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Elevator Repair Service presents an excerpt from their newest piece Ulysses, a staging of James Joyce's epic novel, which premieres at the Fisher Center at Bard College in September 2023. The performance will be followed by a Q&A with Artistic Director John Collins and ERS ensemble members.Elevator Repair Service presents a 25-minute excerpt from their newest piece Ulysses, a staging of James Joyce's epic novel, which premieres at the Fisher Center at Elevator Repair Service presents a 25-minute excerpt from their newest piece Ulysses, a staging of James Joyce's epic novel, which premieres at the Fisher Center at Bard College in September 2023. The performance will be followed by a Q&A with Artistic Director John Collins and ERS ensemble members. PRELUDE Festival 2023 PERFORMANCE Ulysses (excerpt) Elevator Repair Service Theater English 60 minutes 6:30PM EST Friday, October 13, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Elevator Repair Service presents a 25-minute excerpt from their newest piece Ulysses, a staging of James Joyce's epic novel, which will have its world premiere at the Fisher Center at Bard College. The performance will be followed by a Q&A with Artistic Director John Collins and ERS ensemble members. Ulysses was commissioned by and will receive its world premiere at the Fisher Center at Bard. fishercenter.bard.edu Ulysses is co-commissioned by and was developed, in part, at Symphony Space. © 2022 Kevin Yatarola for Symphony Space. Elevator Repair Service (ERS) is a New York City–based company that creates original works for live theater with an ongoing ensemble. The company’s shows are created from a wide range of texts that include found transcripts of trials and debates, literature, classical dramas, and new plays. Founded in 1991, ERS has created an extensive body of work that includes upwards of 20 original pieces. These have earned the company a loyal following and made it one of New York’s most highly acclaimed experimental theater companies. The company is best known for Gatz , its award-winning verbatim staging of the entire text of The Great Gatsby . ERS has received numerous awards and distinctions, including Lortel awards, a Bessie award, and an OBIE award for Sustained Excellence, as well as a Guggengheim Fellowship and Doris Duke Performing Artist Award for Artistic Director John Collins. elevator.org Content / Trigger Description: Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

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European Stages serves as an inclusive English-language journal, providing a detailed perspective on the unfolding narrative of contemporary European theatre since 1969. Back to Top Article References Authors Keep Reading < Back European Stages 19, Fall, 2024 Volume Visit Journal Homepage A Problematic Classic: Lorca’s Bernarda Alba, at Home and Abroad By Duncan Wheeler Published: November 25, 2024 Download Article as PDF Assassinated by fascist thugs in the opening days of the Spanish Civil War (1936-1939), poet and dramatist Federico García Lorca is a martyred icon of the left. His final play , The House of Bernarda Alba – part of the so-called rural trilogy, alongside Blood Wedding and Yerma – foreshadows the personal and political conflicts that culminated in a coup against the democratically elected government of the Second Republic. The eponymous protagonist, a maternal tyrant, exploits honor and respectability as a pretext for effectively keeping five unmarried daughters under house arrest. Never performed in Lorca’s lifetime, the play’s global premiere took place in Buenos Aires in 1945. Since then, Bernarda Alba has become his most staged play, largely because it is assumed, somewhat reductively, to be political and naturalistic. Recent productions by the National Theatre in London and the Madrid-based Centro Dramático Nacional/National Dramatic Centre suggest it remains a problematic classic, a play that attracts and wrong-steps practitioners and audiences alike. In Autumn 2023, billboards around London advertised a National Theatre production: the striking image of lead actresses Harriet Walter matched with an iconic catchphrase, “a daughter who disobeys is no longer a daughter”, was pure marketing gold. The combination of a veteran theatre actresses – who achieved late mainstream recognition with her role as the matriarch in the HBO series Succession – with a eulogy for freedom is difficult to beat. Once in the theatre, Merle Hensel’s arresting green dollhouse-like design, occupying almost all of the vast stage of the Littleton, allowed the audience to simultaneously observe the play’s different rooms and characters – the house of Bernarda Alba was as much the star as Walter herself. Geographical and temporal specificity were eschewed by substituting white rooms for pastel colors that evoked images of the deep south of the United States more than Andalusia. Hensel and director Rebecca Frecknall had previously collaborated on a well-received production at of A Streetcar Named Desire at the Almeida Theatre, which later got a West End transfer. Staking a claim to be the most foul-mouthed Bernarda yet, Walter paced the rooms of the house in a manner and style more befitting the faux respectability of a drink- dependant Tennessee Williams protagonist than a rural Andalusian Catholic matriarch. The House of Bernarda Alba . Photo © Marc Brenner Widowed for the second time, Bernarda seeks to enforce eight years of mourning in the all-female household she shares with a dementing mother, five daughters (aged between twenty and thirty-nine) and Poncia, a maid. Angustias, Bernarda’s only child by her first marriage, is rich through inheritance; despite being less physically attractive than her younger sisters, she is courted by local hunk Pepe el Romano. The suggestion (not even implicit in Lorca’s original) was introduced that Angustias had an incestuous relationship with her stepfather. Pepe el Romano, an off-stage presence in Lorca, was present on the Littleton stage, embodied in a balletic non-speaking form by James McHugh attired in a white vest (a nod to Marlon Brando’s iconic performance as Stanely Kowalski?). Alice Birch, best known for her work on television series Normal People and Succession , was credited with producing a play-text “after Federico García Lorca.” The liberal use of the f- word aide, dialogue and narrative didn’t depart as substantially from the original play-text as such an idiosyncratic nomenclature might intimate. The names of the five daughters – each of which are charged with meaning in the original Castilian Spanish – went untranslated, whilst an interpolated reference to a prophecy was indicative of the production privileging politics over poetics. Freknall spoke in interviews about first encountering Lorca’s play-text in her A-Level drama course, where it was chosen to be performed because there were more girls than boys in the class. Given that Freknall and Birch, both born in 1986, are in the same age bracket as Bernarda’s daughters, it is perhaps surprising that more was not made of their different characters. The matriarch’s single-handed dominance over the house and the play is such that I often forget that she has less lines than we might assume. Walter’s near-constant on-stage presence further emphasized such protagonist status, and almost sabotaged the production during previews when the star seemed far-less rehearsed than the rest of the cast – it wasn’t always self-evident if constant hand gesturing was indicative of the nervousness of the character or the actresses In many productions, the maid Poncia steals the show with her caustic humor, but it was indicative that something was not right in the National that the biggest laugh came when Walter picked up a Chekhovian rifle that had been on stage since the outset to shoot Pepe el Romano on discovering he has been two-timing Angustias with her younger daughter, Adela. The audience had little trouble following scenes such as the one in which this Bernarda recited her signature line (“a daughter who disobeys is no longer a daughter”) where there was a clear diametrical opposition between the different forces at play. Elsewhere, they struggled. Overlapping dialogue as the action moved from one room to another did not aid narrative comprehensibility and neither did a score by composer Isobel Waller- Bridge. The music didn’t always chime with the emotional timbre of specific scenes. La Casa de Bernarda Alba Photo. © Dramatico Nacional An adventurous acoustic approach similarly underpinned the vision of Alfredo Sanzol, artistic director of the Madrid-based Centro Dramático Nacional. Various Spanish critics described, generally in non-flattering terms, the production, which premiered in Madrid in February 2024, as an emo-Bernarda. Dance and music with beats and rhythms that brought to mind the songs of twenty-two-year-old US singer-songwriter Billie Eilish combined with jittery dance routines suggest a more radical overhaul than what was in fact the case. The play had not so much been adapted as cut to keep the running time down to just over ninety-minutes. As the curtain raised, the entire cast was dressed in regulation black but, by the end, the five daughters were in white. I wasn’t entirely sure if this was to indicate growing freedom or, rather, that them having been indoors for so long meant they no longer had to make a show of their grief. The former interpretation was reinforced by Blanca Añón’s stage-design: initially characterized by symmetrical enclosed lines, it became later a less-claustrophobic space in which the walls had been removed. If the set initially resembled rooms from the chic but clinical Citizen M hotel chain, a nod to rural tradition was retained through a cobweb curtain, deployed for scene changes, resembling the black lace of a funeral veil. An uneven fusion of tradition with innovation helps explain a lukewarm critical response: the production was too modish for purists, yet too safe for the more adventurous. Sanzol spoke in press conferences of viewing Bernarda as a victim as well as a perpetrator of the symbolic and physical violence required by the rigid social honor codes enforced within the house. Ana Wagener played her as a woman exhausted by keeping up appearances, depleted by doing patriarchy’s dirty work. Bernarda was depicted as being inhibited by conventional funerary ware she couldn’t wait to remove on returning home. The co-dependent struggle between Bernarda Alba and Poncia is at the heart of the play. Here the opposition between the two women was played out in physical terms: Wagener’s body was as rigid as Inma Nieto’s was flexible, the maid intermittently breaking into dance. On the one hand, the two characters’ respective relationships to the body underlined different class roles and contrasting worldviews. Conversely, one does not need to be a dogged defender of conventional realism to sense that a maid from a poor region dancing with the flexibility of a woman who has had the time and means to do yoga stretched credulity to the extent of jeopardizing the audience’s connection with the underlying human drama of Lorca’s work. The Madrid run was a sell-out, but there were plenty of empty seats in the Romea, a traditional nineteenth-century Italianate theatre in Murcia, where the production had a two-night stand as part of a short regional tour. Spectators were far more formally dressed than is the norm in the capital; watching them take their seats, it was difficult to avoid comparisons with Lorca’s pejorative comments about provincial bourgeoise audiences of his time, who he believed understood a night out at the theatre to be more of a social than an artistic act. Many spectators were visibly bored throughout, a number leaving before the curtain call. There was sufficient scenic inventiveness to keep me from switching off, but I rarely felt emotionally engaged. The auditorium responded most positively to the showstopping scenes in which Bernarda Alba’s mother, María Josefa, escapes from her quarters and runs amuck. Spectators howled with laughter as the fifty-nine-year-old actress Ester Bellver (only three years older than Wagener in the role of her daughter) raised her nightdress to express her naked buttocks. Even allowing for the pathos in Lorca’s writing, the use of humor in scenes involving an aging woman with dementia is potentially problematic for twenty-first-century sensibilities. Sanzol’s tactic of underlining as opposed to eschewing physical comedy would have had a better dramatic rationale were it to have been staged after scenes of genuine intensity. If the audience does not require cathartic relief, the result is puerile pantomime. In spite of obvious differences, the Spanish and British productions of Bernarda Alba bear testament to the fascination Lorca continues to hold over practitioners. The ingenious ideas and strategies employed did not, in either case, coalesce into a satisfying whole. Not only did the productions not cultivate a new or greater understanding of the play, but they left some spectators confused and underwhelmed by what is so often assumed to be Lorca’s most accessible work. If part of the problem is the ease with which the play can purportedly be staged, future practitioners might do well to approach Bernarda Alba as a challenging classic. Image Credits: Article References References About the author(s) Duncan Wheeler is a professor of Spanish Studies and the director of International Activities in University of Leeds. Areas of expertise: Golden Age drama and prose fiction; Hispanic and European cinema(s); translation; popular music; contemporary Spanish culture and politics; Twentieth-Century Spanish theatre; gender and sexuality. European Stages European Stages, born from the merger of Western European Stages and Slavic and East European Performance in 2013, is a premier English-language resource offering a comprehensive view of contemporary theatre across the European continent. With roots dating back to 1969, the journal has chronicled the dynamic evolution of Western and Eastern European theatrical spheres. It features in-depth analyses, interviews with leading artists, and detailed reports on major European theatre festivals, capturing the essence of a transformative era marked by influential directors, actors, and innovative changes in theatre design and technology. European Stages is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents Between Dark Aesthetics and Repetition: Reflections on the Theatre of the Bulgarian Director Veselka Kuncheva and Her Two Newest Productions Hecuba Provokes Catharsis and Compassion in the Ancient Theatre of Epidaurus (W)here comes the sun? Avignon 78, 2024. Imagining Possible Worlds and Celebrating Multiple Languages and Cultures Report from Basel International Theatre Festival in Pilsen 2024 or The Human Beings and Their Place in Society SPIRITUAL, VISCERAL, VISUAL … SPIRITUAL, VISCERAL, VISUAL …SHAKESPEARE AS YOU LIKE IT. IN CRAIOVA, ROMANIA, FOR 30 YEARS NOW Fine art in confined spaces 2024 Report from London and Berlin Berlin’s “Ten Remarkable Productions” Take the Stage in the 61st Berliner Theatertreffen. A Problematic Classic: Lorca’s Bernarda Alba, at Home and Abroad Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Support The Segal Center If you'd like to support our work to bring visibility to the performing arts through our programs, please consider making a donation to The Martin E. Segal Theatre Center. We are a 501(c) (3) not-for-profit organization and all gifts are tax-deductible to the extent allowed by law. You can also get in touch with other types of support, collaborations and partnerships. Get In Touch Donate Online Visit the link below to donate online. Under the field titled 'Designation', choose 'Funds for The Martin E. Segal Theatre Center' Proceed to fill in your details. Any and all amounts are welcome. You will receive an email confirmation immediately. We will send across a tax receipt (including the amount and confirmation the designation) shortly. Proceed You will be redirected to The Graduate Center Foundation CUNY donation portal (external link) Donate via Cheque You can also donate with checks. Payable to: The Graduate Center Foundation, Inc. Memo: MESTC or Segal Center Mailing Address: Martin E. Segal Theatre Center, Graduate Center CUNY, 365 Fifth Avenue New York, NY 10016

