LARGE PRINT PROGRAM LINCOLN CENTER FOR THE PERFORMING ARTS FREDERICK P. ROSE HALL HOME OF JAZZ AT LINCOLN CENTER THE ALLEN ROOM

Lincoln Center presents

American Songbook January 28 –June 12, 2014 Sponsored by Prudential Investment Management

Wednesday Evening, March 5, 2014, at 8:30

Taylor Mac’s 24-Decade History of Popular Music: The 1920s

Matt Ray , Musical Director and Piano Dana Lyn , Violin Jon Natchez , Baritone Saxophone, Clarinet, and Banjo Greg Glassman , Trumpet Todd Londagin , Trombone Viva DeConcini , Electric Guitar Gary Wang , Bass Bernice “Boom Boom” Brooks , Drums

Machine Dazzle , Costume Design

PLEASE TURN PAGES QUIETLY (program continued) 2 This evening’s program is approximately 75 minutes long and will be performed without intermission.

Major support for Lincoln Center’s American Songbook is provided by Fisher Brothers, In Memory of Richard L. Fisher; and Amy & Joseph Perella.

Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano

Please make certain your cellular phone, pager, or watch alarm is switched off.

Additional support for Lincoln Center’s American Songbook is provided by The Brown Foundation, Inc., of Houston, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center.

Endowment support is provided by Bank of America. 3 Public support is provided by the New York State Council on the Arts.

Artist catering is provided by Zabar’s and Zabars.com.

MetLife is the National Sponsor of Lincoln Center, Inc.

Movado is an Official Sponsor of Lincoln Center, Inc.

United Airlines is the Official Airline of Lincoln Center.

WABC-TV is the Official Broadcast Partner of Lincoln Center, Inc.

William Hill Estate Winery is the Official Wine of Lincoln Center.

Lincoln Center’s Large Print and Braille programs are made possible thanks to a generous endowment established by Frederick P. Rose, Daniel Rose, and Elihu Rose in honor of their mother, Belle B. Rose. 4 Upcoming American Songbook Events in The Allen Room:

Thursday Evening, March 6, at 8:30 Deer Tick (limited availability)

Friday Evening, March 7, at 7:30 and 9:30 Jim Caruso’s Cast Party Goes to the Movies with Billy Stritch , featuring Marilyn Maye, Jane Monheit, Christina Bianco, & Jeffry Denman

Saturday Evening, March 8, at 8:30 Norm Lewis (limited availability)

The Allen Room is located in Jazz at Lincoln Center’s Frederick P. Rose Hall.

Upcoming American Songbook Events in the Penthouse:

Wednesday Evening, March 19, at 8:00 Mark Mulcahy

Thursday Evening, March 20, at 8:00 Mellissa Hughes Friday Evening, March 21, at 8:00 Matt Alber (limited availability) 5 Thursday Evening, April 3, at 8:00 Hurray for the Riff Raff

Friday Evening, April 4, at 8:00 Rebecca Naomi Jones (limited availability)

Saturday Evening, April 5, at 8:00 Unsung Carolyn Leigh

The Stanley H. Kaplan Penthouse is located at 165 West 65th Street, Tenth Floor.

For tickets, call (212) 721-6500 or visit AmericanSongbook.org. Call the Lincoln Center Info Request Line at (212) 875-5766 or visit AmericanSongbook.org for complete program information.

Join the conversation: #LCSongbook

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 6 Note from the Artist by Taylor Mac

I suppose I’ve been subconsciously kicking around the idea for A 24-Decade History of Popular Music for many years. I can pinpoint the catalyst to an AIDS action I attended in 1987. The action was a profound experience for me, a fairly isolated suburban queer kid who had never met an out-of-the-closet homosexual, and I was suddenly exposed to thousands of queers. What has stuck with me from that day was experiencing a community coming together—in the face of such tragedy and injustice—and expressing its rage (and joy at being together) via music, dancing, chanting, and agency. Not only was the community using itself to destroy an epidemic, but the activists were also using a disease, their deterioration, and human imperfection as a way to aid their community. In many ways my entire career has been about reenacting this experience on the stage, in one form or another—but a couple of years ago I decided consciously to go at it. The result is a durational work that explores the various ways imperfection can foster community.

