks: Lepercq Charitable Foundation, Lepercq de Neuflize, Mr. Olivier Costa de Beauregard, and Mr. Jean-Luc Bédos.

WHO’S WHO IN THE COMPANY IVO VAN HOVE (DIRECTOR)

Ivo van Hove began his career as a theater director in 1981 with his own productions Germs and Rumours. He went on to become the artistic leader of AKT, Akt/Vertikaal and Toneelproducties De Tijd, and from 1990 to 2000 was director of Zuidelijk Toneel. From 1998 to 2004, van Hove managed the Holland Festival, and he has been director of Toneelgroep Amsterdam since 2001. His notable credits include: Alban Berg’s Lulu, Wagner’s Ring des Nibelungen (Vlaamse Opera, Antwerp); Janácek’s The Makropoulos Affair, Tchaikovsky’s Iolanta (Dutch National Opera, Amsterdam); Brokeback Mountain (Teatro Real, Madrid); A View From The Bridge (Lyceum Theater, New York); The Crucible (Walter Kerr Theater, New York); Lazarus, David Bowie’s musical theater show (New York Theater Workshop). At Toneelgroep Amsterdam, van Hove directed: Angels in America by Tony Kushner; Roman Tragedies and Kings of War based on Shakespeare; Opening Night and Husbands by John Cassavetes; Rocco and his Brothers and Obsession

by Luchino Visconti; Teorema based on Pier Paolo Pasolini; Antonioni Project by Michelangelo Antonioni, Cries and Whispers, Scenes from a Marriage, and After the Rehearsal / Persona by Ingmar Bergman; La Voix Humaine by Cocteau; Summer Trilogy by Carlo Goldoni; Children of the Sun by Maxim Gorky; The Miser by Molière; The Russians! by Tom Lanoye based on Anton Chekhov; The Foutainhead by Ann Rand; Mary Stuart by Schiller; and The Hidden Force, The Things that Pass and Small Souls by Louis Couperus.

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JAN VERSWEYVELD (SCENOGRAPHY & LIGHTING DESIGNER)

Scenography and lighting designer Jan Versweyveld received his training at the Sint-Lucas Institute in Brussels and at The Royal Academy in Antwerp. In the 1980s, he and Ivo van Hove were two of the founders of the Flemish theater group Akt/Vertikaal and Toneelproducties De Tijd. Versweyveld became the regular scenography designer of Eindhoven’s Zuidelijk Toneel theater group in 1990, and in 2001 went on to Toneelgroep Amsterdam, where he became the head of scenography and the group’s regular designer. Versweyveld’s wide variety of theater credits include: Angels in America, Cries and Whispers, Rocco and his brothers, The Antonioni Project, La Voix Humaine, Teorema, Summer Trilogy, Children of the Sun, And We’ll Never Be Parted, The Miser, The Russians!, Husbands, Macbeth, Long Day’s Journey into Night, Danton’s Dead, The Fountainhead, and Mary Stuart. Besides theater, his oeuvre includes dance with Anne Teresa de Keersmaeker’s ROSAS company, as well as operas such as Lulu and the complete Ring des Nibelungen (Flemish Opera), I due Foscari (Munt Opera), Fidelio (Opéra National de Paris), and The Makropoulos Affair, La Clemenza di Tito and Iolanta (The Netherlands Opera). He has also collaborated with many internationally renowned directors including Johan Simons and Pierre Audi.

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AN D’HUYS (COSTUME DESIGNER)

An D’Huys studied at Sint-Lukas Institute Brussels and fashion at the Royal Academy of Fine Arts in Antwerp. She was part of the design team for Ann Demeulemeester for over twelve years. Recent productions include costume designs for Hedda Gabbler (The National Theatre); Lazarus (London and New York Theatre Workshop); The Damned for Comédie-Française (Avignon Festival and Salle Richelieu in Paris); Husbands and Wives, The Things That Pass, Othello, Opening Night, Medea, Antigone and Kings of War (Toneelgroep Amsterdam); A View From The Bridge (The Young Vic and on Broadway); The Three Sisters, Poquelin, Summerfolk, and The Cherry Orchard (TG STAN’s company in Antwerp); The Misanthrope (Schaubühne Theatre, Berlin); Die Walküre, Siegfried and Götterdämmerung (Flanders Opera); and Bitches Brew and Cassandra (Rosas Ballet Brussels). She also designed costumes for several film productions including Toto le Héros (Jaco Van Dormael) and Rosie (Patrice Toye).

TAL YARDEN (VIDEO DESIGNER)

Tal Yarden specializes in video design for live events including dance, theater, opera, and music performances. Previous designs include: The Crucible (Broadway); Les Damnés (La Comédie-Française); Lazarus (New York and London); Indecent (Yale Rep & La Jolla Playhouse); Clemenza di Tito (Opera Narodowa, Warsaw); Antigone (Barbican, European and U. S. tour); Between Worlds (ENO); Kings of War (Toneelgroep Amsterdam and Barbican); Brokeback Mountain (Teatro Real Madrid); La Clemenza di Tito (La Monnaie in Brussels); Mazeppa (Komische Oper in Berlin); Macbeth (Opéra de Lyon); Ludwig II (Münchner Kammerspiele); The Misanthrope (Schaubünhe in Berlin); Idomeneo (La Monnaie in Brussels); POP! (Yale Repertory); The Fountainhead, Husbands, The Russians!, Children Of The Sun, Cries and Whispers, Antonioni Project, Angels in America, Mourning Becomes Electra and Roman Tragedies (Toneelgroep Amsterdam); Wagner’s Ring Cycle (Vlaamse Opera, Antwerp); Stephen Petronio’s The King is Dead (with Cindy Sherman), Not Garden, Reza Abdoh’s Tight Right White and Quotations from a Ruined City, and Tim Feldmann’s Twin-Project.

Yarden has also produced, designed, and VJ’d video installations and projections for major corporate clients and musical artists.

ERIC SLEICHIM (SOUND DESIGNER)

Composer and saxophone player Eric Sleichim studied at the Conservatories of Brussels and Liege. In the 1980s, he co-founded “Maximalist”, a group that provided music for the first productions of choreographers Anne Teresa de Keersmaeker and Wim Van Dekeybus.

Since 1988, he has performed regularly in Belgium and abroad and gives workshops on non-conventional techniques. Sleichman conceived BL!NDMAN ELECTRIC, a program that focuses on electronic manipulation of live music, and in 2007 curated Music@venture at de Singel in Antwerp. Sleichim has written new music to be performed live for silent movies such as Stemboat Bill J.R. by Buster Keaton (1928), La Chute de la Maison Usher by Jean Epstein (1928), Secrets of a Soul, and Combat de boxe. He collaborated with Guy Cassiers on The Key (1998) and La Grande Suite (Ro Theater). For Ivo van Hove and Toneelgroep Amsterdam, he wrote the music for the Shakespeare marathon performance Roman Tragedies and for Pasolini’s Teorema.

