Twilight: Los Angeles, 1992 Program Book

Twilight: Los Angeles, 1992 Program Book

Table of Contents

Note from Anna Deavere Smith
Note from Dr. Elizabeth Alexander
Community Agreement
Our Supporters


Signature Theatre

Artistic Director

Paige Evans


Twilight: Los Angeles, 1992

Written, Conceived and Revised by

Anna Deavere Smith


Elena Hurst 
Francis Jue 
Wesley T. Jones 
Karl Kenzler 
Tiffany Rachelle Stewart

Scenic Design

Riccardo Hernández

Costume Design

Linda Cho

Lighting Design

Alan C. Edwards

Sound Design

Darron L West

Projection Design

David Bengali

Movement Coach

Michael Leon Thomas

Dialect Coach

Dawn-Elin Fraser

Sensitivity Specialist

Ann James

Production Stage Manager

Charles M. Turner III


Caparelliotis Casting
X Casting


Blake Zidell & Associates

Associate Artistic Director

Beth Whitaker

Chief Advancement Officer

Glenn Alan Stiskal

Director of Marketing, Communications & Engagement

Rochelle Torres

Director of Production and Facilities

Paul Ziemer

ADirector of Artistic Programs

Iyvon E.

Director of Finance

Jeffrey Bledsoe

Directed by

Taibi Magar


Signature Theatre was founded in 1991 by James Houghton


A version of Twilight: Los Angeles, 1992 was created for a touring production of the play at the Berkeley Repertory Theatre, Sharon Ott, Artistic Director; Susan Medak, Managing Director.

In its original form, Twilight: Los Angeles, 1992 was originally produced by the Center Theatre Group/Mark Taper Forum in Los Angeles, Gordon Davidson, Artistic Director/Producer. It premiered on May 23, 1993, and closed on July 18, 1993.

It was subsequently produced as a work-in-progress at The McCarter Theatre in Princeton, New Jersey.
Its original New York production was provided by the Public Theater, George C. Wolfe, Producer. It opened at the Public Theater in March 1994 and was directed by George C. Wolfe.

It opened on Broadway at the Cort Theatre on April 17, 1994. The producers were: Benjamin Mordecai, Laura Rafaty, Ric Wanetik, the Public Theater (George C. Wolfe, Producer) and the Mark Taper Forum (Gordon Davidson, Artistic Director), in association with Harriet Newman Leve, Jeanne Rizzo, James D. Stern, Daryl Roth, Jo-Lynne Worley, Ronald A. Pizzuti, The Booking Office, Inc. and Freddy Bienstock.  
Twilight: Los Angeles, 1992 is supported, in part, by an award from the National Endowment for the Arts.

Signature Theatre’s 2021-22 Season is generously sponsored by Bloomberg Philanthropies.

The Signature Ticket Initiative: A Generation of Access is made possible by lead partner The Pershing Square Foundation with additional support provided by the J.L. Greene Arts Access Fund in The New York Community Trust, the Howard Gilman Foundation, Margot Adams, in memory of Mason Adams, the New York City Department of Cultural Affairs and New York City Council Speaker Corey Johnson, and Consolidated Edison Company of New York.

Thank you to all supporters of the Sustain Signature Fund. Signature Theatre is deeply grateful for Senator Charles E. Schumer’s visionary leadership of the Shuttered Venue Operators Grant Program.

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Note from Anna Deavere Smith

On April 29, 1992, I was in dress rehearsal at the Public Theater for Fires in the Mirror, my play and performance about the August 1991 riots in Crown Heights, Brooklyn. Exhausted from sequestered days of tech rehearsal, scared about ensuing performances of my first play ever to be produced in New York, I returned to my apartment. The answering machine blinking away. A number of friends in Los Angeles had left frantic messages. The city was in flames. The “not guilty verdicts” on the four police officers who beat black motorist Rodney King had cracked the city. How could that brutal beating, captured on video tape and replayed all over the world, for a year, be categorized as within bounds of “reasonable use of force?” And what was a “reasonable use of force” anyway? George Holliday, having heard Rodney King’s screams was on his balcony, still coltish with handling his recently purchased Sony Video8 Handycam CCD-F77. Shaky and blurred though it was, the late Holliday’s footage should have gotten a Pulitzer Prize. It revealed, world wide, that which Americans who live in police-controlled war zones experience every day. The rest of us were, suddenly, to use a contemporary term, “woke.”