Most of my work uses the technique of content dictating the form (thank you, Mr. Sondheim). So when figuring out what form would best represent the content/theme of Imperfection Fostering Community, I was drawn to popular music. One could argue that a classical song’s goal is to touch the hem of God (to strive for perfection), whereas a popular song is written and performed to touch the people. Popular songs use their simplicity, imperfection, 7 and humanity to rally people toward a cause (whether that cause is to love, fight, celebrate, or mourn). They are egalitarian songs, ones we have easy access to and can all join in on. As a result, I decided that popular song was the form I wanted for a show about imperfection fostering community—but one song or one concert wouldn’t do. A community is built over a number of years and experiences and is multifaceted. I needed variety and a form that would not only represent the thing but actually do the thing I was interested in exploring. So, I’m making a durational concert that spans multiple years and contains an onslaught of popular songs. It goes like this:

For a number of years (at least five but perhaps ten) I’ll be performing in New York, the U.S., and abroad more than 240 popular songs from the last 240 years of the United States (1776–2016). The songs aren’t necessarily American songs, but songs that were popular in the U.S., and the set list is broken down into themed concerts, decade concerts (made up of songs originating in the particular decade), and other “shorter” durational concerts: a 24-song concert, a 10-hour 19th-century concert, a 10-hour 20th-century concert, and, in 2016, the mother of them all, a 24-hour concert that includes all 240 songs, during which I’ll be performing almost non-stop (a few bathroom breaks) with a 24-piece orchestra (bring your bedding and toiletries).

The goal is that with each performance we build the community that is participating in this durational work. To date we’ve performed about 13 of the decades at least once, and 8 more and more audience members are becoming a part of the 24-Decade History of Popular Music community (we call them “The Guild of Lilies”). They’re starting to get to know each other and are using the ritual of a shared experience as the impetus for further involvement (businesses have been started, lovers have been made, weddings are even being planned). Our next phase is to start shooting live video feed of the concerts, so that audience members who have seen various sections in New York or Chicago can watch what happens in London and stay connected with the progression of the work.

On a personal note, I’m extremely grateful to Lincoln Center, which has housed three of the concerts in (or rather around) their hallowed halls: Lincoln Center Out of Doors premiered the themed concert Songs of the American Right ; the David Rubenstein Atrium at Lincoln Center commissioned and housed us for the 1850s concert (our Walt Whitman/ Steven Foster mash- up); and here we are now, in the magnificent Allen Room with the 1920s. It’s a dream come true to share this work here (and in the American Songbook series), and if this is your first time joining us, welcome.

—Copyright © 2014 by Taylor Mac 9 Note on the Program by Will Friedwald

“It was an age of miracles, it was an age of art, it was an age of excess, and it was an age of satire.” —F. Scott Fitzgerald

Vocalist, entertainer, and performance artist Taylor Mac takes the stage ensconced in a dazzling variety of outlandish costumes, looking like a completely original combination of a drag artist, Cirque du Soleil acrobat, and Macy’s parade float. To some, it may seem that Mac is an unlikely persona to tackle 24 decades of popular music; on the surface the project sounds like a fairly academic enterprise, and one look at Mac—dressed like a flower, an octopus, or some combination thereof—reveals that Mac surely wins best-in-show as the least serious-looking vocal artist ever to trod the boards. However, that’s exactly why Taylor Mac is precisely the right artist for such an undertaking, because Mac continually demonstrates that pop music—going back through the centuries as well as the decades—is anything but an academic pursuit. Mac underscores that a major part of what pop is, even when approached from an historic viewpoint, is to have fun with it—manifested here by combining songs from disparate sources in boldly unusual ways, as well as in outrageous outfits. Mac’s musical taste and fashion sense dovetail rather spectacularly.