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For Jan Fabre, he developed the electro-acoustic score for The Angel of Death, and composed the music for L’Histoire des Larmes (Avignon Festival). In 2011, Sleichim conceived Utopia 47–a very last Passion, a commission by the MA-Festival (Bruges) and Kalarafestival (Brussels).

Sleichim is composer-in-residence of the new museum Museum aan de Stroom in Antwerp.

BART VAN DEN EYNDE (DRAMATURGY)

Bart Van den Eynde is a freelance dramaturge and has been the Artistic and Pedagogic Coordinator of Advanced Scenography, a postgraduate research program on scenography on and off the stage, since 2009.

Before becoming Company and Production Dramaturge of Het Zuidelijk Toneel under the artistic direction of Ivo van Hove in 1995, he was staff member at The Flemish Theatre Institute. From 2001 to 2007, he worked as an Associate Artistic Director of Laika, for whom he directed Maurice Maeterlinck’s The Death of Tintagiles. Since 2005, he has worked as a freelancer on dance dramaturgy. After working with van Hove at Het Zuidelijk Toneel, Van den Eynde and van Hove have continued to work together regularly. Their collaborations include The Damned, Roman Tragedie, and Antonioni Project.

LAURENT DELVERT (ASSISTANT DIRECTOR)

Laurent Delvert is a theater and opera director and an actor. As a theater director, he has worked for Comédie-Française (Musset’s Il faut qu’une porte soit ouverte ou fermée) and Luxembourg National Theatre (Marivaux’s Le Jeu de l’amour et du hasard, Corneille’s Cinna, Molière’s Tartuffe). He has also directed in opera houses such as Théâtre du Châtelet (Third Improvisation Night), Théâtre des Champs-Elysées (Bizet’s Carmen), Opéra-Comique, and Dijon Opera House (Draghi’s El Prometeo). Delvert has also served as the assistant to renowned directors such as Ivo van Hove, Éric Ruf, Denis Podalydès, Jean-Louis Benoit, Thomas Ostermeier, Jérôme Deschamps, Jérôme Savary, Valérie Lesort, and Christian Hecq.

SARAH ELIZABETH FORD* (STAGE MANAGER)

Sarah Elizabeth Ford’s New York theater credits include: UN General Assembly’s Sustainable Development Goals project presentation; Ugly Lies the Bone with Roundabout Underground; Ridge Theatre’s Lightning at Our Feet and Shelter, Paul Simon’s American Tunes & Songs from the Capeman at BAM; the 24 Hour Play Company: Broadway, Musicals, London, & LA. Regional/touring credits: Resident Stage Manager for the Boston Conservatory at Berklee; The Father and Constellations with Studio Theatre (DC); Global Citizen’s #ShowUpVote Campaign; the Bridge Project: As You Like It & The Tempest (BAM & world tour); Fela! The Concert at the Adelaide & Auckland Arts Festivals; Venus In Fur with Singapore Repertory Theatre, where she also worked as APM for the 2013-2014 season; new works with New York Stage and Film; Traveling Lady at the french institute: alliance française NYC & Cité Internationale Universitaire de Paris; Voices of Strength with MAPP International Productions; and The Nutcracker with Connecticut Ballet.

Ford is a proud member of Actors' Equity Association.

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TELSEY + COMPANY (ADDITIONAL CASTING)

Broadway and tour credits include: Pretty Woman, Straight White Men, My Fair Lady, Carousel, Mean Girls, Frozen, SpongeBob SquarePants, Once on This Island, Hello, Dolly!, Come From Away, Waitress, Hamilton, Kinky Boots, Wicked, The Color Purple, On Your Feet!, The King and I. Off-Broadway credits: Be More Chill, Sweeney Todd, Atlantic Theater Company, MCC Theater, St. Ann’s Warehouse, Second Stage Theater.

Regional credits: Arena Stage, Center Theatre Group, La Jolla Playhouse, McCarter Theatre, New York Stage and Film, Paper Mill Playhouse, Pasadena Playhouse, Wallis Annenberg Center, Williamstown Theatre Festival. Film credits: Mary Poppins Returns, The Greatest Showman, Miss Sloane, Into the Woods, Margin Call, Rachel Getting Married.

Television credits: “Jesus Christ Superstar Live in Concert,” “This Is Us,” “House of Cards,” “Divorce,” “NCIS: New Orleans,” “One Day at a Time,” “Atypical,” and commercials.

SYLVIA BERGÉ (THE NURSE & LISA’S MOTHER)

Sylvia Bergé joined the Comédie-Française in January 1988 and was appointed sociétaire in December 1998. She has worked with a variety of directors: Jacques Lasalle in Michel Vinaver’s L’Émission de television, in Nathalie Sarraute’s Le Silence, and in Figaro Gets a Divorce by Ödön von Horváth; Jean-Louis Benoit in Pirandello’s The Vise and Gogol’s The Government Inspector; Yannis Kokkos in Racine’s Iphigénie; André Wilms in Euripides’ The Bacchae; and Robert Wilson in his adaptation of La Fontaine’s Fables. Other notable credits include: Bess in Michel Vinaver’s play L’Ordinaire; Prudencia in The House of Bernarda Alba

by Federico García Lorca directed by Lilo Baur; Varvara in Gorky’s Summerfolk directed by Gérard Desarthe; La Ronde by Schnitzler directed by Anne Kessler; and Ivo van Hove’s adaptation of Visconti’s The Damned. In 2009, Bergé interpreted Le Testament de Vanda, a monologue written for her by Jean-Pierre Siméon and won the Interpretation Award at the International Theater Festival Actor of Europe in Macedonia. She has also been cast in a variety of musical and vocal performance roles: Metella in La Vie parisienne by Offenbach directed by Daniel Mesguich; Régina Morti in Une visite inopportune

by Copi directed by Lukas Hemleb; and Jenny-la-Bordelière in The Threepenny Opera by Brecht directed by Laurent Pelly. Bergé conceived, interpreted, and directed Le Cabaret des mers and Quatre femmes et un piano, and has played in Chansons déconseillées, Cabaret Barbara and Cabaret Brassens. She reunited with David Lescot for Les Ondes magnétiques, after working with him in The Last Days of Manking by Karl Kraus.

ÉRIC GÉNOVÈSE (WOLF VON ASCHENBACH)

Éric Génovèse joined Comédie-Française in 1993 to play Scipio in Albert Camus’s Caligula directed by Youssef Chahine, and Fortinbras and the Player Queen in Shakespeare’s Hamlet by Georges Lavaudant.

