Blank Check

THE TOWN HALL | 123 WEST 43RD STREET, NYC

123 W 43RD ST NYC | THETOWNHALL.ORG CONNECT: @TOWNHALLNYC

Enter to win tickets Please take a minute to fill out our survey to enter to win tickets to a future Town Hall Presented event.

800-745-3000

FRIDAY, JUNE 6, 2024 • 8PM

THE TOWN HALL PRESENTS

GRIFFIN NEWMAN and DAVID SIMS WITH

BEN HOSLEY and MARIE BARDI-SALINAS

GUEST PERFORMANCE BY

Connor Ratliff MUSICAL PERFORMANCE BY

Rashad Brown

COVER DESIGN BY

Nakatomi

123 WEST 43RD STREET, NYC | @TOWNHALLNYC | THETOWNHALL.ORG @TownHallNYC | 1

A LETTER FROM THE PRESIDENT

Welcome! And, may I add, congratulations. You are attending one of New York’s and America’s essential meeting houses, music venues and cultural institutions. I know that you will find the Town Hall Presents programming you are attending tonight to be timely and compelling.

And each of our productions is an expression of our commitment to Welcome!

And, may I add, congratulations.

You are attending one of New York’s and bring you significant, unique, eclectic and down right delightful events America’s essential meeting houses, music venues and cultural institutions.

I know that throughout the calendar year.

A Letter from the President

Pe

you will find the Town Hall Presents programming you are attending tonight to be timely

and compelling.

And our productions is an “to expression of our commitment to There is no place likeeach TheofTown Hall. Founded promote good bring you significant, unique, eclectic and down right delightful events citizenship, social justice and general enlightenment through thethroughout the calendar year. education and expression of public opinion,” our hall’s world-class acoustics quickly became a calling card, and for over a century, playing There is no place like The Town Hall. Founded “to promote good citizenship, social The Town Hall stage continues to be a ‘must’ for musicians and singers justice and general enlightenment through the education and expression of public from all genres and backgrounds. opinion,” our hall’s world-class acoustics quickly became a calling card, and for over a

century, playing The Town Hall stage continues to be a ‘must’ for musicians and singers

Whether visiting our storied auditorium for the first time, or returning from all genres and backgrounds. to experience yet another great night live on our stage, you can feel the vitality in visiting the room.

The Town Hall is for truly purpose-built Whether our storied auditorium thecontemporary; first time, or returning to experience yet to open its doors to art, ideas and especially to you. another great night live on our stage, you can feel the vitality in the room. The Town Hall

Pe

is truly contemporary; purpose-built to open its doors to art, ideas and especially to you.

Upon its dedication in 1921, The League for Political Education opened Upon its dedication innow 1921, sitting The League for the Political Education opened the building you the building you are in with watchwords: are now sitting in with the watchwords:

“It does not matter who you are, what you are, or from where you come, “It does not matter who you are, what you are, you are welcome.”

Pe

or from where you come, you are welcome.”

As president of the non-profit organization that preserves our As president of the non-profit organization that preserves our landmarked auditorium landmarked auditorium and produces the Town Hall Presents events like and produces the Town Hall Presents events like the one you are attending tonight, the one you are attending tonight, I thank you for coming to The Town I thank you for coming to The Town Hall. On behalf of the Board of Trustees, and our Hall. On behalf of the Board of Trustees, and our incredible staff of incredible staff of professionals, I echo the sentiment of our founders and assure you professionals, I echo the sentiment of our founders and assure you that that you are always welcome here. you are always welcome here.

Nevin Steinberg, President Nevin Steinberg 2 | @TownHallNYC

2 | @TownHallNYC

Pe

Pe

About the Program Hear ye, hear ye. Podcasters, cinephiles, and freaks - rejoice! Blank Check returns to Town Hall to commemorate their 10th Anniversary with a long-promised tribute to one of the greatest films in porch cinema history. To honor their “Decade of Dreams,” hosts Griffin Newman and David Sims cordially invite you to a royal audience with KING RALPH, the 1991 comedy written and directed by David S. Ward and starring John Goodman / Peter O’Toole. Enjoy an evening of reflection, analysis, elaborately produced, adequately-executed royalty-themed bits and more. God save our gracious podcast!