Twenty-eight years later, a small cell phone captured in clear color, without blur, leaving little to conjecture, George Floyd being choked to death by Officer Derek Chauvin. On April 20, 2021, breathless seconds before the verdict, few people around the world took for granted that Chauvin would be declared guilty on three charges, including third-degree murder and second-degree manslaughter. And he was. Much has happened in America since 1992 to cause us to be more vigilant about police brutality and the adamantine system that endorses it.

The late Gordon Davidson, then artistic director of the Mark Taper Forum in Los Angeles, was among those in the audience for Fires in the Mirror which I performed during and immediately following the riots on the other coast. In fact, the riots caused one of those brief peaks of interest about race and so Fires had a sold-out run throughout the summer and could have continued longer. It was not immediately apparent to Gordon that Los Angeles riots should be a source of my next play. By the end of breakfast - at of all places – the Algonquin in New York - we concluded that I should head west in the fall of ‘92 to begin a series of interviews. I interviewed about 320 people in the ensuing eight months. Parts of those interviews provided the content you are about to see tonight.

The sheer land width of L.A. magnifies the diversity of Angelenos. Their dense histories are operatic in scale. I grew up in the Black/white binary of Baltimore, Maryland, a segregated town then and now. Academic and cultural race fashion at the time, was focused on the Black/white paradigm. I saw for the first time, threads I had not yet seen in the ragged tapestry of American identities. Yet, what was variously called a “riot,” an “uprising,” an “insurrection” or simply “the events in LA,” seemed to predominantly, but not entirely, center on an interplay of Black, white, Latino and Asian American individuals. To parse strands of these threads, I invited consultants of four races to join me in often emotional, always intellectually vigorous, sometimes discordant conversations as I wrote the play.

As some of you may recall, I played Twilight as a one-person show during the 1990’s in LA, off Broadway, on Broadway, on tour and as a PBS movie - all forty some roles depending on the incarnation. Revising Twilight for the five extraordinary actors you will see tonight has been a rich experience through which I’ve peered closely, again, at the broken, unwoven, never woven threads of America’s tapestry. With a cast of individuals of different races, we see perhaps the threads crossing, uncrossing and breaking in more resonant ways.

Twilight Bey, a former member of the LA Crips gang, after whom I named the play, got the last word of the outpour of claims, cries, words, insights gathered in 320 interviews. He equates living within the barricades of one’s racial identity - to living in darkness. He concludes:

I can’t forever dwell in darkness.
I can’t forever dwell in the idea,
just identifying with people like me, and understanding me and mine.

Technology has exploded since the time that this play was first presented. Technology promises to bring us close. But it does not create the woven tapestry that never was and may never be. Is a weave the goal? Everyone will have a different answer. In addition to the unfinished political and policy project of equity and opportunity, the moral project of restoring dignity, the arts and entertainment business of emotional renewal and sometimes joy, there’s another project. There is a human–izing project to do. But where? Many long ago left religion. In this secular society we sometimes assume that academia and the arts will human-ize us. Those institutions are in the midst of an urgent and necessary renovation, the need of which became apparent as a result of the pandemic and of George Floyd’s murder. Where could we house a new human–izing project?

The human-izing project, to my mind, is not about eradicating differences. It is not even about eradicating discord. It is not even about tearing down barricades. The humanizing project calls for granular looking and listening. The question, which Twilight: Los Angeles, 1992 does not explicitly ask, but only implies, is the same now as it was in 1993 when it was first performed. The question is: “How shall we be gathered?” Not even “how will we come together”? Rather - “how shall we gather”? Many assumptions – take the American Dream for one – seem now like smoke and mirrors. Some rungs of its ladder broke, some were stolen, some were never there at all. We’re in limbo.

-Anna Deavere Smith


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Note from Dr. Elizabeth Alexander

President, The Andrew W. Mellon Foundation

Note for the October 2021 digital program of Twilight: Los Angeles, 1992

Twilight: Los Angeles, 1992 is a significant historic work of art exquisitely timed for 2021.

Though created nearly 30 years ago, Twilight’s prescience lies in its power to capture that past moment of social strife and conflict in Los Angeles while also conveying revelations about our current troubling era.

I was honored to work as a dramaturg on that first unforgettable production of Twilight: Los Angeles, 1992 at the Mark Taper Forum in LA. Working in the ashes of Los Angeles in the post-uprising aftermath of the Rodney King trial verdict, I watched with amazement as one visionary – Anna Deavere Smith – interviewed Angelenos from different communities who were not in productive conversation with each other.