He was appointed sociétaire of the Company in 1998. Génovèse has worked with renowned directors including: Roger Planchon in Occupe-toi d’Amélie by Feydeau; Daniel Mesguich in The Tempest

by Shakespeare and Mithridate and Andromaque by Racine; Robert Wilson in Fables by La Fontaine; Alain Françon in The Three Sisters by Chekhov and The Sea by Edward Bond; and Éric Ruf in Peer Gynt by

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Ibsen. He has performed in a variety of Molière’s plays: The Miser by Andrei Serban; The Forced Marriage by Andrzej Seweryn; Amphitryon

by Anatoli Vassiliev; the title role in Tartuffe by Marcel Bozonnet; and Philinte in Le Misanthrope first under the direction of Lukas Hemleb, then later with Clément Hervieu-Léger. Additional Company credits include: Eugène Ionesco’s Jacques ou la soumission by Simon Eine; Marguerite Duras’ Agatha by Alison Hornus and La Pluie d’été by Emmanuel Daumas; Copi’s Une visite inopportune by Lukas Hemleb; Tony Kushner’s Homebody/Kabul by Jorge Lavelli; Pinter’s The Birthday Party by Claude Mouriéras; Bertolt Brecht’s Mother Courage and Her Children by Jorge Lavelli and The Resistible Rise of Arturo Ui by Katharina Thalbach; and Wolf von Aschenbach in Ivo van Hove’s adaptation of Visconti’s The Damned. As stage director, Génovèse led the Company in a work of texts by Fernando Pessoa entitled Le Privilège des Chemins, and in Erzuli Dahomey, déesse de l’amour by Jean-René Lemoine.

DENIS PODALYDÈS (BARON KONSTANTIN VON ESSENBECK)

Denis Podalydès made his Comédie-Française debut in 1997 as Mikhaïl Alexandrovitch Rakitine in Ivan Turgenev’s A Month in the Country directed by Andreï Smirnoff. In 2000, he became sociétaire of the Company and received the Molière Award for Best Newcomer in Theatre for his performance in Gogol’s The Government Inspector directed by Jean-Louis Benoit. He has worked with renowned directors including: Jean-Pierre Miquel in Marivaux’s Le Legs and Molière’s The Misanthrope; Philippe Adrien in Tom Stoppard’s Arcadia; Pascal Rambert in his play Une vie; Matthias Langhoff in Lenz, Léonce et Léna after Georg Büchner; Piotr Fomenko in Ostrovsky’s The Forest; Galin Stoev in Corneille’s L’Illusion comique and Molière’s Tartuffe; Éric Ruf in Racine’s Bajazet; and Jacques Lassalle in Chekhov’s Platonov or Fatherlessness, Goldoni’s Il Campiello, and Ödön von Horváth’s Figaro Gets a Divorce. Other notable theater credits include: Don César in Victor Hugo’s Ruy Blas; Harpagon in Molière’s The Miser (L’Avare); Calogero di Spelta in La Grande Magie by Eduardo De Filippo; the title role in Shakespeare’s Hamlet; and Baron Konstantin von Essenbeck in Visconti’s The Damned adapted by Ivo van Hove. At the ComédieFrançaise, Podalydès staged Fantasio by Musset, Ce que j’appelle oubli

by Laurent Mauvignier, and Cyrano de Bergerac by Edmond Rostand, which won six Molière Awards. He also directed Lucrezia Borgia by Victor Hugo and Les Fourberies de Scapin by Molière.

ALEXANDRE PAVLOFF (THE COMMISSIONER & THE RECTOR)

Alexandre Pavloff became pensionnaire of the Comédie-Française in 1997, and became sociétaire in 2002. His theater credits include: Les Fourberies de Scapin and Le Bourgeois gentilhomme by Jean-Louis Benoit; Georges Dandin by Catherine Hiegel; L’École des maris by Thierry Hancisse; The Miser (L’Avare) by Andrei Serban; The Imaginary Invalid (Le Malade imaginaire) by Claude Stratz; Amphitryon by Anatoli Vassiliev; Monsieur de Pourceaugnac by Philippe Adrien; Nero in Racine’s Britannicus and Rodrigue in Corneille’s Le Cid, both directed

by Brigitte Jaques-Wajeman; Ferdinand in Shakespeare The Tempest by Daniel Mesguich; Yasha in Chekhov’s The Cherry Orchard by Alain Françon; Ergaste in Marivaux’s Les Sincères by Jean Liermier; Daniel in

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Labiche’s Le Voyage de Monsieur Perrichon by Julie Brochen; Maigreux in Shakespeare’s Merry Wives of Windsor by Andrés Lima; the Emperor in Andersen’s The Emperor’s New Clothes directed by Jacques Allaire; Le Début de l’A. as written and directed by Pascal Rambert; L’Espace furieux written and directed by Valère Novarina; Pur written and directed by Lars Norén; Weekend Quartet written and directed Gao Xingjian; Tony Kushner’s Homebody/Kabul by Jorge Lavelli; Summerfolk directed by Gérard Desarthe; Strindberg’s The Father directed by Arnaud Desplechin; Jeppo Liveretto in Victor Hugo’s Lucrezia Borgia; Cabaret Léo Ferré; and Dorante in Marivaux’s Le Jeu de l’amour et du hasard by Galin Stoev; Luchino Visconti’s The Damned by Ivo van Hove; and Une vie with Pascal Rambert, a play created for the Comédie-Française.

GUILLAUME GALLIENNE (FRIEDRICH BRUCKMANN)

Guillaume Gallienne made his Comédie-Française debut in July 1998 in Shakespeare’s The Tempest directed by Daniel Mesguich, and became pensionnaire in order to perform in Brecht’s Mother Courage and Her Children directed by Jorge Lavelli. He became sociétaire of the Company in 2005. Notable theater credits include: Molière’s Les Femmes savantes directed by Simon Eine; Feydeau’s Un fil à la patte (Cat Among the Pigeons) directed by Jérôme Deschamps, for which he won the Molière Award for best supporting role; Chekhov’s Three Sisters and Goldoni’s The Villeggiatura Trilogy both staged by Alain Françon; Gontcharov’s Oblomov directed by Volodia Serre, which was adapted for Arte Television in 2017; Musset’s Fantasio directed by Denis Podalydès who later cast him in Hugo’s Lucrezia Borgia; and Friedrich Bruckmann in Visconti’s The Damned staged by Ivo van Hove.

ELSA LEPOIVRE (BARONNE SOPHIE VON ESSENBECK)

Elsa Lepoivre made her Comédie-Française debut in 2003 as Dona Elvire in Molière’s Dom Juan, staged by Jacques Lassalle, and became sociétaire of the Company in 2007. Her notable theater credits include: Beauty and Life in Pedro Calderón de la Barca’s Great Theatre of the World directed by Christian Schiaretti; Clarice in Corneille’s Le Menteur directed by Jean-Louis Benoit; L’Amour médecin and Le Sicilien ou l’Amour peintre, two of Molière’s comedies directed by Jean-Marie Villégier; Felix Lope de Vega’s Pedro and the Commander directed

by Omar Porras; Masha in Chekhov’s Three sisters directed by Alain Françon, who later cast her as Brigida in Goldoni’s The Villegiatura Trilogy and as Jessica in Edward Bond’s The Sea; Clytemnestra in Seneca’s Agamemnon directed by Denis Marleau; Elmire in Molière’s Tartuffe directed by Galin Stoev; the title role in Racine’s Phèdre directed by Michael Marmarinos; Marinette in Le Loup and Le Cerf et le chien, both adapted from Marcel Aymé’s Contes du chat perché and directed by Véronique Vella; the title role in Victor Hugo’s Lucrezia Borgia directed by Denis Podalydès; Geneviève in Christiane Jatahy’s adaptation of Renoir’s screenplay The Rules of the Game; and the role of the three goddesses in Shakespeare’s The Tempest directed by Robert Carsen. In 2016, she won the Molière Award for Best Actress for her performance as Baronness Von Essenbeck in Ivo van Hove’s adaptation of Visconti’s The Damned.