@TownHallNYC | 3

About the Artists MARIE BARDI-SALINAS (Social Media) | Marie Bardi-Salinas is thrilled to be returning to Town Hall to celebrate Blank Check’s Decade of Dreams. She’s been doing Social Media for Blank Check since 2021, and now does Social Media for another major entertainment brand that she is legally not allowed to talk about. You can listen to her on the podcast whenever the gang covers a new release movie, and she publishes the Check Book newsletter on Substack every Monday. She’d like to thank her husband David (not Sims) for his unwavering support, and her family for encouraging her to follow this very unconventional career path.

BEN HOSLEY (Executive Producer) Ben Hosley has too many nicknames to include in his bio, and is famously from New Jersey. He is a professional podcast producer.

He also is CEO of Congratulations, a fashion and lifestyle brand. And is the creator and impresario behind the annual holiday compilation, Slow Xmas. Ben loves films that he can watch “on his porch”, thus inspiring our “Porch Classics” series of Ben’s selections. He is our finest film critic.

GRIFFIN NEWMAN (Co-host) “Downtown” Griffy Newms is an actor and comedian from New York City. He is known for his encyclopedic knowledge of box office charts and his affection for movie merch.

Outside of Blank Check, you can catch him as the voice of Orko in Masters of the Universe on Netflix, and as Watto in the cult-favorite The George Lucas Talk Show.

DAVID SIMS (Co-host) David “The Spreadmaster” Sims is a film critic from New York City (by way of London?). Fans of the podcast know him for his meticulously organized spreadsheets of Oscar contenders (it’s hard to make his top five) and for his imagined tenure as CEO of Quibi. Outside of Blank Check, David is the staff film critic for The Atlantic and devoted father.

4 | @TownHallNYC

About the Podcast Blank Check is a weekly movie podcast about filmographies; specifically those of Hollywood directors who achieved massive success early on, and thus were given a series of “blank checks” to make whatever crazy passion projects they wanted. As hosts Griffin and David state every episode – sometimes those checks clear, and sometimes they bounce, baby!

Week to week, Griffin and David are often joined by notable actors, writers, directors and fellow podcasters to discuss the film at hand. Past guests include Kevin Smith, Rachel Zegler, Lin-Manuel Miranda and Leslye Headland.

Since 2015, the podcast has covered 41 current and classic directors – such as M. Night Shyamalan, Nancy Meyers, Christopher Nolan, and Stanley Kubrick – devoting an episode to each film in their oeuvre, as well as the occasional off-topic bonus episode.

Blank Check with Griffin and David is proudly an independent production.

Find Blank Check wherever you get your podcasts. Join our Patreon, Blank Check: Special Features, for exclusive franchise commentaries and bonus episodes. Follow us on social @blankcheckpod. Subscribe to our weekly newsletter ‘Check Book’ on Substack.

For partnership inquiries please contact info@blankcheckpod.com.