It’s particularly fitting that Taylor Mac should celebrate the popular music of the 1920s at The Allen Room; this was not a decade known for its subtlety. This was an era when the music 10 was outrageous and shocking, when the generations were starting to gap but the sexes were coming together in whole new ways. This era saw the first generation of white middle-class women who were liberated enough to get jobs outside of the home, of thoroughly modern Millies who bobbed their hair and raised their skirts, and even voted. This was an era when young people took to escaping from the watchful eyes of their parents in automobiles that were described at the time as being more like “bedrooms on wheels.” This was also an age of relentless experimentation: social, technological (e.g., the introduction of the electric microphone, which made both commercial radio and talking motion pictures possible), and musical.

Even before the ’20s started, the young adults of the period were called “the Lost Generation”—in reference to the tragically significant percentage of that generation, in Europe especially, that had perished in what came to be known as World War I. The reaction to that tragedy and the onset of Prohibition were flip sides of the same coin, the combination of which became an open invitation for social anarchy, partying (in a way that defied the older generation), drinking (in a way that openly flaunted the law), and sheer excess, fueled by an unprecedented but short-lived boom economy. All of a sudden, as Cole Porter later observed, we were in an era when “Anything Goes,” and everything went. It was an age of breaking down traditional boundaries.

It’s hardly surprising, then, that the 1920s were the era when jazz exploded. Compared to the staid, salon-style, string-laden 11 dance orchestras of the turn of the century and even the formality of classic ragtime, jazz—with its increasing emphasis on solo improvisation—seemed like a deliciously delirious musical chaos, one that was tailor-made for the period. It became the theme music for the Roaring Twenties, prompting F. Scott Fitzgerald to name the era, along with his 1922 book, the Jazz Age.

“The word jazz in its progress toward respectability has meant first sex, then dancing, then music,” Fitzgerald noted. “It is associated with a state of nervous stimulation, not unlike that of big cities behind the lines of a war.” Jazz invaded and ignited both the Broadway musical and popular song—yet the biggest boom of all came in the form of thousands of new, snappy-peppy-style dance bands that sold millions of discs. Only the hippest listeners and musicians understood that the word “jazz” meant a kind of music created mostly by African Americans in New Orleans. To the popular press, “jazz” meant any kind of popular music that was hip and up-to-date: the songs of Irving Berlin and George Gershwin, and the dance-concert music of the era’s most celebrated maestro, Paul Whiteman. The rotund bandleader, a superstar of his era in a class with Babe Ruth, Charlie Chaplin, and Charles Lindbergh, personally preferred the term “Modern Music.” Still, in an age when the Lithuanian-American Al Jolson became known as “the Jazz Singer,” Whiteman eventually allowed himself to be billed as “the King of Jazz.”

The Jazz Age was, in fact, much more than jazz: this was also the first great era of both the blues (which was then marketed as 12 “race music”) and country music (then known as “hillbilly”). It was an era when the tide of immigrants arriving at Ellis Island reached a climax, and what we would today call “world music” was literally everywhere, especially in the dance forms found in the inner cities: jigs from Dublin, the troika from Moscow, tangos from Buenos Aires, rumbas from Havana, polkas from Warsaw, bal- musette from Paris, tarantellas from Naples, and the infamous Lezginka (or “Georgian eagle”) from Tbilisi. No less than the blues and country music, all of these musical and dancing forms impacted and interacted meaningfully with jazz.

Yet the greatest legacy of the 1920s is probably the popular songs themselves, from “Makin’ Whoopee” to “Blue Skies” to “Bye Bye Blackbird.” The era introduced thousands of classic songs that immediately entered the permanent cultural bloodstream, songs that are still being recorded and heard nightly in clubs all over the world—sung by singers and enjoyed by audiences who couldn’t care less how old they are. To be sure, the Jazz Age was a polyglot era, the kind that fully requires a polymathic performer like Taylor Mac to capture all of its nuances—one whose shows involve song, recitation, choreography, costumery, stand-up comedy, performance art, musical theater, pantomime, poetry, and puppetry. It’s impossible to predict what a freewheeling artist-without-boundaries such as Taylor Mac will do, but the one observation it’s possible to make is that the 1920s is an age when an artist like Taylor Mac would have flourished, just as he does in the 2010s. 13 Will Friedwald is the author of eight books on music and popular culture, including the award-winning A Biographical Guide to the Great Jazz and Pop Singers.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.