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HONORING PAULA COURT presents Prelude 2024 Opening Ceremony at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Prelude 2024 Opening Ceremony HONORING PAULA COURT 4:00 - 4:50pm Wednesday, October 16, 2024 Elebash Recital Hall Lobby RSVP Prelude 2024 begins with an opening ceremony to honor photographer Paula Court with the 2024 Franky Award. Please join us in the Elebash lobby as we toast Paula's work and legacy and kick off the festival! Light refreshments will be served. Named in honor of MESTC Executive Director and Prelude founder Dr. Frank Hentschker, the Franky Award was created to recognize an artist who has made a long-term, extraordinary impact on contemporary theater and performance in New York City. Paula Court has been documenting theater, dance, and music in New York City since 1976. Over many decades, she has photographed the work of the Wooster Group, John Jesurun, Eric Bogosian, Jo Andres, Richard Foreman’s Ontological-Hysteric Theater, Michael Smith, DANCENOISE, and Sarah Michelson. In a 2024 essay on Paula Court for Topical Cream , critic Stella Cilman astutely observed, “Court’s photos access a subterranean psychological space that transcends any particular aspect of a given scene—the single gesture of an actor or a particular architectural detail near them. Her purview emphasizes the gestalt, embracing all the coincidental, chaotic, and awkward natures of people and things as they happen to interact.” Her images can be seen in New York Noise: Art and Music from the New York Underground 1978-88 ; PERFORMA: NEW VISUAL ART PERFORMANCE ; and the forthcoming Broken Clothing: the Costumes of Suzanne Bocanegra. Currently Paula is faced with very serious health issues that require immediate and ongoing assistance. A group of friends have joined with Paula’s family to raise the funds needed to provide Paula with excellent in-home care and the specialized physical therapy she urgently needs. Their goal was to raise $50,000 to support her initial recovery for six months, and they achieved this goal. They continue to fundraise to help see Paula through to the end of 2024 as they work on other ways to generate income from her life's work. As they rightfully note: “Paula has donated endless hours capturing New York’s underground art, dance and music scene, while tirelessly advocating for artists and documenting ephemeral moments to provide us with a collective memory.” If you are able to donate, please do so here . Your contribution is tax deductible and will be directed toward Paula's healthcare costs minus the fees charged through this platform. If you would like to provide a check or wire, please contact Esa Nickle at esa@performa-arts.org . Performa is a 501c3 non-profit organization and is acting as a fiscal sponsor of the preservation fund. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Explore more performances, talks and discussions at PRELUDE 2024 See What's on

NEEDY LOVER | ASHIL LEE + PHOEBE BROOKS | PAUL LAZAR + JERRY LIEBLICH / THIRD EAR presents Plays in Process at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Plays in Process NEEDY LOVER | ASHIL LEE + PHOEBE BROOKS | PAUL LAZAR + JERRY LIEBLICH / THIRD EAR 1:30-3 pm Saturday, October 19, 2024 The Segal Theatre RSVP LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that portable is a breeding ground for lobsters. ROOTING FOR YOU Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. Rooting for You! blurb: "It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization." THE BARBARIANS The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. LOBSTER Special Thanks: Meghan Finn, Johnny G. Lloyd, and The Tank; Erin Courtney, Zayd Dohrn, Thomas Bradshaw, and Northwestern University. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed or presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and a co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com. Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group, TAG, and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed) Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River), Off-Broadway (Nixon's Nixon) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez. He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover and Mozart in the Jungle. Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido. In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Explore more performances, talks and discussions at PRELUDE 2024 See What's on