@TownHallNYC | 5

STAFF FOR BLANK CHECK: DEMAND AN AUDIENCE WITH KING RALPH Paul Sabourin Event Producer AJ McKeon Associate Producer Minick Production Assistant Nate Patteron Production Assistant JJ Bersch Researcher StagePilot Video Production Jordan Fish Pre-roll/ VFX Video Producer Arin Sang-uari Photographer Tim Doyle Poster Illustrator Joe Bowen Crown Illustrator Robert Hosley Special Project Graphic Designer STAGEPILOT Chris Korbey Director Laura Valk Producer Rachel Lee Project Manager Chris Skiles Technical Director Jaron Berman Director of Photography/Camera Operator Katie Harris Camera Operator Jeff Tan Camera Operator Paul Nichols Camera Operator Kellon Innocent Assistant Camera Myranda Mallenbaum Utility Michael Kessler and Laura Valk Editor BLANK CHECK PRODUCTIONS Griffin Newman Co-Host David Sims Co-Host Ben Hosley Executive Producer Marie Bardi-Salinas Social Media David Cho Partnerships AJ McKeon Associate Producer/Editor Alan Smithee Editor JJ Bersch Research Minick Production Assistant Lane Montgomery Theme Song Alex Mitchell Additional Music Joe Bowen Artwork Olly Moss Artwork Pat Reynolds Artwork Jordan Fish Video Producer Nate Patterson Music Curator MUSIC SELECTIONS “Jubilant Fanfare” performed and original recording by The United States Navy Band “Blank Check Theme (Royal Remix)” arranged by Alex Mitchell Based on the “Blank Check Theme” composed by Layne Montgomery “Pod save the Cast” lyrics by Griffin Newman & Marie Bardi-Salinas Based on “God save the King” lyrics by Henry Carey / arranged by Jean Baptiste-Lully Performed and original recording by The United States Navy Band “Good Golly, Miss Molly” written by John Marascalco, Robert “Bumps” Blackwell / arranged by Rashad Brown SPECIAL THANKS TO: David S. Ward, Gabe Barreto, Luis Gomez, Ray Tintori, all past and future guests, Talkhouse, Sarah, Forky, Blaze, David Salinas, Pig, Sally White and Bastille Flowers and Events,a the entire Town Hall staff, IATSE and of course our King, John Goodman.

In memory of Tim Walker (1984 - 2024) 6 | @TownHallNYC

@TownHallNYC | 7

Let’s Crack Open The Dossier

by JJ Bersch After a long career as an actor, writer, and director on stage and screen, the multi-talented Welshman Emlyn Williams added another title to his extensive résumé in 1980: at the age of 75, Williams published his first fully fictional novel, Headlong, a comic fantasy in which a commoner makes an unlikely ascent to the throne of England. Its sordid story begins with freak horror: aboard the maiden voyage of a dirigible named the Sky Whale, the entire Royal Family perishes by “instant incineration” when the airship explodes. “All that remained,” writes Williams, “was a twisted tangle of steel girders.”

When David S. Ward first began working on his film adaptation of Headlong years later, the novel’s opening moments required an overhaul. The action in his version of the story—which would eventually bear the title King Ralph—had been transported from the 1930s of the novel’s narrative to Ward’s contemporary moment: the late 1980s/early 1990s. A half-century after the Hindenburg disaster, dirigible explosions were no longer much of a concern. So Ward concocted a new calamity for the Royal Family: death by electrocution, courtesy of a rainy day and some faultily assembled photography equipment.

Ward was not the first writer to work on King Ralph, though his re-write of the script was significant enough to earn him the sole credit for its screenplay. The rights to Williams’s novel had first been acquired by Mirage Enterprises, the production company founded by Sydney Pollack in 1985. Originally, Ralph was developed with Pollack in mind as its director, but when the two-time Oscar winner shifted his focus to Havana— his 1990 Robert Redford-starring Cuban Revolution gambling drama—he offered the director’s chair on King Ralph to the one-time Oscar winner Ward, who was coming off his biggest success as a director with 1989’s Major League.

With Ward now attached as the film’s principal creative force—serving as both writer and director—the search began for a star to carry the film, which was set to be distributed by Universal. Though the studio would have preferred to have an established draw like Bill Murray or a rising star like Jim Carrey in the titular role, time and again the inquiries made to those kinds of names were met with the same response: the project’s timeline didn’t fit into those actors’ busy schedules.

8 | @TownHallNYC

One day, Ward’s agent proposed a somewhat unlikely name: John Goodman, who was then known principally as a character actor on the big screen (in films like True Stories, Raising Arizona, and Punchline) and as a sitcom star on the small screen (on Roseanne, of course). Goodman had never starred in a studio film before, but the actor’s schedule was open, and Ward could envision Goodman as the kind of humble Midwestern transplant he had written as his film’s main character. (Williams’s novel, it should be noted, does not locate any of its story world in or near the state of Wisconsin; its lower-class protagonist is from Cornwall.)

The majority of the cast was then filled out with British actors, including firmly established thespians like Peter O’Toole and John Hurt alongside fresher faces like Camille Coduri and Joely Richardson.