Meet the Artists

Taylor Mac

Taylor Mac is a theater artist (who uses the gender pronoun “judy”), which means judy’s a playwright, actor, singer-songwriter, cabaret performer, performance artist, director, and producer. Time Out New York named Mac the Best Cabaret Performer in New York in 2012, and the Village Voice named judy the Best Theater Actor in New York in 2013. Judy’s work has been performed at Lincoln Center, the Public Theater, Sydney Opera House, American Repertory Theater, Stockholm’s Södra Teatern, Spoleto Festival USA, Dublin’s Project Arts Centre, London’s Soho Theatre, and literally hundreds of other theaters, museums, music halls, cabarets, and festivals around the globe.

Mac is the author of 16 full-length plays and performance pieces, including Hir (recently premiered at San Francisco’s Magic Theatre), The Lily’s Revenge (Obie Award), The Walk Across America for Mother Earth (named one of the Best Plays of 2011 by the New York Times ), The Young Ladies Of (Chicago’s Jeff Award nomination for Best Solo), Red Tide Blooming (Ethyl 14 Eichel berger Award), and The Be(a)st of Taylor Mac (Edin burgh Festival Fringe’s Herald Angel Award). In collaboration with Mandy Patinkin, Susan Stroman, and Paul Ford, Mac created The Last Two People on Earth: An Apocalyptic Vaudeville , which judy is currently performing/touring with Patinkin. Mac is also currently creating and performing sections from a durational concert called A 24-Decade History of Popular Music , segments of which have been performed at Lincoln Center, the Under the Radar Festival at the Public Theater (as well as Joe’s Pub), and Chicago’s Museum of Contemporary Art, among many other venues.

Mac is the recipient of a Helen Merrill Playwriting Award, two Sundance Theatre Lab residencies, three Map grants, a Creative Capital grant, the James Hammerstein Award for playwriting, three GLAAD Media Award nominations, two New York State Council on the Arts grants, a Massachusetts Cultural Council grant, an Edward F. Albee Foundation residency, a Franklin Furnace Fund grant, a Peter S. Reed Foundation grant, and the Ensemble Studio Theatre’s New Voices Fellowship in playwriting. Judy is a proud alumnus of the HERE Artist Residency Program and is currently a New Dramatists fellow and a New York Theatre Workshop Usual Suspect.

Matt Ray

Matt Ray (musical director and piano) can be seen in some of New York’s best venues, where he performs nightly either fronting his own band or accompanying some of the city’s most dynamic 15 performers. Recent work includes performing at Carnegie Hall with Kat Edmonson, serving as musical director for The Billie Holiday Project at New York’s Apollo Theater, creating string and piano arrangements for the fifth season finale of Showtime’s Nurse Jackie , performing at Joe’s Pub with Joey Arias, performing in Paris with Justin Vivian Bond, and monthly gigs at Joe’s Pub with Bridget Everett and the Tender Moments. Other recent work includes performing at Edinburgh Festival Fringe with Lady Rizo and touring the world with Taylor Mac’s 24-Decade History of Popular Music . In addition, Mr. Ray music directed and played piano for Mac’s Obie Award–winning play The Lily’s Revenge at the HERE Arts Center in New York. Mr. Ray has released two jazz albums as a leader, We Got It! (2001) and Lost in New York (2006), and one album of original pop/folk material called Songs for the Anonymous (2013). Learn more at mattraymusic.com.

Dana Lyn

Violinist-composer Dana Lyn (violin) inhabits a musical world somewhere in the Venn diagram of ’70s art rock and classical and improvised music. She has collaborated with a wide range of artists including actor-director Ethan Hawke, the New Orchestra of Washington, instrument makers Shelby and Latham Gaines, painter Olivia Brown, poet Louis de Paor, and Grammy Award– winning vocalists Susan McKeown and Loudon Wainwright III, among others. Ms. Lyn is also an esteemed traditional Irish fiddle player and was featured on Geantraí and The Raw Bar , two 16 documentary series on Irish music in America that air on Ireland’s RTE network. As a composer, Ms. Lyn has received commissions from the Apple Hill and Osso String Quartets, Brook lyn Rider, and the Amethyst Quartet, among others. In 2013 she released Aqualude , an album of original compositions, via Ropea dope Records. Ms. Lyn is currently working on an album with actor Vincent D’Onofrio, due for release later this year.