The Segal Center Film Festival on Theatre and Performance (FTP) is an annual event showcasing films drawn from the world of theatre and performance. The festival presents experimental, emerging, and established theatre artists and filmmakers from around the world to audiences and industry professionals. 2025 Festival See the full lineup of films at this year's festival below. A selection of films will be screened in-person at the Martin E. Segal Theatre Center (and a few at the Anthology Film Archives) whilst others will be available to watch online on this website until June 8th 2025. SEE IN-PERSON SCHEDULE Festival Lineup IN-PERSON Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film IN-PERSON Grand Theft Hamlet Sam Crane & Pinny Grylls IN-PERSON Moi-même Mojo Lorwin/Lee Breuer IN-PERSON Radical Move ANIELA GABRYEL ONLINE + IN-PERSON Somber Tides Chantal Caron / Fleuve Espace Danse IN-PERSON This is Ballroom Juru and Vitã ONLINE + IN-PERSON Benjamim de Oliveira's Open Paths Catappum! Collective IN-PERSON His Head was a Sledgehammer Richard Foreman in Retrospect ONLINE + IN-PERSON PACI JULIETTE ROUDET IN-PERSON Reas Lola Arias IN-PERSON The Brink of Dreams Nada Riyadh, Ayman El Amir IN-PERSON Transindigenous Assembly Joulia Strauss IN-PERSON Bila Burba Duiren Wagua IN-PERSON JJ Pauline L. Boulba, Aminata Labor, Lucie Brux ONLINE + IN-PERSON Peak Hour in the House Blue Ka Wing ONLINE + IN-PERSON Resilience Juan David Padilla Vega IN-PERSON The Jacket Mathijs Poppe ONLINE + IN-PERSON Funambulism, Hanging by a Thread Jean-Baptiste Mathieu ONLINE + IN-PERSON Jesus and The Sea Ricarda Alvarenga IN-PERSON Pidikwe Caroline Monnet ONLINE + IN-PERSON Skywalk Above Prague Václav Flegl, Jakub Voves ONLINE + IN-PERSON Theater of War Oleh Halaidych In-Person Screenings at The Martin E. Segal Center (365 5th Ave, New York) and Anthology Film Archives (32 2nd Ave, New York) Google Maps Google Maps Thursday May 15 1:00 pm Resilience by Juan David Padilla Vega (Canada, 2024, 70’) U.S. PREMIERE 2:20 pm JJ by Pauline L. Boulba and Aminata Labor (France, 2024, 72’) 4:00 pm This is Ballroom by Vita and Juru (Brazil, 2024, 92’) 5:50 pm Transindigenous Assembly by Joulia Strauss (Greece, 2024, 86’) 7:25 pm Radical Move by Aniela Gabryel (Poland, 2023, 77’) NORTH AMERICAN PREMIERE RSVP Day 1 Friday May 16 12:00 pm Bila Burba by Duiren Wagua (Panama, 2023, 70’) 1:20 pm Acting by Sophie Fiennes (UK, 2024, 145’) U.S. PREMIERE 3:55 pm The Jacket by Mathijs Poppe (Belgium, Netherlands, France, Lebanon, 2024, 71’) U.S. PREMIERE 5:15 pm Brink of Dreams by Nada Riyadh, Ayman El Amir (Egypt, France, Denmark, Qatar, Saudi Arabia, 2024, 102’) Special section SPOTLIGHT ON BASINGA 7:10 pm Funambulism, Hanging by a Thread by Jean-Baptiste Mathieu (Germany, 2024, 52’) NORTH AMERICAN PREMIERE 8:10 pm Skywalk above Prague by Václav Flegl, Jakub Voves (Czech Republic, 2020, 51’) NORTH AMERICAN PREMIERE RSVP Day 2 Saturday May 17 11:00 am SHORT FILMS PROGRAM Benjamin de Oliveira’s Open Paths by Bruno Esperança (Brazil, 2024, 37’) U.S. PREMIERE Peak Hour in the House by Blue Ka Wing (Honk Kong, 2024, 7’) Paci by Juliette Roudet (France, 2024, 33’) NORTH AMERICAN PREMIERE Jesus and the Sea by Ricarda Alvarenga (Brazil, 2024, 3’) Somber Tides by Chantal Caron (Canada, 2024, 12’) N.Y. PREMIERE Theater of War by Oleh Halaidych (Ukraine, 2024, 40’) U.S. PREMIERE Pidikwe by Caroline Monnet (Canada, 2024, 10’) U.S. PREMIERE 1:25pm Grand Theft Hamlet by Pinny Grylls, Sam Crane (UK, 2024, 90’) RSVP Day 3 Sunday May 18 3:00 pm SPECIAL FESTIVAL PRESENTATION AT ANTHOLOGY FILM ARCHIVES (32 Second Avenue New York, NY 10003) Reas by Lola Arias (Argentina, Germany, Switzerland, 2024, 82’) RSVP at AFA Wednesday May 21 to Wednesday May 28 HIS HEAD WAS A SLEDGEHAMMER: RICHARD FOREMAN IN RETROSPECT AT ANTHOLOGY FILM ARCHIVES Guest-programmed by Andrew Lampert. The retrospective is co-presented by New York University Special Collections, home to the Richard Foreman and Kate Manheim Papers, and The Segal Center Film Festival on Theatre and Performance. For full schedule of the retrospective go to this LINK . 3:00 pm SPECIAL FESTIVAL PRESENTATION AT ANTHOLOGY FILM ARCHIVES (32 Second Avenue New York, NY 10003) Moi-Même by Mojo Lorwin & Lee Breuer (France, US, 1968/2024, 65 min, 16mm-to-DCP) followed by Q&A with Mojo Lorwin and Kevin Mathewson, moderated by Frank Hentschker RSVP at AFA About The Festival The Segal Center Film Festival on Theatre and Performance (FTP) is an annual event showcasing films drawn from the world of theatre and performance. The 2025 festival is co-curated by Frank Hentschker and Tomek Smolarski, and supported by Gaurav Singh Nijjer on digital design. The festival presents experimental, emerging, and established theatre artists and filmmakers from around the world to audiences and industry professionals. From its inaugural edition in 2015 to its present-day hybrid avatar, The Segal Film Festival for Theatre and Performance (FTP) has served as a platform for recorded works that span the length and breadth of the performing arts. Festival Founder and Executive Director of the Martin E. Segal Theater Center, Frank Hentschker shares his inspiration for creating the festival: “Film and digital media are an integral part of theatre and performance. I am surprised that there is not a film festival out there right now focusing on theatre and performance. I thought ‘why not create one’?” In the time before Corona, the Segal Film Festival had evolved into the premier US event for new film and video work focusing on theatre and performance. Its mission was to invite experimental and established theatre makers to present work created for the screen – not filmed archival recordings – to audiences and industry professionals from around the world. Now, after a year and a half of digital and hybrid theatre offerings, the festival must take on a new meaning. The festival has held on to its mission of being a free and open-to-all event accessible to everyone. The 7th edition of the festival was held digitally in March 2022, and featured 80 films from 30 countries. For queries, feedback and any more information get in touch with us at segalfilmfestival@gmail.com Meet The Team Tomek Smolarski Co-Curator Tomek Smolarski is a cultural manager, producer and curator with over 20 years of experience in production of international cultural events and extensive knowledge in cultural diplomacy. He has produced projects with leading U.S. institutions, including BAM, MoMA, Film at Lincoln Center, Anthology Film Archives, MoMI, Pacific Film Archives, Chicago Cultural Center and many others. Gaurav Singh Nijjer Web and Digital Producer Gaurav Singh Nijjer is a theatre-maker, creative technologist and designer whose artistic works explore technology and media in live performance. He is one half of the Indian performing arts collective Kaivalya Plays, and also works as a freelance artist and arts manager with collectives in India and abroad, currently as Digital and Web Producer at the Martin E. Segal Theater Center at the Graduate Centre CUNY. He is a former German Chancellor Fellow and a Chevening scholar. He trained at the Royal Central School of Speech and Drama in London. Apart from theatre, Gaurav also works as a freelance marketing, design and creative consultant for diverse organizations. Frank Hentschker Co-Curator Frank Hentschker, who holds a Ph.D. in theatre from the now legendary Institute for Applied Theatre Studies in Giessen, Germany, came to the Graduate Center in 2001 as program director for the Graduate Center’s Martin E. Segal Theatre Center and was appointed to the central doctoral faculty in theatre in 2009. Currently executive director and director of programs at the Segal Center, Hentschker has transformed the center into the nation’s leading forum for public programming in international and U.S. theatre and theatre studies; each year, he curates and produces more than forty events—staged readings, lecture-demonstrations, symposia, works-in-progress, and conversations with theatre scholars, theatrical luminaries, and emerging voices in the international, American, and New York theatre scenes. Among the vital events and series he founded at the Segal Center are the World Theatre Performance series; the annual fall PRELUDE festival, which features more than twenty New York–based theatre companies and playwrights; and the PEN World Voices Playwrights Series. Hentschker also led CUNY’s nineteen performing arts centers in founding the CUNY–Performing Arts Consortium (C–PAC), producing the consortium’s first joint festival in 2009. Hentschker edited the MESTC publications Jan Fabre: I Am A Mistake, Seven Works for the Theatre (2009) and New Plays from Spain (2013), and he served as president of the board of PAJ: A Journal of Performance and Art from 2005 to 2009. Before coming to the Graduate Center, Hentschker founded and directed DISCURS, the largest European student theatre festival existing today; he acted as Hamlet in Heiner Müller’s Hamletmaschine, directed by the playwright; performed in the Robert Wilson play The Forest (music by David Byrne); and worked as an assistant for Robert Wilson for many years. Producer, General Operations Manager Teresa Soraka Next Generation Fellow Nurit Chinn