She would bring those voices back to the dramaturgical collective, and together we would listen and talk and argue and learn as we heard the truths the voices revealed. Then she took the generative richness that emerged and made it into the extraordinary play we have today.

At that same time, Anna Deavere Smith was learning every part, studying the various languages included in the script, and physically training to inhabit the characters she would bring to life on stage – each one of whom communicated through her alone.

Now, in another time of strife and hopefulness, a team of actors is once more bringing us these voices and making community where there must be community.

It is our great fortune to experience Twilight: Los Angeles, 1992 again.

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Community Agreement

Our home, The Pershing Square Signature Center, was built upon the values of community, access and belonging. Regardless of why or how often you come, you are part of the Signature community, which includes your fellow audience members, visitors, artists and staff. When entering this shared space, we ask that you take part in our community agreement to: 

  1. Acknowledge, accept and encourage varied experiences and cultural responses to our work. 
  2. Appreciate that we all enter this space for many purposes, and to respect the physical and psychological space that you and others take. 
If you experience or witness a violation of this agreement or discrimination, we encourage you to reach out and share your experience with an Audience Services staff member (teal shirts with “Staff” on the back) or email our Anti-Racist, Anti-Discriminatory Committee at
Thank you for helping to keep our Signature community inclusive, and we hope you enjoy your time at the Center! 
Read the Signature Theatre Land Acknowledgment.

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The Words of Rudy Salas, Sr, Sculptor and Painter, “My Enemy” - Elena Hurst

Stanley K. Sheinbaum, Former President, Los Angeles Police Commission, “These Curious People” - Karl Kenzler

Elaine Kim, Author/Professor, “Buffer Zone Minority” - Francis Jue



Charles Lloyd, Attorney for Soon Ja Du - Wesley T. Jones

Gina Rae AKA Queen Malkah, Community Activist - Tiffany Rachelle Stewart

Jay Woong Yahng, Liquor Store Owner - Francis Jue

Elaine Kim - Francis Jue



Josie Morales, Clerk Typist for the City of Los Angeles and Witness to the Rodney King Beating, “Indelible Substance” - Elena Hurst

Sargeant Charles Duke, Special Weapons and Tactics Unit, LAPD; Use Of Force Expert for the Defense Witness, Simi Valley and Federal Trials, “Control Holds” - Francis Jue

Anonymous Man, Juror in Simi Valley Trial, “Your Heads in Shame” - Karl Kenzler


Keith Watson, Former Security Guard, Co-Assailant Of Reginald Denny - Wesley T. Jones

Elaine Young, Real Estate Agent, “Safe and Sound in Beverly Hills” - Elena Hurst

Congresswoman Maxine Waters, “They Hungry in the Bronx Tonight” - Tiffany Rachelle Stewart

Anonymous Young Woman, Student at the University of California - Tiffany Rachelle Stewart

Stanley K. Sheinbaum, “Where Ya Goin?” - Karl Kenzler

Daryl Gates, Former Cheif of the Los Angeles Police Department, “It’s Awful Hard to Break Away” - Karl Kenzler

Katie Miller, Bookkeeper and Accountant, “Pep Boys” - Tiffany Rachelle Stewart

Keith Watson, “Movie” - Wesley T. Jones

Charlton Heston, Movie Star, “A Well Armed Ridge” - Wesley T. Jones

Talent Agent I, Anonymous Hollywood Agency, “Caesar Salad” - Karl Kenzler

Richard Kim, “Pa Chew” - Francis Jue

Keith Watson - Wesley T. Jones

Congresswoman Maxine Waters - Tiffany Rachelle Stewart

Hèctor Tobar, “That State That’s Free of Pain” - Elena Hurst

Elaine Kim - Francis Jue

Elaine Young, “The Beverly Hills Hotel” - Elena Hurst

Keith Watson - Wesley T. Jones

Talent Agent II, Anonymous Hollywood Agency, “Godzilla” - Francis Jue

Keith Watson, “Rage” - Wesley T. Jones

Anonymous Talent Agent, “Absorb a Little Guilt” - Karl Kenzler

Shelby Coffey, “Beirut” -Tiffany Rachelle Stewart

Keith Watson, “Make My Mark” - Wesley T. Jones

Jessye Norman, Opera Singer, “Roar” - Francis Jue



Cornel Wesley T. Jonest, Scholar, “Chekhov/Coltrane” - Wesley T. Jones and Elena Hurst, Francis Jue, Karl Kenzler, and Tiffany Rachelle Stewart