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LOÏC CORBERY (HERBERT THALLMAN)

Loïc Corbery joined the Comédie-Française in January 2005 and played Dorante in Corneille’s Le Menteur directed by Jean-Louis Benoit.

He was appointed sociétaire in January 2010. His Company credits include: Ödön Von Horváth’s Figaro Gets a Divorce; Eduardo de Filipo’s La Grande Magie; Philippe Meyer’s singing shows; Zorzello in Goldoni’s Il Campiello directed by Jacques Lassalle; Clitandre in Molière’s The Misanthrope directed by Lukas Hemleb; Petruchio in Shakespeare’s The Taming of the Shrew directed by Oskaras Koršunovas; Clindor in Corneille’s L'Illusion comique directed by Galin Stoev; Fenton in Shakespeare’s Merry Wives of Windsor directed by Andrés Lima; Cléante in Catherine Hiegel’s staging of Molière’s The Miser (L’Avare); Christian in Denis Podalydès’ staging of Edmond Rostand’s Cyrano de Bergerac; Perdican in Alfred de Musset’s No Trifling with Love (On ne badine pas avec l’amour) directed by Yves Beaunesne; Molière’s The Misanthrope and Le Petit-Maître corrigé by Marivaux, both directed by Clément Hervieu- Léger; Shakespeare’s Richard III and Marivaux’s The Double Inconstancy (La Double inconstance), both directed by Anne Kessler; Herbert Thallman in Visconti’s The Damned by Ivo von Hove; and Shakespeare’s The Tempest staged by Robert Carsen.

ADELINE D’HERMY (ELISABETH THALLMAN)

Adeline d’Hermy joined Comédie-Française as a pensionnaire in 2010 and made her company debut as Phénice in Racine’s Bérénice directed

by Muriel Mayette-Holtz. She became a sociétaire at the company in 2016. Her Company credits include: Jeanne in Marguerite Duras’s La Pluie d'été directed by Emmanuel Daumas; Rosina in Carlo Goldoni’s The Villegiatura Trilogy (La Trilogie de la villégiature) by Alain Françon; Nonancourt’s daughter Hélène in Labiche’s An Italian Straw Hat (Un chapeau de paille d'Italie) by Giorgio Barberio Corsetti; Annette in Jules Renard’s Poil de carotte by Philippe Lagrue; Helena in Shakespeare’s A Midsummer Night’s Dream by Muriel Mayette-Holtz; Silvia in Marivaux’s The Double Inconstancy (La Double Inconstance)

by Anne Kessler; Princess Negroni in Victor Hugo’s Lucrezia Borgia

by Denis Podalydès; Ibsen’s Peer Gynt; Adela in The House of Bernarda Alba by Federico Garcia Lorca; Charlotte in Don Juan or the Feast with the Statue (Dom Juan ou le Festin de pierre); Agnès in The School for Wives (L’École des femmes); Éliante and Célimène in The Misanthrope; Edward Bond’s The Sea; Visconti’s The Damned by Ivo van Hove; Zerbinette in Molière’s Les Fourberies de Scapin; and Tekla in August Strindberg’s The Creditors (Les Créanciers).

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CLÉMENT HERVIEU-LÉGER (GÜNTHER VON ESSENBECK)

CHRISTOPHE MONTENEZ (MARTIN VON ESSENBECK)

JENNIFER DECKER (OLGA)

SÉBASTIEN BAULAIN (JANECK)

Clément Hervieu-Léger made his Comédie-Française debut in 2000 as the Clerk in Molière’s Miser (L’Avare) directed by Andrei Serban.

He was admitted into the Company as pensionnaire in 2005 and appointed sociétaire in 2018. He has worked with various directors including Robert Wilson in Fables by La Fontaine, Marcel Bozonnet in Tartuffe by Molière, and Denis Podalydès in Fantasio by Musset.

Notable Company credits include: Bougrelas in Alfred Jarry’s Ubu Roi

by Jean-Pierre Vincent; Oreste in Racine’s Andromaque by Muriel Mayette-Holtz; Kapilotadov in Gogol’s Le Mariage directed by Lilo Baur; Don Juan or the Feast with the Statue (Dom Juan ou le Festin de pierre) by Molière with Jean-Pierre Vincent; Corneille’s La Place royale

by Anne-Laure Liégeois; Marcel Aymé’s La Tête des autres by Lilo Baur; and Günther Von Essenbeck in Visconti’s The Damned directed by Ivo van Hove.

Jennifer Decker has been pensionnaire of the Comédie-Française since September 2011, where she made her debut as Mariane in Molière’s The Miser by Catherine Hiegel. She most notably has collaborated with directors including: Lilo Baur in Gogol’s Le Mariage, Marcel Aymé’s La Tête des autres, and Federico García Lorca’s The House of Bernarda Alba; Jean-Pierre Vincent in Molière’s Don Juan or the Feast with the Statue (Dom Juan ou le Festin de pierre); Giorgio Barberio Corsetti in Labiche’s The Italian Straw Hat; Clément Hervieu-Léger in Molière’s The Misanthrope; Anne Kessler in Marivaux’s The Inconstant Lovers; and Alain Françon in The Sea by Edward Bond. Other notable credits include: Doña Sol in Victor Hugo’s Hernani by Nicolas Lormeau; Aricie in Racine’s Phèdre by Michael Marmarinos; Ophelia in Shakespeare’s Hamlet by Dan Jemmett; Cléanthis in Marivaux’s L’Île des esclaves by Benjamin Jungers; Iris in Pascal Rambert’s Une vie directed by the author; Olga in Visconti’s The Damned by Ivo van Hove; and the title role in Seneca’s Phèdre directed by Louise Vignaud.

Christophe Montenez was admitted as pensionnaire of the ComédieFrançaise in 2014 and made his debut in Molière’s Tartuffe by Galin Stoev. His Company credits include: Bobin in Eugène Labiche’s The Italian Straw Hat directed by Giorgio Barberio Corsetti; Maffio Orsini in Victor Hugo’s Lucrezia Borgia by Denis Podalydès; Al Kooper in Greil Marcus’s Like a Rolling Stone adapted and directed by Marie Rémond and Sébastien Pouderoux; Molière’s The Misanthrope staged

by Clément Hervieu-Léger; Goldoni’s The Boors by Jean-Louis Benoit; Nikita Ivanitch in Chekhov’s Swan Song; The Bear as directed by Maëlle Poésy; Martin von Essenbeck in Ivo van Hove’s adaptation of Luchino Visconti’s The Damned; Ariel in Shakespeare’s Tempest staged by Robert Carsen; Frontin in Marivaux’s Le Petit-Maître corrigé as directed by Clément Hervieu-Léger, who also offered him the role of Moritz Stiefel in Frank Wedekind’s Spring Awakening.