LESLIE CUYJET, FRANCESCA D'UVA, MORIAH EVANS + KATIANA GONÇALES RANGEL presents Group Date: a conversation at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Group Date: a conversation LESLIE CUYJET, FRANCESCA D'UVA, MORIAH EVANS + KATIANA GONÇALES RANGEL 6-6:50 pm Thursday, October 17, 2024 Elebash Recital Hall RSVP Join us for a conversation between Prelude 2024 artists Leslie Cuyjet, Francesca D’Uva, Moriah Evans, and Katiana Gonçales Rangel. Prelude 2024 features artists working in different corners of the New York performance scene. These Group Date conversations present an opportunity to foster connections, new and otherwise, between the festival’s featured artists. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Leslie Cuyjet is a performer, artist, and writer based in Brooklyn, NY. More information at lesliecuyjet.com Francesca D'Uva is an experimental comedian living in Brooklyn. Often employing her background in electronic music, she alternates between improvised storytelling and meticulously crafted mini-musicals that take the audience on a chaotic and strange journey inside her mind. She has performed all around New York City and at venues like MoMA PS1, MOCA and Ars Nova. Francesca was the 2022 Performance AIRspace Resident at Abrons Arts Center, culminating in her solo show, This Is My Favorite Song , which will have its Off-Broadway premiere at Playwrights Horizons in November. Moriah Evans positions choreography as an expansive social process. Drawing on somatic choreographic practices and feminist critiques of dance and visual culture, her works expand dance beyond the visible, to explore different ways of sensing both ourselves and our relationships to one another. In Evans’ practice, one work leads to the next, each project forming a chapter in her ongoing process to inspire transformation–both physical and psychosocially–through action. Evans creates site-specific performances, theater-based productions, gallery and museum-based participatory installations, symposiums, theoretical texts, and curatorial projects. Recent works include: Remains Persist (MOCA LA, CA, 2023; Performance Space New York, NY, 2022); Out of and Into: PLOT (Museion, Bolzano/Bozen, Italy, 2023); Rehearsals for Rehearsal (Public Art Fund, NY, 2022); RESTOS (Espacio Odeon, Bogota, Colombia, 2021); REPOSE (Beach Sessions, ΝY, 2021); Be My Muse (Pace Live, NY, 2021; Hirshhorn Museum, DC, 2018; FD-13 Minneapolis, 2017); Configure (The Kitchen, NY, 2018) and Figuring (SculptureCenter, NY, 2018). Evans has been honored with (among others): a 2023-2024 Hodder Fellowship, a 2022 Guggenheim Fellowship and a 2017 Foundation for Contemporary Arts, Grants to Artists. Evans initiated The Bureau for the Future of Choreography (2011-ongoing)—a collective investigating participatory performance. She was Editorial Director, Editor-in-Chief and Managing Editor of Movement Research Performance Journa l (2013-2022); Tanzkongress Curatorial Advisor (2017-2019); Dance & Process Co-Curator (The Kitchen, 2016-2023). Evans has a BA in Art History & English, Wellesley College, and MA in Art History, Theory, and Criticism from UCSD. Katiana Gonçales Rangel is a performer, director and educator from Brazil based in NYC. They have been creating independent theater work since 1998. Their most recent work Ama The Diver (2023/2024), in collaboration with Jim Fletcher and the cellist Lori Goldston, was performed in NYC, Portland and Seattle. Katiana has been creating documentary theater work with immigrant New Yorkers since 2014 with Incoming Theater Division (ITD), a branch of the company New York City Players, and has been ITD director since 2020. In 2024, the group performed La Casa de Bernarda Alba in Spanish language directed by Richard Maxwell. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

[CANCELLED] HOLLAND ANDREWS + YUNIYA EDI KWON presents [CANCELLED] How does it feel to look at nothing (excerpt) at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 [CANCELLED] How does it feel to look at nothing (excerpt) [CANCELLED] HOLLAND ANDREWS + YUNIYA EDI KWON 4-4:50 pm Friday, October 18, 2024 The Segal Theatre RSVP Please note this event has been cancelled. An embodied affirmation of trans futures amidst the disintegrative reality of trans life, How does it feel to look at nothing is an experimental opera and pre-origin story of a Deity of Namelessness. Co-created, co-directed, and performed by Holland Andrews and yuniya edi kwon, the work is currently in development and will premiere in Fall 2026. For PRELUDE, Andrews and kwon perform excerpts from the work-in-progress. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Holland Andrews (b. 1988) is a vocalist, composer, music producer, and performer whose work focuses on the abstraction of operatic and extended-technique voice to build cathartic and dissonant soundscapes. Andrews arranges music for voice, clarinet, and electronics, frequently highlighting themes surrounding vulnerability and healing. Andrews harnesses these instruments’ innate qualities of power and elegance to serve as a cohesive vessel for these themes. As a vocalist, their influences stem from a dynamic range including contemporary opera, American experimentalism, musical theater, and jazz, while also cultivating their unique vocal style which integrates these influences with language disintegration, vocal distortion, and environmental ambiance. In 2024, Andrews was selected as one of 71 artists for the Whitney Museum of American Art’s Biennial Even Better Than The Real Thing . For the biennial, Andrews composed two sound installations for the museum, the 5-channel Air I Breathe: Radio for its main stairwell, Hyperacusis (Version One, Sleeping Bag) for its large freight elevator, as well as a new composition for live solo performance, titled Speaker . In addition to creating solo work, Andrews composes and performs for dance, theater, and film, and their work is toured nationally and internationally with artists such as Bill T. Jones, Dorothee Munyaneza, Will Rawls, Sonya Tayeh, Jenn Freeman, and poet Demian Dinéyazhi. Andrews has gained recognition from publications such as The Wire, The New York Times, Vogue, Le Monde, and BBC Radio. Holland Andrews is currently based in Brooklyn, New York. Andrews is a Foundation for Contemporary Arts Awardee in Music/Sound (2023) and a United States Artists Fellow (2024). yuniya edi kwon (b. 1989) is a composer-performer, violinist, vocalist, and interdisciplinary performance maker based in Lenapehoking, or New York City. Her practice connects composition, improvisation, movement, and ceremony to explore transformation & transgression, ritual practice as a tool to queer space & lineage, and the use of mythology to connect, obscure, and reveal. As a composer and improviser, she is inspired by Korean folk timbres & inflections, textures & movement from natural environments, and American experimentalism as shaped by the Association for the Advancement of Creative Musicians (AACM). Her work as a performance and movement artist embodies an expressive release and reclamation of colonialism’s spiritual imprints, connecting to both Japanese Butoh and a lineage of queer trans practitioners of Korean shamanic ritual. In addition to an evolving, interdisciplinary solo practice, she performs and collaborates with artists of diverse disciplines, including The Art Ensemble of Chicago, Senga Nengudi, Du Yun, Tomeka Reid, International Contemporary Ensemble, Kenneth Tam, and Degenerate Art Ensemble. Her work has been presented by Dia Art Foundation, Performa Biennial, National Sawdust, Harlem Stage, Asia Society New York, Roulette Intermedium, New York Live Arts, Bang on a Can, and Civitella Ranieri Foundation, among others. She is a recipient of the Foundation for Contemporary Arts Robert Rauschenberg Award in Music/Sound, an Arts Fellow at Princeton University’s Lewis Center for the Arts, a Johnson Fellow at Americans for the Arts, and a United States Artists Ford Fellow. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

Get In Touch For inquiries, feedback, or any other information, please don't hesitate to contact us: Telephone: 212-817-1860 Email: mestc@gc.cuny.edu Address: The Martin E. Segal Theatre Center The Graduate Center, CUNY 365 Fifth Avenue, Room 5303New York, NY 10016-4309 Send Thank You for Contacting Us!