Elvira Evers, General Worker and Cashier, Canteen Corporation, “To Look Like Girls From Little” - Tiffany Rachelle Stewart

Walter Park, Store Owner and Gunshot Victim, “Kinda Lonely” - Francis Jue

Chris Oh, Medical Student and Stepson to Walter Park, Son to Mrs. June Park, “How Things Used to Be” - Francis Jue

Mrs. June Park, Wife of Walter Park, “And in my Heart for Him” - Elena Hurst

Chris Oh, “Execution Style” - Francis Jue

Judith Tur, Ground Reporter LA News Service, “War Zone” - Elena Hurst

Reginald Denny, Semi-Truck Driver and Victim, “A Weird Common Threat in Our Lives” -Karl Kenzler

Paul Parker, Chairperson, Free The L.A. Four Plus Defense Committee, “No Justice No Peace/ My Room” - Wesley T. Jones

Angela King, “Here’s a Nobody” - Tiffany Rachelle Stewart

Ted Briseno, “Not Their Hero Anymore” - Karl Kenzler


Alice Waters, Chef - Elena Hurst

Jin Ho Lee, “Seven Names” - Francis Jue

Paul Parker - Wesley T. Jones

Elaine Brown, Former Head of the Black Panther Party, “Ask Saddam Hussein” - Tiffany Rachelle Stewart

Bill Bradley, Former Senator, D-New Jersey - Karl Kenzler

Reverend Tom Choi - Francis Jue

Bill Bradley, “Application of the Laws’ - Karl Kenzler



Maria, Juror #7, Federal Trial, “AA Meeting” - Tiffany Rachelle Stewart with Elena Hurst, Wesley T. Jones, Francis Jue, and Karl Kenzler

Mrs. Young-Soon Han, Former Liquor Store Owner, “Swallowing the Bitterness” - Francis Jue

Hèctor Tobar, “Black Lives Matter” - Elena Hurst


Twilight Bey, Organizer, Gang Truce, “Limbo” - Wesley T. Jones


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Production Staff  
Assistant Stage Managers Elizabeth Emanuel and Kaitlin Leigh Marsh
Associate Director Tyler Thomas
Associate Scenic Designer Jungah Han
Associate Costume Designer Herin Kaputkin
Associate Lighting Designer Nic Vincent
Associate Sound Designer Ryan Hall
Associate Projection Designer Daniel Vatsky
Production Dramaturgs Iyvon E. and Jenna Clark Embrey
Production Manager Paul Ziemer
Assistant Production Manager Jamie Pitter
Company Manager Andreas Huang
Props Master Alexander Wylie
Production Carpenter K8 August
Production Electrician Steven Johnson
Production Audio Matt Good and James Petty
Production Video Anja Hose
Assistant Production Video Ben Moll
Assistant Costume Shop Manager Katie Friedman
Light Board Programmer Michael Kalmanowitz
Video Programmer Gregory Casparian
Light Board Operator Lee Cahill
Sound Engineer Chris Tse
Wardrobe Supervisors Nghia Nguyen and Haley Tynes
Automation Operator Zachary White
Deck Crew Mikaila Baca-Dorion
Carpentry Crew Robert Boyle, Adam Clayton, Alaska Harris, Emily Hill, Pedro Lima, Angelina Meccariello, Dana Sokolov, Zachary White and John Zayas
Stitchers Jerilyn Dattoli, Allison Dyke, Julia Perdue, Charlotte Lily Gaspard
Electricians Lee Cahill, Kenzie Carpenter, Celia Frey, Emma Havranek, Amanda Langhouse, Kyle Lefeber, Pedro Lima, Tim J Lord, Luke Van Meveren, Jon Naranjo, Sebastian Sanchez, Daniel Santamaria, Liz Schweitzer 
SVC Crew Hayden Bearden, Priyanka Das, Stephen Dee, Sunil Cohen, Tommy Fico, Steven Fine, Dionisio Garcia, Eric Glauber, Alex Hurst, Pedro Lima, Sean Miller, Jeffrey Rowell, Chris Tse, Alex Xie
COVID Safety Managers Ingrid Pierson, Darcy Cadman, Isaac VanCuren


Global Scenic Services
Footage featured in Twilight: Los Angeles, 1992 courtesy of:
ABC7 Los Angeles
Los Angeles City Archives - Office of the City Clerk
The CONUS Archive
Rodney King Beating Video ©1991 by George Holliday, U.S. Copyright Registration No. PA0000518451/1991-05-15
Global ImageWorks, LLC.
LPE360. All rights reserved. Used under license.
Getty Images/ NBC New Archives
Timothy Goldman
Global Scenic Services
Drew Bachrach 
Organ music for “They Hungry in the Bronx Tonight” by Victor Zupanc


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Signature Theatre gratefully acknowledges the generous support of the following contributors. The following listing is inclusive of Annual Gala support.