Sébastien Baulain was born in Niamey, Niger, where he lived for many years before traveling and living internationally. He began acting in Ecuador and Paraguay with the company Marcel Pagnol, performing in French plays by Fedeau (Le Dindon), Labiche (Le Voyage de M. Perrichon), and Musset (Lorenzaccio) while touring in South America.

Upon his arrival in France at age 20, Baulain studied at the famous Parisian drama school Cours Florent. In 2015, Comédie-Française cast him to play Janeck in Visconti’s The Damned adapted and directed

by Ivo van Hove.

DIDIER SANDRE (BARON JOACHIM VON ESSENBECK)

Didier Sandre has been pensionnaire of the Comédie-Française since 2013 and made his Company debut in Friedrich Dürrenmatt’s The Visit staged by Christophe Lidon. His Company credits include: Orgon in Molière’s Tartuffe staged by Galin Stoev; Capulet in Shakespeare’s Romeo and Juliet staged by Éric Ruf; and Guiche in Edmond Rostand’s Cyrano de Bergerac and Géronte in Molière’s Les Fourberies de Scapin, both staged by Denis Podalydès. In 2016, Sandre played Baron von Essenbeck in Ivo van Hove’s adaptation of Visconti’s The Damned.

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Thompson Arts Center at Park Avenue Armory

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ABOUT PARK AVENUE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to explore, and audiences to experience epic and adventurous presentations that cannot be mounted elsewhere in New York City.

Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast Wade Thompson Drill Hall that defy traditional categorization and push the boundaries of their practice. In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room; the Artists Studio series in the newly restored Veterans Room; and Interrogations of Form, a series of conversations which featured artists, scholars, activists, and cultural trailblazers

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

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $215-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

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NEXT AT THE ARMORY THE SIX BRANDENBURG CONCERTOS october 1–7

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

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

ARTISTS STUDIO UPCOMING PERFORMANCES: CH A R LEM AGNE PA LESTINE September 24 JULI A NA HU XTA BLE October 10

RECITAL SERIES UPCOMING PERFORMANCES: THE CROSSING September 19-20 SEV ER IN VON ECK A R DSTEIN November 13–14 THOM A S OLIEM A NS December 17-19

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THE HEAD AND THE LOAD december 4–15

“Today's art world is powerfully drawn to Kentridge because he's mastered one of our period's greatest challenges: how to create an art of cultural authority, one that takes the moral measure of our time.”

—The New York Times Renowned South African artist William Kentridge synthesizes elements of his practice to conjure his grandest and most ambitious production to date, commissioned by the Armory. The large-scale new work expressively speaks to the nearly two million African porters and carriers used by the British, French, and Germans who bore the brunt of the casualties during the First World War in Africa and the historical significance of this story as yet left largely untold.

INTERROGATIONS OF FORM: CONVERSATION SERIES UPCOMING EVENTS: S U NDAY SA LON: LITER ATUR E Sunday, September 23 at 3:00pm A RTIST TA LK: THE SI X BR A NDENBURG CONCERTOS Thursday, October 4 at 6:00pm S Y MPOSIUM: STA NDING GROU ND Saturday, November 17, at 2:00pm & 4:00pm A SHION: A NEW SOCI A L F A ND EN V IRONMENTA L STA NDA R D Talk: Wednesday, November 28 at 7:00pm Exhibit: Tuesday & Wednesday, November 27–28: 12:00pm–8:00pm A RTIST TA LK: THE HE A D A ND THE LOA D Thursday, December 6 at 6:30pm

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OTHER HAPPENINGS ARMORY AFTER HOURS

ARTISTS-IN-RESIDENCE

Salon culture has enlivened art since the 19th century, when friends gathered in elegant chambers to hear intimate performances and share artistic insights. Join us following select performances for libations with fellow attendees as we revive this tradition in our historic period rooms. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances.

MALKIN LECTURE SERIES Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

HISTORIC INTERIORS TOURS Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.

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Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-inresidence include playwright and screenwriter Lynn Nottage; Cuban installation and performance artist Tania Bruguera; social practice artist Theaster Gates; performance artists Malik Gaines & Alexandro Segade; set designer and director Christine Jones & choreographer Steven Hoggett; playwright Branden Jacobs-Jenkins & performance artist Carmelita Tropicana; and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray. Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; Musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; and Shen Wei Dance Arts; among others.

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# PAADamned

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

Summer 2018 Youth Corps Cohort Yao Adja, Farhana Akter, Joseph Balbuena, Adrian Barroso, Odyssey Bowser, Kianna Contreras, Leshawn Croswell, Jr., Koralys de la Cruz, Zeinebou Dia, Chamonté Greenfield, Jordan Griffin, Melina Jorge, Alliyah Melendez, Mauria Pate, Amber Skye Rose, Richard Sanchez, Rochelle Smith 2017–2018 Youth Corps Advisory Board Jonatan Amaya, Katie Burke, Lilia Chunir, Nancy Gomez, Terrelle Jones, Oscar Montenegro, Alejandra Ortiz, Mercedes Samuels

16

Claire Marberg, Production Manager Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President Timothy Nim, Chief Financial and Administrative Officer Aarti Ogirala, Associate Director of Education Isabel Orbon, Associate Director of Major Gifts Brian O’Rourke, Assistant Engineer Jeff Payne, General Manager, Programming Drew Petersen, Education Special Projects Manager Anna Pillow, Office & IT Manager Charmaine Portis, Executive Assistant to the Chief Development Officer Kirsten Reoch, Director of Design and Construction Rachel Cappy Risso-Gill, Associate Director of Individual Giving William Say, Superintendent Natalie Schwich, Press & Editorial Manager Melissa Stone, Manager of Special Events Tom Trayer, Director of Marketing Brandon Walker, Technical Director Jessica Wasilewski, Senior Producer Monica Weigel McCarthy, Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Olga Cruz, Leandro Dasso, Mayra DeLeon, Mario Esquilin, Carlos Goris, Cristina Moreira-Soria, Esdras Lopez Herrera, Wayne Gillyard, Porters Kara Kaufman and Erik Olson, Box Office Managers Cheyanne Clarke, Assistant Box Office Manager Jonatan Amaya and Adjani Reed, House Managers Terrelle Jones, Assistant House Manager

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

Thompson Arts Center at Park Avenue Armory

•

643 Park Avenue at 67th Street

JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP

BENEFACTOR $1,000 $780 is tax deductible

Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.”