SKELETON ARCHITECTURE presents Skeleton Architecture at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Skeleton Architecture SKELETON ARCHITECTURE 6:30-7:20 pm Wednesday, October 16, 2024 The Segal Theatre RSVP Skeleton Architecture is a vessel of Black womyn and gender non-conforming artists rooted in the rigor and power of the collective. In practice, Skeleton Architecture engages in embodied research towards the vital building of our Black collective. The body, the practice, and the corporeal and cognitive legacies in the room will inspire a diverse range of group activities and offerings to the public wherein we seek to define our work together further. As Black improvisers, we are eager to share our ongoing "research with the body." Presenting at PRELUDE: Davalois Fearon, Jasmine Hearn, Marguerite Hemmings, Angie Pittman, Charmaine Warren, Marýa Wethers, and Tara Aisha Willis. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). The Skeleton Architecture collective was formed from the Danspace Project’s Platform 2016: Lost & Found in a singular, Bessie Award-winning evening called “the skeleton architecture, or the future of our worlds,” curated by guest curator Eva Yaa Asantewaa. The performance included: Maria Bauman, Sidra Bell, Davalois Fearon, Marjani Forté-Saunders, Melanie Greene, Kayla Hamilton, Jasmine Hearn, Marguerite Hemmings, Nia Love, Paloma McGregor, Sydnie L. Mosley, Rakiya Orange, Leslie Parker, Angie Pittman, Samantha Speis, Charmaine Warren, Marýa Wethers, Edisa Weeks, Ni’Ja Whitson, and Tara Aisha Willis. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

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Watch MUSE by Pete O'Hare/Warehouse Films at the Segal Film Festival on Theatre and Performance 2024. An intimate journey with the founder of a one-of-a-kind circus space hanging on by a thread in Brooklyn, NY. The Martin E. Segal Theater Center presents MUSE At the Segal Theatre Film and Performance Festival 2024 A film by Pete O'Hare/Warehouse Films Theater, Circus / Movement, Documentary, Performance Art This film will be available to watch online on the festival website May 16th onwards for 3 weeks, and it will also be screened in-person on May 20th. About The Film Country United States Language English Running Time 10 minutes Year of Release 2024 An intimate journey with the founder of a one-of-a-kind circus space hanging on by a thread in Brooklyn, NY. Director/Producer/DP: Pete O'Hare Editor: Raven Dahlin Score: Forest Christenson About The Artist(s) Pete O’Hare is an Emmy-nominated Director and Cinematographer based in New York City, born and raised in Cleveland, OH. Coming from a musical background, he loves how a well-composed frame can transport you to another place. Pete directed the mini documentaries "A Day In September" and "Baby Boy A", and has filmed for ESPN+, Netflix, McDonald’s, General Electric, 3M, New York Knicks, NBC, MTV, National Geographic, Samsung, Verizon, Sprint, Whole Foods, and Vogue Italia, among others. Get in touch with the artist(s) pete@warehousefilms.com and follow them on social media https://www.peteohare.com/, https://vimeo.com/peteohare, https://www.instagram.com/pete_ohare/ Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2024 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here. "Nightshades" - Veronica Viper Ellen Callaghan Dancing Pina FLorian Heinzen-Ziob Genocide and Movements Andreia Beatriz, Hamilton Borges dos Santos, Luis Carlos de Alencar Living Objects in Black Jacqueline Wade ORESTEIA Carolin Mader Schlingensief – A Voice that Shook the Silence Bettina Böhler The Hamlet Syndrome Elwira Niewiera & Piotr Rosolowski Wo/我 Jiemin Yang "talk to us" Kirsten Burger Die Kinder der Toten Nature Theater of Oklahoma:Kelly Copper and Pavol Liska Hans-Thies Lehmann – Postdramatic Theater Christoph Rüter MUSE Pete O'Hare/Warehouse Films QUEENDOM Agniia Galdanova Snow White Dr.GoraParasit The Making of Pinocchio Cade & MacAskill Women of Theatre, New York Juney Smith BLOSSOMING - Des amandiers aux amandiers Karine Silla Perez & Stéphane Milon ELFRIEDE JELINEK - LANGUAGE UNLEASHED Claudia Müller I AM NOT OK Gabrielle Lansner Making of The Money Opera Amitesh Grover Red Day Besim Ugzmajli The Books of Jacob Krzysztof Garbaczewski The Roll Call:The Roots to Strange Fruit Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula next...II (Mali/Island) Janne Gregor Chinoiserie Redux Ping Chong Festival of the Body on the Road H! Newcomer “H” Sokerissa! Interstate Big Dance Theater / Bang on a Can Maria Klassenberg Magda Hueckel, Tomasz Śliwiński Revolution 21/ Rewolucja 21 Martyna Peszko and Teatr 21 The End Is Not What I Thought It Would Be Andrea Kleine The Utopians Michael Kliën and En Dynamei Conference of the Absent Rimini Protokoll (Haug / Kaegi / Wetzel) / Film By Expander Film (Lilli Kuschel and Stefan Korsinsky) GIANNI Budapesti Skizo, Theater Tri-Bühne Juggle & Hide (Seven Whatchamacallits in Search of a Director) Wichaya Artamat/ For What Theatre My virtual body and my double Simon Senn / Bruno Deville SWING AND SWAY Fernanda Pessoa and Chica Barbosa The Great Grand Greatness Awards Jo Hedegaard WHO IS EUGENIO BARBA Magdalene Remoundou

IT'S A PARTY!! presents Prelude 2024 Closing Party at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Prelude 2024 Closing Party IT'S A PARTY!! 9pm Sunday, October 20, 2024 The Tank, 312 West 36th Street RSVP Join us to celebrate Prelude with a closing party at The Tank! Additional details to be announced soon. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Explore more performances, talks and discussions at PRELUDE 2024 See What's on

NOELLE GHOUSSAINI presents A shadow of light: a ritual gathering at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 A shadow of light: a ritual gathering NOELLE GHOUSSAINI 4-4:50pm Thursday, October 17, 2024 The Segal Theatre RSVP A shadow of light: a ritual gathering offers a mystical experience of homecoming. Bringing together embodied meditation, a collective altar, performance & ritual, we gather in sacred connection to honor our bodies, spirits, ancestors & our natural belonging to each other & the earth. Rooted in the belief that communal sacred spaces are essential to our collective wellbeing and liberation, participants are invited to both witness and take part in this ritual gathering. An iteration of a shadow of light was explored & developed at the Mercury Store in 2023. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Noelle Ghoussaini (she/her) creates performance, ritual and sacred gathering with and for community. Each embodied experience aims to nurture freedom in the very fabric of our being; cultivating connection with our inherent belonging to the world around and within us. Noelle works at sites ranging from public parks to detention centers, from theatres to community spaces. As a Lebanese-American who grew up across three continents, Noelle is dedicated to collective liberation & decolonial creative practice; her visions thread together artistic and sacred spaces of homecoming. www.noelleghoussaini.com @noelleghoussaini Explore more performances, talks and discussions at PRELUDE 2024 See What's on