Jon Natchez

John Natchez (baritone saxophone, clarinet, and banjo) is a multi-instrumentalist who has been a touring musician since he was 16. He has recorded more than a hundred albums playing more than 30 instruments, including saxophone, trumpet, bass, lap steel guitar, banjo, tuba, mandolin, trombone, horn, and modular synthesizers. For many years he was a member of the band Beirut, and he has performed live and/or recorded with David Byrne, St. Vincent, Spoon, Passion Pit, Macklemore & Ryan Lewis, the Antlers, Camera Obscura, Calexico, the War on Drugs, Herman Dune, Owen Pallett, Stars Like Fleas, Bishop Allen, Yellow Ostrich, Liza Minnelli, Stephin Merritt, John Zorn, Shugo Tokumaru, Craig Wedren, Karen Elson, Nina Persson, James Iha, and Zooey Deschanel.

Greg Glassman

Trumpeter Greg Glassman (trumpet) is one of New York City’s most recognizable improvisors. He has shared the stage and 17 recording studio with some of the greatest voices in jazz, including Clark Terry, Marcus Belgrave, Roswell Rudd, Sheila Jordan, Oliver Lake, Sherman Irby, and John Esposito. He has performed around the world with a diverse array of artists including the Skatalites, Oscar Perez’s Nuevo Comienzo, and Burning Spear. Mr. Glass man’s current focus is his quintet, co-led with Stacy Dillard, which has been in residency for eight years at Fat Cat in Green wich Village. The group will release a dynamic live recording later this year.

Todd Londagin

Todd Londagin (trombone), a founding member of the Flying Neutrinos, has been singing, playing trombone, and dancing the occasional soft-shoe routine since he was seven years old. Growing up playing music and busking in an itinerant, alternative- lifestyle family, he lived in buses, cars, homemade boats, and tents, traveling throughout the U.S., Mexico, Canada, and Europe. Home-schooled and with no formal musical training, Mr. Londagin honed his skills the old-style way through influences like Nat King Cole, Billie Holiday, Ella Fitzgerald, early Sinatra, and New Orleans traditional jazz, especially Jack Teagarden (one of the few other jazz trombonist/vocalists) and J.J. Johnson. Mr. Londagin has been in the New York area since the early ’90s, touring and making records with the Neutrinos and playing private events with his own group. He has released two recordings, Introducing Todd Londagin (2002) and Look Out for Love (2014). 18 Viva DeConcini

Viva DeConcini (electric guitar) plays guitar like a flaming sword, a screaming train, a ringing bell, and a scratching chicken. She sings like Freddie Mercury as a woman. She has played everywhere from Bonnaroo to Monterey Jazz Festival and been featured in Guitar Player magazine. Her last two records, Rock & Roll Lover and Rhinestones and Rust , charted on CMJ.

Gary Wang

Gary Wang (bass) originally hails from Boston and San Francisco. Since graduating from Columbia University in 1995, he has been living and playing bass professionally in New York City, performing and recording with artists including Anat Fort, Ben Monder, Michael Leonhart, T.S. Monk, Jon Gordon, Tessa Souter, John McNeil, Matt Wilson, Bill McHenry, Chris Cheek, Brad Shepik, Madeleine Peyroux, Dena DeRose, Donald Fagen, Seamus Blake, Kevin Hays, Bill Stewart, and Billy Drummond, among others. Mr. Wang has toured the Americas, Europe, and Asia extensively, and in 2002 he was a participant in the U.S. State Department’s Jazz Ambassadors program, performing in several nations of the former Soviet Union. Mr. Wang has also been involved in composing and music production, most recently contributing production and overdubbing work to projects by artists including the San Francisco–based band the Invisible Cities, Michael Leonhart, Sam Sadigursky, Goh Nakamura, Andrew Watt, and film composer Jeff Grace. Mr. Wang composed 19 and recorded music for several recent collaborations with choreographer Kakuti Lin.