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

We are pleased to recognize the generous support of our members with these special benefits:

CHAIRMAN’S CIRCLE STARTING AT $2,500

FRIEND $100 $70 is tax deductible

» Invitation to the opening night preview for visual art installations » Free admission for you and a guest to visual art installations » Discounts at local restaurants and hotels » 10% discount on merchandise sales » Discount on Armory Guided Tours »M embers only pre-sale access for performance tickets and 20% discount on Members Subscription

SUPPORTER $250

$200 is tax deductible All benefits of the Friend membership plus:

» Fees waived on ticket exchanges* » Two free tickets to guided tours *** » Discount on tickets to the Malkin Lecture Series, Artists Talks and Public Programs*

ASSOCIATE $500

$370 is tax deductible All benefits of the Supporter membership plus:

» Members concierge ticket service » Free admission for two additional guests (a party of four) to Armory visual art installations » Two complimentary passes to an art fair**

All benefits of the Associate membership plus: » Recognition in printed programs » No wait, no line ticket pick up at the patron desk » Handling fees waived on ticket purchases* » Invitation for you and a guest to a private Chairman’s Circle event »T wo complimentary tickets to select programs in our historic period rooms*

Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world-class artists and access to priority seating.

AVANT-GARDE STARTING AT $350 The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and VIP events.

EDUCATION COMMITTEE STARTING AT $5,000 The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts. Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

For more information about membership, please call (212) 616-3958 or e-mail members@armoryonpark.org For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812 *Subject to ticket availability **Certain restrictions apply ***Reservations required armoryonpark.org

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# PAADamned

17

BOARD OF DIRECTORS Co-Chairman

Marina Abramović

David Fox

Genie H. Rice

Elihu Rose, PhD.

Harrison M. Bains

Marjorie L. Hart

Amanda J.T. Riegel

Wendy Belzberg

Edward G. Klein, Major General

Janet C. Ross

Co-Chairman

Emma Bloomberg

NYNG (Ret.)

Joan Steinberg

Adam R. Flatto

Martin Brand

Ken Kuchin

Emanuel Stern

Cora Cahan

Mary T. Kush

Mimi Klein Sternlicht

Hélène Comfort

Pablo Legorreta

Angela E. Thompson

Paul Cronson

Ralph Lemon

Deborah C. van Eck

Tina R. Davis

Heidi McWilliams

Emme Levin Deland

David S. Moross

Thomas J. DeRosa

Gwendolyn Adams Norton

Founding Chairman, 2000-2009

Sanford B. Ehrenkranz

Joel Press

Wade F.B. Thompson

Founding President & Executive Producer Rebecca Robertson

ARTISTIC COUNCIL Co-Chairs

Benigno Aguilar and Gerald Erickson

Anita K. Hersh

Michael D. Rhea

Noreen Buckfire

Wendy Belzberg and Strauss Zelnick

Wendy Keys

Richard and Amanda J.T. Riegel

Michael Field

Sonja and Martin J. Brand

Ken Kuchin and Tyler Morgan

Susan and Elihu Rose

Caryn Schacht and David Fox

Elizabeth Coleman

Mary T. Kush

Janet C. Ross

Heidi and Tom McWilliams

Hélène and Stuyvesant Comfort

Almudena and Pablo Legorreta

Sana H. Sabbagh

Mary Cronson

Christina and Alan MacDonald

Brian S. Snyder

Emme and Jonathan Deland

Jennifer Manocherian

Joan and Michael Steinberg

Leslie and Thomas DeRosa

Janet and David P. Nolan

Liz and Emanuel Stern

Krystyna Doerfler

Gwen and Peter Norton

Mimi Klein Sternlicht

Lisa and Sanford B. Ehrenkranz

Lily O’Boyle

Deborah C. van Eck

Adam R. Flatto

Sanford L. Smith

Robert Vila and Diana Barrett

Janet Halvorson

Slobodan Randjelović and Jon Stryker

Mary Wallach

SUPPORTERS

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

$1,000,000 +

$500,000 to $999,999

Charina Endowment Fund Citi Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous

Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Marina Kellen French Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Liz and Emanuel Stern $250,000 to $499,999 American Express Michael Field Adam R. Flatto Olivia Tournay Flatto 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 Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Tom DeRosa Ford Foundation Barbara and Andrew Gundlach Marjorie and Gurnee Hart Daniel Clay Houghton Anna Maria and Stephen Kellen Foundation, Inc. Kirkland & Ellis LLP

Thompson Arts Center at Park Avenue Armory

•

Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. National Endowment for the Arts New York State Assembly Stavros Niarchos Foundation Gwen and Peter Norton Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief Daniel and Joanna S. Rose Janet C. Ross Caryn Schacht and David Fox Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts

643 Park Avenue at 67th Street

$25,000 to $99,999

$10,000 to $24,999

Arthur F. and Alice E. Adams Foundation AECOM Tishman Art Dealers Association of America Benigno Aguilar and Gerald Erickson The Avenue Association Harrison and Leslie Bains Blavatnik Family Foundation Emma Bloomberg Noreen and Ken Buckfire Janna Bullock The Cowles Charitable Trust Caroline and Paul Cronson James and Gina de Givenchy The Emma and Georgina Bloomberg Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Katherine Farley and Jerry Speyer Seymour Flug Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Deborah and Allen Grubman Anita K. Hersh Josefin and Paul Hilal Janine and J. Tomilson Hill The Emily Davie and Joseph S. Kornfeld Foundation Jo Carole and Ronald S. Lauder Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation New York State Council on the Arts Frank and Elizabeth Newman David P. Nolan Foundation Donald Pels Charitable Trust Jon Stryker and Slobodan Randjelovic´ The Reed Foundation Michael D. Rhea Rhodebeck Charitable Trust Genie and Donald Rice The Fan Fox and Leslie R. Samuels Foundation Stacy Schiff and Marc de la Bruyère Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Peter and Jaar-mel Sloane / Heckscher Foundation Sanford L. Smith Howard & Sarah D. Solomon Foundation Jennifer and Jonathan Allen Soros Sharzad and Michael Targoff TEFAF NY Tishman Speyer Properties, LP Anonymous (3)

Jamie Alter and Michael Lynton Abigail Baratta Helaine and Victor Barnett Ginette Becker Marco Cafuzzi Eileen Campbell and Struan Robertson Mr. and Mrs. Robert Cochran Elizabeth Coleman Joyce B. Cowin Mary Cronson / Evelyn Sharp Foundation Cultural Services of the French Embassy David Dechman and Michel Mercure Jennie L. and Richard K. DeScherer Krystyna Doerfler Jeanne Donovan Fisher William F. Draper Peggy and Millard Drexler The Durst Organization Ehrenkranz & Ehrenkranz LLP Andra and John Ehrenkranz EverGreene Architectural Arts Florence Fearrington The Fribourg Family Bart Friedman and Wendy A. Stein Barbara and Peter Georgescu The Georgetown Company Kiendl and John Gordon Archie Gottesman and Gary DeBode Jeff and Kim Greenberg Janet Halvorson Mr. and Mrs. Lawrence Hite Jack Shainman Gallery Rachel and Mike Jacobellis Kaplen Brothers Fund Jennie Kassanoff and Dan Schulman Kekst Randy Kemper and Tony Ingrao Suzie and Bruce Kovner Leonard and Judy Lauder Fund Lavazza Chad A. Leat Leon Levy Foundation Aaron Lieber and Bruce Horten George S. Loening Andrea Markezin Press and Joel Press Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Lily O'Boyle Mario Palumbo and Stefan Gargiulo PBDW Architects Joan and Joel I. Picket Noel Pittman Thomas J. Reid Kimberly and Scott Resnick Roberto Cavalli Mary Jane Robertson and Jock Clark Deborah and Chuck Royce