Watch QUEENDOM by Agniia Galdanova at the Segal Film Festival on Theatre and Performance 2024. Like a young David Bowie from another planet, the whole world is one giant catwalk for intrepid 21-year-old queer artist Gena. She grew up in the far reaches of Russia, in a town built on top of an old gulag camp. Today, she stages her radical performances in supermarkets, metro stations and in the middle of Moscow streets in an alternative protest against the way LGBTQ+ people are treated in Putin’s extremely conservative Russia. People shout at her, and Gena calmly responds. With never-failing support from her grandmother, she acts out all the creatures that live inside her through her spectacular costumes, which she often makes out of tape and junk. Agniia Galdanova’s beautiful and atmospheric film is not so much a portrait as it is a direct cinematic extension of Gena’s inner universe. In other words, a film in the field between art and activism, between documentary and science fiction, and between an old and a young Russia. The Martin E. Segal Theater Center presents QUEENDOM At the Segal Theatre Film and Performance Festival 2024 A film by Agniia Galdanova Documentary, Performance Art This film will be screened in-person on May 16th About The Film Country United States / France Language Russian, English Running Time 98 minutes Year of Release 2023 Like a young David Bowie from another planet, the whole world is one giant catwalk for intrepid 21-year-old queer artist Gena. She grew up in the far reaches of Russia, in a town built on top of an old gulag camp. Today, she stages her radical performances in supermarkets, metro stations and in the middle of Moscow streets in an alternative protest against the way LGBTQ+ people are treated in Putin’s extremely conservative Russia. People shout at her, and Gena calmly responds. With never-failing support from her grandmother, she acts out all the creatures that live inside her through her spectacular costumes, which she often makes out of tape and junk. Agniia Galdanova’s beautiful and atmospheric film is not so much a portrait as it is a direct cinematic extension of Gena’s inner universe. In other words, a film in the field between art and activism, between documentary and science fiction, and between an old and a young Russia. In press notes About The Artist(s) in press notes Get in touch with the artist(s) igormyakotin@gmail.com and follow them on social media Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2024 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here. "Nightshades" - Veronica Viper Ellen Callaghan Dancing Pina FLorian Heinzen-Ziob Genocide and Movements Andreia Beatriz, Hamilton Borges dos Santos, Luis Carlos de Alencar Living Objects in Black Jacqueline Wade ORESTEIA Carolin Mader Schlingensief – A Voice that Shook the Silence Bettina Böhler The Hamlet Syndrome Elwira Niewiera & Piotr Rosolowski Wo/我 Jiemin Yang "talk to us" Kirsten Burger Die Kinder der Toten Nature Theater of Oklahoma:Kelly Copper and Pavol Liska Hans-Thies Lehmann – Postdramatic Theater Christoph Rüter MUSE Pete O'Hare/Warehouse Films QUEENDOM Agniia Galdanova Snow White Dr.GoraParasit The Making of Pinocchio Cade & MacAskill Women of Theatre, New York Juney Smith BLOSSOMING - Des amandiers aux amandiers Karine Silla Perez & Stéphane Milon ELFRIEDE JELINEK - LANGUAGE UNLEASHED Claudia Müller I AM NOT OK Gabrielle Lansner Making of The Money Opera Amitesh Grover Red Day Besim Ugzmajli The Books of Jacob Krzysztof Garbaczewski The Roll Call:The Roots to Strange Fruit Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula next...II (Mali/Island) Janne Gregor Chinoiserie Redux Ping Chong Festival of the Body on the Road H! Newcomer “H” Sokerissa! Interstate Big Dance Theater / Bang on a Can Maria Klassenberg Magda Hueckel, Tomasz Śliwiński Revolution 21/ Rewolucja 21 Martyna Peszko and Teatr 21 The End Is Not What I Thought It Would Be Andrea Kleine The Utopians Michael Kliën and En Dynamei Conference of the Absent Rimini Protokoll (Haug / Kaegi / Wetzel) / Film By Expander Film (Lilli Kuschel and Stefan Korsinsky) GIANNI Budapesti Skizo, Theater Tri-Bühne Juggle & Hide (Seven Whatchamacallits in Search of a Director) Wichaya Artamat/ For What Theatre My virtual body and my double Simon Senn / Bruno Deville SWING AND SWAY Fernanda Pessoa and Chica Barbosa The Great Grand Greatness Awards Jo Hedegaard WHO IS EUGENIO BARBA Magdalene Remoundou

ASHIL LEE, LÉOH HAILU-GHERMAY, AMANDA HOROWITZ + S T A R R BUSBY presents Group Date: a conversation at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Group Date: a conversation ASHIL LEE, LÉOH HAILU-GHERMAY, AMANDA HOROWITZ + S T A R R BUSBY 4:30-5:20 pm Friday, October 18, 2024 Elebash Recital Hall RSVP Join us for a conversation between Prelude 2024 artists S T A R R busby, Léoh Hailu-Ghermay, Amanda Horowitz, and Ashil Lee. Prelude 2024 features artists working in different corners of the New York performance scene. These Group Date conversations present an opportunity to foster connections, new and otherwise, between the festival’s featured artists. LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido . In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada ?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). S T A R R busby (they/she/he/we - all pronouns said with respect) is a Black experimental artist who sings, acts, composes, educates, and is committed to the liberation of all people. A recent recipient of a NYSCA grant, S T A R R leads a music project under their name which will release a debut project in 2024 - Working Up A Surrender . She is also the lead singer of dance&b band People's Champs ( www.peopleschampsnyc.com ) which released their latest project, Show Up, in the Fall of 2023. S T A R R has also supported and collaborated with artists such as The Gorillaz, Esperanza Spalding, Son Lux, X Ambassadors, Kimbra, Alice Smith, and Quelle Chris. Selected credits: If You Unfolded Us (Sable Elyse Smith, MoMA); Rest Within the Wake (James Allister Sprang, Baryshnikov Arts Center, Featured Soloist); (pray) (Ars Nova and National Black Theatre, A Singer, Composer, and Music Director)*Lucille Lortel Award Winner; The Beautiful Lady (La Mama, Boris); On Sugarland (NYTW, co-composer); Octet (Signature Theatre, Paula) *Drama Desk Award Winner; Mikrokosmos, Sterischer Herbst (Graz), Nottingham Contemporary; The Girl with the Incredible Feeling , Spoleto Festival dei Due Mondi. All music available via Bandcamp and all streaming services. Love, gratitude and ashé to my blessed honorable ancestors, especially MME. linktr.ee/S_T_A_R_R Léoh Hailu-Ghermay is a first generation Tigrayan-American, Black queer artist, activist, and law student living on occupied Munsee-Lenape and Canarsie Land (Brooklyn, NY). Select theater/performance art credits: Phyllida in Galatea (Flea Theater), Euridike in Antigonick (Playwrights Horizons), Bonzai/Husband in The Good Person of Setzuan (Atlantic Stage 2), Soloist in The Rave Revue (Prospect Theater Co.), Newmama in Letters in the Dirt (The Brick), Kunty Kracker Kyle in Chaotic Good (The Tank), and Mrs. Jennings in Episode (Metropolitan Playhouse). They’re thrilled to be showing their Work in Progress at Prelude! Amanda Horowitz is an interdisciplinary artist working between performance and sculpture. She writes and directs theater using experimental and collaborative methods. Past performance projects include: Heavenly Fools (Mason Gross Playwrights Festival, 2023), Bad Stars (2023, STARS Gallery), Bad Water True West (2022, Bad Water Gallery), Suddenly, This Summer (2019, PAM), The Plumbing Tree (by Medium Judith, 2018/19, Highways Performance Space and Human Resources LA). She was the co-founder and director of Medium Judith (extg, 2013-2019), a theater collaboration with Bully Fae Collins. Amanda holds a double MFA in Visual Art and Playwriting from Rutgers University. Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed) Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Explore more performances, talks and discussions at PRELUDE 2024 See What's on