Quickly into the shoot, Ward noticed clear differences between the American actors he had come to know and the new actors he was now getting to know across the pond, especially when O’Toole delivered two perfect takes of a two-page speech like it was absolutely nothin’. Per Ward, “I thought, you know, this is what happens when you’re trained in Shakespeare. You’re able to do these long speeches and not blank and so that was a real lesson to me. …

American actors tended to want to play things rather than say things.”

The production for King Ralph was based in the United Kingdom, with a wide array of real-life castles and other historic buildings—including London’s Somerset House, Oxfordshire’s Blenheim Palace, and Kent’s Hever Castle—subbing in for off-limits locations like Buckingham Palace and Windsor Castle. Ward estimates that threequarters of the shoot was held on location, with the remaining quarter taking place at the legendary Pinewood Studios. Principal photography commenced on April 17, 1990, with the shoot lasting somewhere between 50 to 60 days.

Reshoots later occurred in January 1991, just six weeks before the film’s premiere.

Though Variety reported that the ending had been rewritten and reshot, Ward downplayed the severity of the reshoots, claiming that what actually spurred the trip back to England was the film’s stinger, in which Ralph—having abdicated the throne— lays down a slick studio cut of Gene Chandler’s “Duke of Earl.” (The executives, having previewed the film, wanted more of Goodman’s singing.)

Though Ward remembers the production of King Ralph fondly, the shoot was physically and emotionally demanding, especially given the constant travel between locations.

@TownHallNYC | 9

The burden of the shoot was especially hard on Goodman, who appears in almost every scene in the film. In an August 1990 interview with TIME magazine, Goodman claimed that he saw little of England aside from “the road between [his] house and the studio,” while he told The Los Angeles Times in February 1991 that, “When you’re the leading man, your meter’s running all the time and you’re always working. There’s no goof-off time.”

Particularly difficult was the film’s big comic set piece, in which Ralph attempts to liven up a stale royal party with a bravura performance of Little Richard’s “Good Golly Miss Molly.” In a 2019 interview with GQ, Goodman characterized the filming of that sequence as “endless,” further saying, “We kept doing it again and again and again and I’m like, you know, 150 pounds overweight and sweating battery acid by the end of the day and it just kept going—it was relentless.” Ward remembers Goodman as totally committed to that day’s shoot, though he worried that his lead actor would have a heart attack at any moment.

Contemporary press around the film highlighted two outside forces that played a part in shaping it, both of them royal. The first, as reported in the Los Angeles Daily News, was the actual Royal Family, with British officials requesting that the film eschew the usage of the name “Windsor,” the appearance of any stand-ins for real-life royals like Prince Charles or Princess Diana, and the on-screen electrocution of any childaged royal family members. Ward, though, was mostly unbothered by their demands: “Because the royal family is all dead at the beginning of the movie, you know, I had no conflict at all with them.” (He does claim, however, that at least one member of Parliament was outraged by the film’s story.)

The other external royal force exerting influence on the film was American: the Burger King, of course. King Ralph’s story takes its titular character to a London-based location of the noble fast food chain, where Ralph soon learns he can no longer easily mingle with common people. Along with lending its restaurant to the production, Variety noted that Burger King launched a massive four-week tie-in advertising campaign for King Ralph worth upwards of $8 million. Despite the big marketing spend, Ward pleads naivety about the product placement, claiming he simply considered it a good note from his studio: “I thought Burger King was the perfect place for him to go. That’s his kind of place! I didn’t even know there was one in England.”

King Ralph arrived in American theaters on February 15, 1991. It earned just north of $8 million in its opening weekend, good enough for third place at the Presidents’ Day weekend box office—or the value of one Burger King advertising campaign. It concluded its domestic haul at $34 million, with the worldwide gross estimated to be around $52 million.