armoryonpark.org

Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Susan Rudin Sana H. Sabbagh Mr. and Mrs. William Sandholm Susan and Charles Sawyers Dr. and Mrs. Thomas P. Sculco Skadden, Arps, Slate, Meagher & Flom LLP Brian S. Snyder Sotheby's Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs Mr. and Mrs. Dave Thomas Laurie M. Tisch Illumination Fund Merryl and JamesTisch Barbara and Donald Tober Jane and Robert Toll Christopher Tsai and André Stockamp / Tsai Capital Corporation Robert Vila and Diana Barrett Mary Wallach David Wassong and Cynthia Clift Diana Wege WME Anonymous (2) $5,000 to $9,999 Jody and John Arnhold Milton and Sally Avery Arts Foundation Tony Bechara Mr. and Mrs. Jonathan Berger Debra and Leon Black Leslie Bluhm and David Helfand Nicholas Brawer Catherine and Robert Brawer Amanda M. Burden Marian and Russell Burke Canard, Inc. CBRE Anna Chapman and Ronald Perelman Diana Davenport and John Bernstein Elizabeth de Cuevas Richard and Barbara Debs Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Mr. and Mrs. Israel Englander Dr. Nancy Eppler-Wolff and Mr. John Wolff The Felicia Fund Lori Finkel and Andrew Cogan Fisher Marantz Stone, Inc. Ella M. Foshay and Michael B. Rothfeld Mr. and Mrs. Stephen and Amandine Freidheim Fried, Frank, Harris, Shriver & Jacobson LLP Teri Friedman and Babak Yaghmaie Inger McCabe Elliott

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# PAADamned

Sarah Jane and Trevor Gibbons Debbi Gibbs The Francis Goelet Charitable Lead Trusts Sarah Gould and David Steinhardt Jeff Greene, Desiree Greene and Kim Lovejoy Agnes Gund Molly Butler Hart and Michael D. Griffin Mr. and Mrs. Brian Higgins Ionian Management Sonny and Michelle Kalsi Erin and Alex Klatskin Mr. and Mrs. Fernand Lamesch Stephen Lash and Wendy Lash Lazard Sahra T. Lese Alexia and David Leuschen Gail and Alan Levenstein Phyllis Levin Lili Lynton and Michael Ryan The Honorable and Mrs. Earle I Mack James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Rick and Dee Mayberry Renee and David McKee Joyce F. Menschel Elizabeth Miller and James Dinan Sergio and Malu Millerman Claire Milonas Sandra Earl Mintz Christine Moog and Benoit Helluy Sue Morris Mr. and Mrs. Saleem Muqaddam Beth and Joshua Nash Mr. and Mrs. Michael Newhouse Nancy and Morris W. Offit Liz and Jeff Peek Gabriela Peréz Rocchiette Betsy and Rob Pitts Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Katharine and William Rayner David Remnick and Esther Fein Richenthal Foundation Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Reed Rubin and Jane Gregory Rubin Valerie Rubsamen and Cedomir Crnkovic H. Onno and Renée Ruding Bonnie J. Sacerdote Mr. and Mrs. Mortimer Sackler Ms. and Mr. Nancy Sanitsky Mr. and Mrs. Stephen Schwarzman Claude Shaw and Lara Meiland-Shaw Bob and Eva Shaye Lea Simonds Debbie and Jeffrey Stevenson

Tom Strauss Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Ellen and Bill Taubman Michael Tuch Foundation Mr. and Mrs. Ronald Ulrich Andrew E. Vogel and Véronique Mazard Anastasia Vournas and J. William Uhrig Isak and Rose Weinman Foundation, Inc. Mr. and Mrs. Gregory Weingarten Michael Weinstein and Millen Magese Lynne Wheat David Wolf and Lisa Bjornson Wolf Cynthia Young and George Eberstadt Mr. and Mrs. Nathaniel Zilkha Zubatkin Owner Representation, LLC Anonymous (2) $2,500 to $4,999 Debra Abell Cristiana Andrews Cohen and David Cohen Peter Balis Elyse and Lawrence Benenson Vanessa Ana Barboni Stephen Berger Mr. and Mrs. Robert Birnbaum Claudia and George Bitar Hana and Michael Bitton Allison M. Blinken Mr. and Mrs. Mark Bloom John Bonanno / Phoenix Interior Contracting Marc Brodherson and Sarah Ryan Stacey Bronfman Amy and Kevin Brown Veronica Bulgari and Stephan Haimo Mr. and Mrs. Arthur Carter Cartier S.A. Emy Cohenca Betsy Cohn Margaret Conklin Ellie and Edgar Cullman The Cultivist Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Virginia Davies and Willard Taylor Jacqueline Didier and Noah Schienfeld Ms. Elizabeth Diller and Mr. Richard Scofidio Francesca and Michael Donner Christopher A. Duda Karen Eckhoff Anne and Joel Ehrenkranz Martin and Rebecca Eisenberg Foundation Susan and Leonard Feinstein Helene and Ziel Feldman First Republic Bank Edmée and Nicholas Firth Laura Fisher Gwen and Austin Fragomen Sylvia Golden Elizabeth and David Granville-Smith Great Performances

Jeanne Greenberg and Nicholas Rohatyn Mr. and Mrs. George Grunebaum Susan Gutfreund John Hargraves Harkness Foundation for Dance Daisy Helman Stephanie and Stephen Hessler Augusta Hoffman Robert Jaffe and Natasha Silver Bell Mr. and Mrs. Morton Janklow Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Herbert Kasper Adrienne Katz Richard Katzman Diana King / The Charles & Lucille King Family Foundation Phyllis L. Kossoff Mr. and Mrs. Glenn Krevlin Justin Kush Kamie and Richard Lightburn Lisson Gallery Jane K. Lombard Liz Lubnina and Tom Sternfeldt Billy and Julie Macklowe Judith and Michael Margulies Angela Mariani Bonnie Maslin Nina B. Matis Constance and H. Roemer McPhee Mr. and Mrs. Prakash Melwani Mr. and Mrs. William Michaelcheck Sally Minard and Norton Garfinkle Allen Model and Dr. Roberta Gausas Mr. and Mrs. Robert Morse Mary Kathryn Navab Daniel Neidich and Brooke Garber Neidich Mr. and Mrs. Jesse Newhouse Kathleen O'Grady Simon Oren David Orentreich, MD / Orentreich Family Foundation Peter and Beverly Orthwein Mindy Papp Madison J Papp Marnie Pillsbury Cynthia Hazen Polsky and Leon B. Polsky Tracey and Robert Pruzan Richard Reiss Diana and Charles Revson Heidi Rieger Jonathan F.P. and Diana Rose Aby and Samantha Rosen Susan and Jon Rotenstreich Jane Fearer Safer Dr. and Ms. Nathan Saint-Amand Paul H. Scarbrough / Akustiks, LLC. Mr. and Mrs. Wilfred N. Schlumberger Caroline Schmidt-Barnett Victoria Schorsch Mr. and Mrs. Joe Schueller Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Jonathan Sheffer