Martin E. Segal Born July 4, 1916 in Vitebsk, Russia. Died August 5, 2012 in New York City. (click here to read the New York Times Obituary ) Officer, Board and Committee Memberships: Founder (1939), The Segal Company, international consultants and actuaries for employee benefit plans; President, 1939-1967; Chairman, 1967-1991; Chairman Emeritus and consultant – 1991-2012 Founder and Chairman, Board of Directors – The New York International Festival of the Arts, Inc., 1985 until discontinuation in 2002 The American-Scandinavian Foundation – Trustee, 1986-1991; Advisory Trustee, 1991-2012 The ASCAP Foundation – Member of the Board of Directors, 1997-2003 American Theatre Wing – Member of Advisory Committee/Tony Voter, 2000-2008 Board of Hospitals, City of New York – Member of the Board, 1962-1970 City Center of Music and Drama, Inc. – Member, Board of Directors and Chairman of the Executive Committee, 1971-1974; also Treasurer, 1974; Governor Emeritus – 1974-2012 Commission for Cultural Affairs of the City of New York (predecessor to Advisory Commission for Cultural Affairs)– appointed by Mayor Beame as first Chairman, 1975-1977 Cultural Assistance Center (predecessor to Alliance for the Arts) – Founder and President 1974-1982; Chairman, 1982-1984; named Honorary Chairman in 1984 Film Guild of New York – Founder (1940-1941) The Film Society of Lincoln Center, Inc. – Founding President and CEO, 1968-1978; Founder and President Emeritus, 1978-2012 The Glenridge Performing Arts Center, Sarasota, Florida – Member, Board of Advisors, 2004-2012 The Graduate School and University Center of The City University of New York – Member, Board of Visitors, 1983-1996 Member, Board of Trustees, The Graduate Center Foundation, Inc., 1996-2008 Vice Chairman, 2003-2008 Harvard University – Member, Visiting Committee, School of Public Health, 1979-1992; Member, Dean’s Council, School of Public Health, 1990-2006; Member, Board of Advisors, Center for Health Communication Mentoring Program at School of Public Health, Harvard School of Public Health, 2003-2012 The Institute for Advanced Study, Princeton – Trustee, 1972-1991 (positions included member of Executive Committee, Chairman of Finance Committee and Chairman of Review Committee); Trustee Emeritus, 1991-2012 The Library of America – Founding Advisor, 1984-2012; Sole Honorary Member of the Board of Directors, 2005-2012 Lincoln Center for the Performing Arts, Inc. – Vice Chairman, 1978-1981; Chairman, 1981-1986; Chairman Emeritus, 1986-2012 Mayor’s Committee on Cultural Policy, NYC – Chairman, 1974 The George Meany Center– Member, Board of Trustees, 2001-2010; Trustee Emeritus, 2010-2012 Mount Sinai Hospital – Trustee, 1966-1970 Museum of Modern Art – Member, Board of Trustees, and Chairman, Exhibitions Committee 1978-1981 (retired from Board) Musica Sacra – Member, Honorary Council, 2001-2012 National Building Museum – Member, Board of Directors, 1983-1991 National Urban League – Member of National Board, 1961-1970; Vice President, 1967-1970; Chairman of the National Urban League’s First Equal Opportunity Day Dinner, November, 1961 New York City Health and Hospitals Corporation – (Mayor Lindsay’s first appointee), Member of the Board, Chairman of Finance Committee and Member of Executive Committee, 1970-1972 Office for the Arts at Harvard – Member of Advisory Committee, 1993-1999; Member of Council, 1999-2012 The Public Interest – Founding Member; Publication Committee, 1965-2002 (The Public Interest discontinued publication in 2005.) Public Radio International (formerly known as American Public Radio) – Founding Member, Board of Directors, 1981-1994; Director Emeritus, 1994-1998; Counselor at Large – 1998-2012 Helena Rubinstein Foundation, Inc. – Member, Board of Directors, 1972-1995 S.L.E. Lupus Foundation – Member, Board of Directors, 2000-2012 The Statue of Liberty-Ellis Island Foundation, Inc. – Member, Board of Directors, 2000-2004; Member of Executive Committee, 2002-2004 The Studio In A School Association – Member, Advisory Board, 1988-2012 Theatre Development Fund – Member, Advisory Council, 1992-2012 Town Hall Foundation – Member, Advisory Council, 1986-2012 Young Audiences, Inc. – Member, National Board, 1979-2012 Mr. Segal was Organizing Co-Chairman of the International Conference on the Future of Arts Education – November 11-13, 1999 He was General Chairman of “Night of 100 Stars II” (first AIDS benefit – The Actors’ Fund of America– held on February 17, 1985). In 1979, Mr. Segal was co-chairman of the mission to lay the basis for cultural exchanges between the United States and China via the Center for United States-China Arts Exchange; visited China with the U.S. delegation, as co-chairman, for this purpose (March 8-23, 1979). Mr. Segal served on the Advisory Council of the Center for United States-China Arts Exchange from 1982-1988. He served on the Board of the Fund for the City of New York from 1978-1987 and was Chairman of its Public Service Awards Committee in 1978 and 1979. Mr. Segal was a Partner, Wertheim & Co. from1967-82 and President (1972-1975) and subsequently Chairman (1975-1982) of Wertheim Asset Management Services. He is a former columnist for the Associated Press. Honorary Degrees: New York University – Doctor of Humane Letters (1988) The Juilliard School – Doctor of Humane Letters (2006) Graduate Center of The City University of New York – Doctor of Humane Letters (1979) Mannes College of Music – Doctor of Music (1976) Pratt Institute – Doctor of Humane Letters (1976) Long Island University – Doctor of Humane Letters (1986) Manhattan School of Music – Doctor of Music Honoris Causa (1999) Commendations and Awards (in order received): International Film Importers and Distributors of America (1973) The Municipal Art Society of New York – Certificate of Merit “for his innumerable contributions to the well-being of the City…” (1974) Third Street Music School Settlement – Award for Service to Music (1981) Museum of the City of New York – Annual Award of Distinction, in recognition of outstanding contributions to the cultural life of New York (1982) Mayor’s Award of Honor for Arts and Culture – New York City (1982) Concert Artists Guild Award (1983) League of Women Voters of the City of New York Education Fund Award, in recognition of his leadership and public service to the cultural life of New York City” (1984) Royal Swedish Order of the Polar Star, King Carl XVI Gustaf of Sweden (1984) Ministry of Culture of The French Government – Officer of the Order of Arts and Letters (1984-2005) The International Center in New York, Inc. – Distinguished American of Foreign Birth Award (1985) Alumni and Friends of LaGuardia High School – annual Award for leadership in the arts community (1985) Alumni Association of the City College of New York – John H. Finley Medal (1985) Board of Directors/Lincoln Center for the Performing Arts – established annual Martin E. Segal Awards (1986) Town Hall – Friend of the Arts Award (1987) Lincoln Center for the Performing Arts, Inc. – First Directors Emeriti Award (1987) Songwriters’ Hall of Fame – Patron of the Arts Award (1988) National Federation of Music Clubs – Presidential Citation (1989) Creative Arts Rehabilitation Center – Public Spirit Award (1989) New York State Governor’s Arts Award (1989) The Graduate School and University Center of The City University of New York – President’s Award (1990) The National Arts Club – Medal of Honor (1992) Lincoln Center Laureate Award (1997) Museum of the City of New York – Our Town Treasure Award (1998) Arts Roundtable – Award of Honor (1998) Citizens Union of The City of New York – Civic Leadership Award (1998) The Martin E. Segal Theatre Center – CUNY Graduate Center (2000) The Acting Company – The Joan Warburg Humanitarian Award (2001) S.L.E. Lupus Foundation Award (2001) Alliance for the Arts – Honoree (2004) The American-Scandinavian Foundation – Honoree, 2004 The Chamber Music Society of Lincoln Center – Honoree (2005) New York Landmarks Conservancy – Living Landmark (2005) Ministry of Culture of The French Government – Commander of the Order of Arts and Letters (2005) The American Academy of Arts and Letters – Presidential Citation of Distinction (2009) The American-Scandinavian Foundation – Award for Distinguished Public Service – (2010) Club Affiliations: The Century Association The National Arts Club The Pilgrims of the United States