Support for the Signature Ticket Initiative: A Generation of Access is provided by:

Lead support

Pershing Square Foundation

Additional support provided by

JLGreene Arts Access Fund in The New York Community Trust

Signature Theatre’s 2021-22 Season is sponsored by

Bloomberg Philanthropies

SigSpace is generously supported by

The Andrew W. Mellon Foundation

Signature Theatre programs are supported, in part, by the National Endowment for the Arts, public funds from the New York City Department of Cultural A­airs in partnership with the City Council and Council Speaker Corey Johnson. Signature’s programming is also made possible by the New York State Council on the Arts, with the support of Governor Kathy Hochul and the New York State Legislature.

NYC Cultural Affairs                Art Works. National Endowment for the Arts                New York Council on the Arts

Administrative Staff

View Signature Theatre Administrative Staff Listing


View Signature Theatre Playwrights-in-Residence Listing

Board of Trustees

Edward Norton, Chairman
Douglas E. Chittenden, President
Susan Weiner, Treasurer
Richard E. Willett, Secretary

Margot Adams
Bernard L. Dikman
Paige Evans
David S. Klafter
Lori Kramer
Timothy G. Little
Nina B. Matis
Christine Millen
Dominique Morisseau
Lila Neugebauer
Nancy Northup
Laura Pels
Michael Rauch
Donna Walker-Kuhne

James Houghton, Founder*
Diane Morrison, Chairman Emeritus
Molly O'Neil Frank, President Emeritus
Sally Strachan, President Emeritus
Richard M. Ticktin, Esq., Chairman Emeritus*
Edward Albee, Trustee & Resident Playwright *

*In memoriam

The Pershing Square Signature Center Project Team

Design Architect…Gehry Architects, New York, PC
Architect of Record…H3 Hardy Collaboration Architecture
Owner’s Representative… Jonathan Rose Companies
Developer…Related Companies
Theatre Consultant…Auerbach Pollock Friedlander
Construction Manager… Structure Tone
Legal… Gibson, Dunn & Crutcher LLP

Our Supporters


The Pershing Square Foundation
Bloomberg Philanthropies
The Doris Duke Charitable Foundation
The Andrew W. Mellon Foundation
U.S Small Business Administration


The Howard Gilman Foundation
J. L. Greene Arts Access Fund in The New York Community Trust
Nathalie & Pablo Salame
The Shubert Foundation
Harold and Mimi Steinberg Charitable Trust


Margot Adams, in memory of Mason Adams
Charina Endowment Fund
Douglas & Kathy Chittenden
Horace W. Goldsmith Foundation
John & Amy Griffin
Nina B. Matis
New York City Department of Cultural Affairs
Michael & Betty Rauch


Richard Berry & Lucy Commoner
The Hearst Foundations
Kate Roche Hope & The Roche Family Foundation
Lori Kramer & Stephen Fraidin
Christine Millen & Bill Pinzler
National Endowment for the Arts
New York State Council on the Arts
Peter Norton Family Foundation
SHS Foundation


Anonymous (2)
Jimmy Asci & Josh Schulteis
Leslie & Harrison Bains
Katten Muchin Rosenmann LLP
David Klafter & Nancy Kestenbaum
The Blanche & Irving Laurie Foundation
Leon Levy Foundation
Ted & Daniela Lundberg
Nancy Northup & James Johnson
The Laura Pels International Foundation for Theater
The Blanchette Hooker Rockefeller Fund
Fan Fox & Leslie R. Samuels Foundation
Scherman Foundation
John J. Studzinski CBE
Virginia B. Toulmin Foundation
Donna Walker-Kuhne
Susan Weiner & Chris Aidun
Richard & Linda Willett


Cathleen Collins
Chris & Tim Little
Kristen & Jamie O'Hara
O’Melveny and Myers LLP
The Estate of Barbara S. Rosenthal
The Ted Snowdon Foundation, in memory of Jim Houghton
Tiger Baron Foundation
Weiser Family Foundation, in memory of Jim Houghton
Jennifer Heller Wold