Lee Shull and Arthur Pober Stephanie and Fred Shuman Mr. and Mrs. Bill Sick Alan and Sandy Siegel Gillian Hearst Shaw Laura Skoler Margaret Smith Sara Solomon Mr. and Mrs. David Sonenberg Sonnier & Castle Daisy M. Soros Gayfryd Steinberg and Michael Shnayerson Doug Steiner Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Elizabeth F. Stribling and Guy Robinson Meghan and Allen Thorpe L.F. Turner Mr. and Mrs. John Usdan Mr. and Mrs. Jan F. van Eck Peter Van Ingen and Alexandra Oelsner Ambassador and Mrs. William J. vanden Heuvel Susan and Kevin Walsh Arete Warren David Reed Weinreb Jacqueline Weld Drake Katherine Wenning and Michael Dennis Gary Wexler Kate R. Whitney and Franklin A. Thomas Brian and Jane Williams Maria Wirth Mr. and Mrs. Glen Wood Amy Yenkin and Robert Usdan Judy Francis Zankel Richard and Franny Heller Zorn Anonymous (4) $1,000 to $2,499 Marina Abramović Catherine Adler Noreen K. Ahmad and Ahmar Ahmad Todd J. Albert Anka Ann Anderssen Mr. and Mrs. John Argenti David and Alatia Bach Rebecca Lynn Bagdonas Femenella & Associates Laura Zambelli Barket Norton Belknap Dale and Max Berger Elaine S. Bernstein Clara Bingham Katherine Birch Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Livio Borghese Mr. and Mrs. Michael Bradley Mr. and Mrs. Louis Brause Diane Britz Lotti Mr. and Mrs. Cliff Brokaw Gabriela Bronfman

Thompson Arts Center at Park Avenue Armory

•

Matthew Bronfman Spencer Brownstone Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Sommer Chatwin Racquel Chevremont and Mickalene Thomas Shirin and Kasper Christoffersen Bradley A. Connor Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Boykin Curry Lynn Dale and Frank Wisneski Mr. and Mrs. Charles Daniels Suzanne Dawson Jeffrey Deitch Luis y Cora Delgado Diana Diamond and John Alschuler Mr. and Mrs. John Dunn Mr. and Mrs. Frederick Elghanayan Jacqueline Elias Yevgeniya Elkus Mr. and Mrs. Douglas Erb Jared Feldman / Anchin Private Client Mr. and Mrs. Alessandro Fendi Mr. and Mrs. Brian Fisher Candia Fisher Dr. and Mrs. Walter Flamenbaum Megan Flanigan Paul and Jody Fleming Delia Folk The Fribourg Family Scott Fulmer and Susan Kittenplan Fulmer Shawna Cooper Gallancy Julie Geden Mr. and Mrs. Scott Gerber Alberta Gerschel and Peter Wasserman Mr. and Mrs. David Getz Mark Gimbel Kathleen and David Glaymon Nina Gorrissen von Maltzahn Marieline Grinda and Ahmad Deek Kathleen and Harvey Guion Cheryl Haines Raymond Hannigan Herrick Feinstein LLP William T. Hillman Hodgson Russ LLP Caroline Eve Hoffman Catherine Jeong Christopher and Hilda Jones Jeanne Kanders Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Cynthia and Stephen Ketchum Major General Edward G. Klein, NYNG (Ret.) Mr. and Mrs. Chris Kojima Kate Krauss Polly and Frank Lagemann Lagunitas Brewing Co. Nanette L. Laitman Gregg Lambert (co-founder), Perpetual Peace Project, CNY Humanities Co

643 Park Avenue at 67th Street

Barbara Landau Mr. and Mrs. Sheldon Landau Judith Langer Mark and Taryn Leavitt Julia Ledda Ralph Lemon Brenda Levin Ms. and Mrs. Paul Lowerre Donna and Wayne Lowery Henry Luce Foundation Rose Peabody Lynch John D. and Catherine T. MacArthur Foundation Alexander Maldutis and Reena Russell Nasr Christophe W. Mao Match 65 Brasserie Melissa Meeschaert The Meyer Family Laurent Mialhe Lauren Michalchyshyn Nicole Miller and Kim Taipale Adriana and Robert Mnuchin Valerie Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Cindy and David Moross Mr. and Mrs. Mark Newhouse Mr. and Mrs. Marvin Numeroff Robert Ouimette and Lee Hirsch Mr. and Mrs. Stuart Parker Mr. and Mrs. Lee Parks Mr. and Mrs. Brian Pfeifler Mr. and Ms. Robert Pittman Mrs. and Mr. Geri Pollack Michael F. Poppo Laura Poretzky-Garcia Prime Parking Systems Mr. and Mrs. Thomas L. Pulling Martin and Anna Rabinowitz Mr. and Ms. John Rice Mr. and Mrs. David Rogath Alexandra Lind Rose Marjorie P. Rosenthal RoundTable Cultural Seminars Whitney Rouse Elizabeth Sarnoff and Andrew Cohen Mr. and Mrs. Matthew Satnick Pat Schoenfeld Kimberly Kravis and Jonathan Schulhof Marshall Sebring and Pepper Binkley Kimia Setoodeh Nadine Shaoul and Mark Schonberger Mr. and Mrs. Michael Shuman Neil Simpkins and Miyoung Lee Salwa J. Aboud Smith and Robert P. Smith Mary Elizabeth Snow Squadron A Foundation Mark Stamford Colleen Stenzler Allen Stevens Tricia Stevenson Mr. and Mrs. Phillip Summers Summit Security Services, Inc. Lee Wyndham Tardivel Jeffrey Alan Teach

Vincent Teti Jennifer Tipton Mr. and Mrs. Christophe Van de Weghe Joseph Vance Architects Dionysios Vlachos Mr. and Mrs. John Vogelstein Teri and Barry Volpert Mr. and Mrs. Alexander von Perfall Vranken Pommery America Annell Wald and Ivor Cummings Saundra Whitney Walter B. Melvin Architects, LLC Caroline Wamsler and DeWayne Phillips Lucy Massey Waring Lauren and Andrew Weisenfeld Mr. and Mrs. Arthur Williams Mr. and Mrs. Steven Wisch Lisa Wolfe Jon and Reva Wurtzburger Meghan and Michael Young Mr. and Mrs. Alexis Zoullas Anonymous (4) List as of June 25, 2018 * Deceased

armoryonpark.org

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# PAADamned