Watch Red Day by Besim Ugzmajli at the Segal Film Festival on Theatre and Performance 2024. Arsa, a deaf little girl, and her mother Dodona, an ex-actress, want to be part of “Festival of Performance”. Arsa is not on the list of participants but she and her mother are ready to do everything, only to show up on stage and present their unique story, which ends bloodily. The Martin E. Segal Theater Center presents Red Day At the Segal Theatre Film and Performance Festival 2024 A film by Besim Ugzmajli Theater, Film This film will be available to watch online on the festival website May 16th onwards for 3 weeks, as well as screened in-person on May 20th. About The Film Country Kosovo Language Albanian Running Time 15 minutes Year of Release 2022 Arsa, a deaf little girl, and her mother Dodona, an ex-actress, want to be part of “Festival of Performance”. Arsa is not on the list of participants but she and her mother are ready to do everything, only to show up on stage and present their unique story, which ends bloodily. https://filmfreeway.com/projects/2177983 About The Artist(s) Born in 1986 in Ferizaj, Republic of Kosovo, Studied in University of Prishtina, Faculty of Arts – Film and TV Directing. He has worked as writer and director in the biggest film company in Kosova, and in these last years in his own company Figurina Film’s, where he made his most awarded short films such as: Forgive me, The Path, Beyond the Gates. Get in touch with the artist(s) ugzmajlibesim@gmail.com and follow them on social media https://filmfreeway.com/projects/2177983 Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2024 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here. "Nightshades" - Veronica Viper Ellen Callaghan Dancing Pina FLorian Heinzen-Ziob Genocide and Movements Andreia Beatriz, Hamilton Borges dos Santos, Luis Carlos de Alencar Living Objects in Black Jacqueline Wade ORESTEIA Carolin Mader Schlingensief – A Voice that Shook the Silence Bettina Böhler The Hamlet Syndrome Elwira Niewiera & Piotr Rosolowski Wo/我 Jiemin Yang "talk to us" Kirsten Burger Die Kinder der Toten Nature Theater of Oklahoma:Kelly Copper and Pavol Liska Hans-Thies Lehmann – Postdramatic Theater Christoph Rüter MUSE Pete O'Hare/Warehouse Films QUEENDOM Agniia Galdanova Snow White Dr.GoraParasit The Making of Pinocchio Cade & MacAskill Women of Theatre, New York Juney Smith BLOSSOMING - Des amandiers aux amandiers Karine Silla Perez & Stéphane Milon ELFRIEDE JELINEK - LANGUAGE UNLEASHED Claudia Müller I AM NOT OK Gabrielle Lansner Making of The Money Opera Amitesh Grover Red Day Besim Ugzmajli The Books of Jacob Krzysztof Garbaczewski The Roll Call:The Roots to Strange Fruit Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula next...II (Mali/Island) Janne Gregor Chinoiserie Redux Ping Chong Festival of the Body on the Road H! Newcomer “H” Sokerissa! Interstate Big Dance Theater / Bang on a Can Maria Klassenberg Magda Hueckel, Tomasz Śliwiński Revolution 21/ Rewolucja 21 Martyna Peszko and Teatr 21 The End Is Not What I Thought It Would Be Andrea Kleine The Utopians Michael Kliën and En Dynamei Conference of the Absent Rimini Protokoll (Haug / Kaegi / Wetzel) / Film By Expander Film (Lilli Kuschel and Stefan Korsinsky) GIANNI Budapesti Skizo, Theater Tri-Bühne Juggle & Hide (Seven Whatchamacallits in Search of a Director) Wichaya Artamat/ For What Theatre My virtual body and my double Simon Senn / Bruno Deville SWING AND SWAY Fernanda Pessoa and Chica Barbosa The Great Grand Greatness Awards Jo Hedegaard WHO IS EUGENIO BARBA Magdalene Remoundou

Watch Dancing Pina by FLorian Heinzen-Ziob at the Segal Film Festival on Theatre and Performance 2024. Dancer and choreographer Pina Bausch was one of the most important contributors to the modern Tanztheater in the 20th century. Dancing Pina celebrates the art of the legendary dancer and the people who interpret her work today. Two of her dance projects show how young dancers from all over the world are rediscovering Pina’s unique choreographic style: the venerable Semperoper in Dresden, Germany, and the École des Sables in a fishing village near Dakar, Senegal. The young dancers are guided by former members of Pina Bausch’s Tanztheater company. But Pina is not someone who can simply be copied. The dancers have to re-live Pina’s choreographies with their bodies and their own stories. Like Sanguen Lee from South Korea, who was supposedly too tall to become a dancer. Or Gloria Ugwarelojo Biachi of Nigeria, who uses dance to represent her fight for equality. Or Julian Amir Lacey from the US, who had to overcome homophobic prejudices. It is a fascinating metamorphosis: While the performers of street dance, classical ballet and traditional and contemporary African dance forms transform Pina’s work, Pina’s choreographies transform the dancers. The Martin E. Segal Theater Center presents Dancing Pina At the Segal Theatre Film and Performance Festival 2024 A film by FLorian Heinzen-Ziob Dance, Documentary This film will be screened in-person on May 18th. About The Film Country Germany Language English Running Time 111 minutes Year of Release 2022 Dancer and choreographer Pina Bausch was one of the most important contributors to the modern Tanztheater in the 20th century. Dancing Pina celebrates the art of the legendary dancer and the people who interpret her work today. Two of her dance projects show how young dancers from all over the world are rediscovering Pina’s unique choreographic style: the venerable Semperoper in Dresden, Germany, and the École des Sables in a fishing village near Dakar, Senegal. The young dancers are guided by former members of Pina Bausch’s Tanztheater company. But Pina is not someone who can simply be copied. The dancers have to re-live Pina’s choreographies with their bodies and their own stories. Like Sanguen Lee from South Korea, who was supposedly too tall to become a dancer. Or Gloria Ugwarelojo Biachi of Nigeria, who uses dance to represent her fight for equality. Or Julian Amir Lacey from the US, who had to overcome homophobic prejudices. It is a fascinating metamorphosis: While the performers of street dance, classical ballet and traditional and contemporary African dance forms transform Pina’s work, Pina’s choreographies transform the dancers. Fontäne Film About The Artist(s) Born 1984 in Düsseldorf, Germany. Florian Heinzen-Ziob is a freelance director and producer and co-founder of Fontäne Film production. He studied media arts and film directing at the Academy of Media Arts in Cologne. As an author, director and producer he realized the three Cinema documentaries ORIGINAL COPY, GERMAN CLASS and DANCING PINA. His films have been shown at over a hundred film festivals worldwide, including Rotterdam Film Festival, Hot Docs Toronto, Sheffield DocFest and DOK.fest Munich, and have received several awards. He lives and works in Cologne, Germany. Get in touch with the artist(s) luisa.schwamborn@newdocs.de and follow them on social media https://www.newdocs.de/dancing-pina/ Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2024 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here. "Nightshades" - Veronica Viper Ellen Callaghan Dancing Pina FLorian Heinzen-Ziob Genocide and Movements Andreia Beatriz, Hamilton Borges dos Santos, Luis Carlos de Alencar Living Objects in Black Jacqueline Wade ORESTEIA Carolin Mader Schlingensief – A Voice that Shook the Silence Bettina Böhler The Hamlet Syndrome Elwira Niewiera & Piotr Rosolowski Wo/我 Jiemin Yang "talk to us" Kirsten Burger Die Kinder der Toten Nature Theater of Oklahoma:Kelly Copper and Pavol Liska Hans-Thies Lehmann – Postdramatic Theater Christoph Rüter MUSE Pete O'Hare/Warehouse Films QUEENDOM Agniia Galdanova Snow White Dr.GoraParasit The Making of Pinocchio Cade & MacAskill Women of Theatre, New York Juney Smith BLOSSOMING - Des amandiers aux amandiers Karine Silla Perez & Stéphane Milon ELFRIEDE JELINEK - LANGUAGE UNLEASHED Claudia Müller I AM NOT OK Gabrielle Lansner Making of The Money Opera Amitesh Grover Red Day Besim Ugzmajli The Books of Jacob Krzysztof Garbaczewski The Roll Call:The Roots to Strange Fruit Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula next...II (Mali/Island) Janne Gregor Chinoiserie Redux Ping Chong Festival of the Body on the Road H! Newcomer “H” Sokerissa! Interstate Big Dance Theater / Bang on a Can Maria Klassenberg Magda Hueckel, Tomasz Śliwiński Revolution 21/ Rewolucja 21 Martyna Peszko and Teatr 21 The End Is Not What I Thought It Would Be Andrea Kleine The Utopians Michael Kliën and En Dynamei Conference of the Absent Rimini Protokoll (Haug / Kaegi / Wetzel) / Film By Expander Film (Lilli Kuschel and Stefan Korsinsky) GIANNI Budapesti Skizo, Theater Tri-Bühne Juggle & Hide (Seven Whatchamacallits in Search of a Director) Wichaya Artamat/ For What Theatre My virtual body and my double Simon Senn / Bruno Deville SWING AND SWAY Fernanda Pessoa and Chica Barbosa The Great Grand Greatness Awards Jo Hedegaard WHO IS EUGENIO BARBA Magdalene Remoundou