The film was not a smash hit with the critics. Particularly scathing was the review found in the UK-based Sight and Sound magazine, whose writer Jonathan Romney deemed Ralph a “succession of witless stereotypes from start to finish” and a “vehicle for some 10 | @TownHallNYC

stale jibes at the most hackneyed English eccentricities.” Michael Wilmington of The Los Angeles Times called Ralph an “empty, puffed-up blob of a comedy,” while The Washington Post’s Hal Hinson was unconvinced of the typically great Goodman’s potential as a movie star: “In small doses, he’s a blessing -- a ton of fun. In larger ones, he’s a load.”

However, the film fared much better with at least one young critic in New Jersey, who declared King Ralph a certified Porch Movie classic. And it is thanks to him that we coronate the film—as well as the Decade of Dreams—on this special night.

Sources consulted: author interview with David S. Ward on May 30, 2025; Kirkus Reviews, February 1, 1980; AFI Catalog of Feature Films; TIME magazine, August 13, 1990; Los Angeles Times, February 12, 1991; GQ, August 15, 2019; Variety, February 17, 1991; Sight and Sound, May 1, 1991; Los Angeles Times, February 15, 1991; Washington Post, February 14, 1991. @TownHallNYC | 11

Word Search Word Search X R L X K L G I X K V I C X B F Z T O Z I J P UDH Z L F F C I T U K U X K N I Z Q V UW B F S D N AWN G S D N C A L F F P D G GW A H N J H U X P I U X T B U V Y H K Y A I P Q ZM F C Z C S NGGM V K P S H S V I L S PWU U L T Y F U L M I U Z C K F V R X H GM BW Y S H A H L N G EWX U U G U HW S X T T A H A I U X A C T A A U N L I Q G O D V Q B J K T P L S V Z I B L C P E J B HH I H K CQH U S E A D I E Y T C T CMO F P P B C C D FM I Y L I C H T T S N I I T T S M R V U C O N D H Q Q P B X L G P Z T O X N F P I Y MW S NW T P Z P J L E Q P T E P MW J K S K T N R A R G X O I D AMA V T I A Y L F E K T L MGQ X PMB E R Z E H FWS J N C U H E Q P E C Y A X A H E QGG V N I B C I A T U P T D L S K L PM F E C P T L QD Y C J Y QO I T R B D E Y O E P Z O F Y A P V RM L B RM F T G T D X Z T HH FMGG Y D L Y G Y J S M S K G V V E T HW BW R R I G L QW A G Z O D L Y N C D T V B F K O J W L W I Q Q J O N V R OW S S S Z N T HDOU A K UO S P O C Y C GO V A N C C B Q B TM P L J H E V X K F UON ND B D Z DQMB H C A U C U K E F C E Q S F F P L I P T L L Y A I G R G X Z DGM I T Z I R Q EW F U T A SWV E K S Z E E V B O T L G F Z N A V E O S V B X G C O B D B C SMO Y RQ J I U L L OG E U I T NDD C XMO P V I B OO T Y K G P G C GD U L R L CM S O Y Z E O R J O V O I T T C F K HMN L F N L S P YM E I N I SM L QGHD Z U L P H V X B X T I T C A Y TWN E B R B D R O I R C EMU OOH A J I B G X DMZ Q ZMR A C T O P K D S G S S V A O Z I J N V CW P D E C A D E O F D R E A M S O X HMO Q N O WQ N K R E T B V J V R I E N K EMD U B NMD T S I P M V G V U I J L E T T K U B E S P F W F MW N N T H Z B U S Z T F BW T L V Y B C H Y A U I E U C U L G A Y I WQ I Y V R T H V I Q F H I T A L E DG I G T O Y D EMN S L K U P NG T

SPREADMASTERSDELIGHT

MULAMBON

ADMASTERSDELIGHT DAVIDSWARD

DECADE THANKIT OF DREAMS

NIGHTEGGS DSWARD CHIPSMITH

DECADE OF DREAMS ELECTROCUTED

TEGGS

GOODGOLLY

MISSMOLLY

MULAMBON

BLANKIT BLANKIT

KING RALPH GOODMAN

RALPHPASTA

DMAN CHIPSMITH THANKIT

A

GOODGOLLY

12 | @TownHallNYC

ELECTROCUTED MISSMOLLY

TWISTED TWISTED

@TownHallNYC | 13

Membership We invite you to support the Hall at any level, and enjoy the exclusive benefits of becoming a Town Hall Member.