Bernice “Boom Boom” Brooks

Bernice “Boom Boom” Brooks (drums) is a drummer, producer, and teaching artist who has performed and shared the stage with such greats as Tito Puente, Gregory Hines, Patti LaBelle, and many other jazz and R&B artists. She was a part of Marion Cowings Breaks Down the Influence of the Blues at Jazz at Lincoln Center and currently appears in the national commercial “Five Fine Fillies” for Bank of America.

Machine Dazzle

Machine Dazzle (né Matthew Flower, costume design) moved to New York City in 1994 after attending the University of Colorado at Boulder. Mixing odd jobs by day with art and dance clubs by night erupted into a unique lifestyle grounded in costume and performance art. Machine’s DIY and transgressive nature comes face to face with his conceptualist-as-artist identity; the results can be seen on stages all over the world. Machine has worked with Taylor Mac, Justin Vivian Bond, Joey Arias, Julie Atlas Muz, Big Art Group, the Crystal Ark, the Dazzle Dancers, Stanley Love Performance Group, and the Pixie Harlots, to name a few. 20 American Songbook

In 1998, Lincoln Center launched American Songbook, dedicated to the celebration of popular American song. Designed to highlight and affirm the creative mastery of America’s songwriters from their emergence at the turn of the 19th century up through the present, American Songbook spans all styles and genres , from the form’s early roots in Tin Pan Alley and Broadway to the eclecticism of today’s singer-songwriters. American Songbook also showcases the outstanding interpreters of popular song, including established and emerging concert, cabaret, theater, and songwriter performers.

Lincoln Center for the Performing Arts

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals including American Songbook , Great Performers , Lincoln Center Festival , Lincoln Center Out of Doors , Midsummer Night Swing , the Mostly Mozart Festival , and the White Light Festival, as well as the Emmy Award –winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 21 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012.

Lincoln Center Programming Department

Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Lisa Takemoto, Production Manager Bill Bragin, Director, Public Programming Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Jill Sternheimer, Associate Producer, Public Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Julia Lin, Programming Associate Ann Crews Melton, House Program Coordinator Kristin Renee Young, House Seat Coordinator

For American Songbook

Matt Berman, Lighting Design Scott Stauffer, Sound Design Jessica Barrios, Wardrobe Assistant Sara Sessions, Production Assistant 22 For Taylor Mac

Shelley Carter, Assistant

Executive Producer for Taylor Mac and A 24-Decade History of Popular Music : Pomegranate Arts www.pomegranatearts.com

Program and artists are subject to change without notice. This material is current at the time of production. Please refer to this evening’s Playbill or inquire of the house staff for any program changes.

Large Print and Braille Programs are a service of the Lincoln Center Department of Programs and Services for People with Disabilities. This program has been prepared for American Songbook at Lincoln Center.

Department of Programs and Services for People with Disabilities, Lincoln Center for the Performing Arts, Inc., 1881 Broadway, 3rd Floor, New York, New York, 10023-6583. Phone: 875-5375. Accessibility Hotline: 875-5380. 23 Department of Programs and Services for People with Disabilities (PSPD)

All of Lincoln Center’s services for patrons with disabilities, such as these program notes, are made possible through generous private contributions. We need your assistance to continue to provide these services. If you enjoyed these program notes, and would like to help us maintain this and other services for people with disabilities, won’t you please consider making a contribution to support them today? Contributions are tax deductible to the extent permitted by law. Checks should be made payable to Lincoln Center for the Performing Arts, Inc. and mailed to the Department of Programs and Services for People with Disabilities at the address above. Contribution forms are also available at the PSPD information table in the lobby. We thank you in advance, and look forward to the pleasure of your company at future Lincoln Center performances.

If you would like to give feedback or volunteer for our department, please contact PSPD at (212) 875-5375 or by email at [email protected]

A copy of the last annual report filed with the New York State Office of the Attorney General may be obtained upon request by writing to New York State Office of the Attorney General, Charities Bureau, 120 Broadway, New York, New York 10271 or Lincoln Center for the Performing Arts, Inc., 70 Lincoln Center Plaza, New York, New York 10023-6583.