Anne & Andrew Abel
Joseph Baker
Andrea Bozzo & John Martinez
Consolidated Edison Company of New York
Edgerton Foundation
Jeanne Donovan Fisher
Charles & Jane Goldman
Herman Goldman Foundation
Joan & Paul Kopperl
Judith & Douglas Krupp
Fran Kumin Ticktin, in memory of Richard M. Ticktin, Esq.
Laurents / Hatcher Foundation
Terence R. Law & Llewellyn P. Young
The Lupin Foundation
Janet Kane Scapin
SLA Foundation
Seth Sprague Charitable Trust
Stanley Family Foundation
Patricia A. Stockhausen & Michael N. Emmerman


Drs. Edward & Elaine Altman
Anonymous (4)
Paul & Barbara Bernstein
Leslie Bhutani
Marian Brancaccio
Virginia Brody
Noël Coward Foundation
Joseph & Joan Cullman Foundation for the Arts
Keith J. Degi
Bernard L. Dikman, C.P.A.
Gregory L. Diskant & Sandra Baron
Cory and Bob Donnalley Charitable Foundation
Ann Fippinger
Nancy Friday Foundation
James Gleick & Cynthia Crossen
Barbara & Richard Holt
Everett & Margie Jassy
Lucille Lortel Foundation
Richard & Ronay Menschel
McGue Millhiser Trust
Niclas Nagler & David Alberto Alvarez
New York City Council, Speaker Corey Johnson
George L. Olsen
Robert A. Press, MD
Richenthal Foundation
Jonathan & Diana Rose
Daryl & Steven Roth
Matthew Schermerhorn & Andy Rice
Bernice Schoenbaum
Kathy Speer & Terry Grossman
Jane & R.L. Stine
Stone Soup Fund
Dorothy Strelsin Foundation
Lizzie & Jonathan M. Tisch Fund
Paula Wardynski & Jed Scala
Arthur and Hilda Wenig Charitable Foundation
Toni Young


The 515 Foundation
Nina Adams & Moreson Kaplan
Anonymous (3)
Sari Anthony
Jody and John Arnhold | Arnhold Foundation
Jon Basalone
Rosemary Blake
Thomas Chittenden
Davis Wright Tremaine LLP
Violet & Christopher Eagan
Ev & Lee
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Michelle D. & Claude L. Winfield
Michael Wolkowitz & Hope Holiner


Actors' Equity Foundation
Anonymous (5)
Richard & Irene Barth
Leslie Bhutani
Edward and Janet Rutan Bowers
Robert Brenner
Diana Buckhantz
Molly Burnett & Serge Budzyn
Judy & Kim Davis
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Bruce Pottash & Scott Ferguson
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Nathan & Nancy Sambul
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Frances Spark & Michel Goldberg
Sarah Steinberg
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Charles & Susan Tribbitt
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Jacqueline Williams
Burton & Sue Zwick


A.R.T./New York
Miriam & Bob Abramovitz
Ellen Abrams
Lou Aledort & Natasha Kavanagh
Christine Amorossi
The Angelson Family Foundation
Anonymous (6)
Marie & Robert Arbour
Elizabeth Armstrong
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Susannah & David Bailin
Jodi & Craig Balsam
Murat Beyazit
Sarah Billinghurst & Howard Solomon
Robin Blackstone
Jay & Dena Bock
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The Don & Maggie Buchwald Foundation
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Janel Anderberg Callon
Fred Chernoff
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Kimberly Colemen
Bunny & Jeff Dell
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Vera Graaf
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Gary Hack & Lynn Sagalyn
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R. Hutter Family Fund
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Dr. & Mrs. Jamshid Javid
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Gregory & Mary Juedes
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Michelle Riley
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Anthony Russo
Bette & Richard Saltzman Foundation
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Studio Institute
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Brann & Ellen Wry
Jason Wu


Bloomberg LP
Crum & Forster
Gap Inc.
The Horizon Foundation for New Jersey
IBM International Foundation
JP Morgan Chase Foundation
Mastercard Impact Fund
Perella Weinberg Partners
The Pfizer Foundation
The Prospect Hill Foundation Inc.
Robert Wood Johnson Foundation
Tootsie Roll Industries, Inc
Two Sigma
VMware Foundation

Please note that this listing is current as of October 1, 2021. We apologize for any inaccuracies; please contact us with corrections at

To learn more about our individual giving programs, please visit us here.

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