Your commitment helps us thrive and continue our vital mission.

Benefits Include: Advance Ticket Access • Pre-Sales & Discounts • Reserved Patron Circle Seats • Complimentary Tickets to select shows • Special Invitations to Sound Check and Dress Rehearsals ...and much more!

Presale access tickets are available on a first come first serve basis and quantities are limited.

Join Now

14 | @TownHallNYC

About the Historic Town Hall Town Hall has played an integral part in the electrifying cultural fabric of New York City for more than 100 years. A group of suffragists’ fight for the 19th Amendment led them to build a meeting space to educate people on the important issues of the day. During its construction, the 19th Amendment was passed, and on January 12, 1921, The Town Hall opened its doors and took on a double meaning: as a symbol of the victory won by its founders, and as a spark for a new, more optimistic climate.

Upon its dedication in 1921, The League for Political Education opened the building you are now sitting in with the watchwords: “It does not matter who you are, what you are, or from where you come, you are welcome.”

That year, German composer Richard Strauss performed a series of concerts that cemented the Hall’s reputation as an ideal venue for musical performances. Since, Town Hall has been home to countless musical milestones: the US debuts of Strauss and Isaac Stern; Marian Anderson’s first New York recital; in 1945, Dizzy Gillespie and Charlie Parker introduced bebop to the world; Bob Dylan’s first major concert in ‘63; and much, much more

Learn more about the Hall’s vibrant history. thetownhall.org/about/history

123 W 43RD ST NYC | THETOWNHALL.ORG CONNECT: @TOWNHALLNYC

800-745-3000

@TownHallNYC | 15

Major Gifts, Corporate, Foundation, & Government Support Programs are supported, in part, by public funds from The New York City Department of Cultural Affairs in partnership with the City Council. Town Hall’s Education Outreach Program is made possible, in part, by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. We would like to thank the following foundations, corporations, and government institutions for their support.

American Portfolios Axe-Houghton Foundation Bank of America Charles D. Fleischman Charitable Trust Consolidated Edison Company of New York Edythe Kenner Foundation Gund Investment Corporation Howard Gilman Foundation The Hyde & Watson Foundation The IV Fund National Endowment for the Arts New York City Department of Cultural Affairs New York State Council on the Arts New York State Senator Liz Krueger New York State Governor Kathy Hochul New York City Mayor Eric L. Adams Manhattan Borough President Mark Levine New York City Council Member Keith Powers New York City Council Member Gale Brewer New York City Council Member Julie Menin New York City Council Member Sandy Nurse New York City Council Member Yusef Salaam New York City Council Member Kalman Yeger NYC Dept. Cultural Affairs Commissioner Laurie Cumbo New York University Rea Charitable Trust The Shubert Foundation Tandon Family Foundation Ticketmaster

16 | @TownHallNYC

We Also Extend Our Sincere Thanks to All of Our Current Members for Their Generous Ongoing Support of Town Hall.

The Town Hall Foundation

General Information

The Town Hall’s mission is to provide affordable world-class

WARNING

entertainment by new and established artists to a diverse audience; to inspire the youth of our community to appreciate and participate in the arts at The Town Hall and in schools through our Education Outreach Program; and to preserve and enhance The Town Hall as a historic landmark venue for the enjoyment and cultural enrichment of generations to come.

Board of Trustees

The Town Hall Staff

PRESIDENT Nevin Steinberg

EXECUTIVE DIRECTOR Matt Goldman

EXECUTIVE VICE PRESIDENT Susan Zohn

ARTISTIC DIRECTOR Melay Araya

VICE PRESIDENT & GENERAL COUNSEL Ellen Miller-Wachtel

DIRECTOR OF DEVELOPMENT Donna Banks, PhD

VICE PRESIDENT Rita Robbins TREASURER Joan Rall SECRETARY Timothy Stambaugh PRESIDENT EMERITUS Tom Wirtshafter Marvin Leffler TRUSTEES Anne Frank-Shapiro Madhu Goel Southworth Gita Gupte John A. Jenkins Benjamin Lewis Thomas Mellins Natalie Moreno Wexler James Shackelford LIFE TRUSTEES Phyllis Putter Barasch Mary Dettling-Wright Bruce S. Leffler BENEFIT COMMITTEE Gita Gupte, Chair John Jenkins Thomas Mellins Natalie Moreno-Wexler James Shackelford ADVISORY COUNCIL Kathleen Rosenberg, Chair Nancy Berman Sandy Horowitz Elizabeth Iannizzi Candace Leeds Zita Rosenthal Rhoda Rothkopf ARTS IN EDUCATION ADVISORY COUNCIL Michael Fram, Co-Chair Dr. Eloise Messineo, Co-Chair Barbara Murray Dr. Pola Rosen George Young

DIRECTOR OF BOOKING & EVENTS Paul Cameron Hardy HOUSE MANAGER Johnny Lee Green DIRECTOR OF FINANCE AND BUSINESS AFFAIRS Abe Hirsch DIRECTOR OF SPECIAL EVENTS Laura Camien DIRECTOR OF BUSINESS AFFAIRS Helen Morris DIRECTOR OF EDUCATION Taione Martinez BOX OFFICE MANAGER Angel Rodriguez CHIEF ENGINEER Steve Franqui ASSOCIATE MARKETING DIRECTOR Alex Koveos ASSOCIATE DIRECTOR OF ARTISTIC PROGRAMMING Rinesty Rusli BOOKING AND EVENTS ASSOCIATE Olivia Magill TECHNICAL DIRECTOR Bill Dehling PRODUCTION MANAGER Carl Acampora

The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside the theater without the written permission of the management is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for monetary damages.

FIRE NOTICE The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency please do not run, WALK TO THAT EXIT. Thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited areas during the performances and intermissions.

This violates a city ordinance and is punishable by law.

-FIRE COMMISSIONER

Directory of Theater Services ADMINISTRATIVE OFFICES: 212.997.1003 Mon-Fri 9:30am to 5pm, for rental & membership info BOX OFFICE: 212.840.2824 Mon-Sat 12 noon to 6pm. 24/7 Recording TICKETMASTER: 800.982.2787 Ticketmaster.com LOST AND FOUND: 212.997.0113 CELL PHONE POLICY: Cell phones should be silenced prior to the performance as a courtesy to the performers and audience.

LOBBY REFRESHMENT BY: Sweet Hospitality Group

EXECUTIVE ASSISTANT Brooke Ferris EDUCATION PROGRAMS LIAISON Ifẹmi Quiñones ADMINISTRATIVE ASSISTANT Britni Montalbano

THE TOWN HALL 123 WEST 43RD STREET, NEW YORK, NY 10036

CAPITAL CAMPAIGN CONSULTANT Katherine DeFoyd, Growth for Good

THETOWNHALL.ORG @TOWNHALLNYC

PRINCIPAL DESIGNER Leia-lee Doran

The Town Hall is a 501(c)(3) nonprofit National Historic Landmark. @TownHallNYC | 17

Thanks for putting art in the heart of the community Bank of America recognizes The Town Hall for its success in bringing the arts to performers and audiences throughout the community. /MÕXNTQÕCEMSEMMIAKÕAMMIUEQRAQX ÕVe commend you on creating an opportunity for all to enjoy and share a cultural experience.Õ(EQE RÕSNÕAMNSHEQÕ Õ XEAQR

Thanks for putting art in the heart of the community Visit us at bankofamerica.com/about.

Bank of America recognizes The Town Hall for its success in bringing the arts to performers and audiences throughout the community. /MÕXNTQÕCEMSEMMIAKÕAMMIUEQRAQX ÕVe commend you on creating an opportunity for all to enjoy and share a cultural experience.Õ(EQE RÕSNÕAMNSHEQÕ Õ XEAQR Visit us at bankofamerica.com/about.

©2022 Bank of America Corporation | MAP4117394 | ENT-211-AD

©2022 Bank of America Corporation | MAP4117394 | ENT-211-AD

18 | @TownHallNYC