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Monday and Tuesday Evenings, November 9–10, 2015, at 7:30
No’s Knife is approximately 65 minutes long and will be performed without intermission.
These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.
Marjorie S. Deane Little Theater at the West Side YMCA
WhiteLightFestival.org
Please make certain all your electronic devices are switched off.

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MetLife is the National Sponsor of Lincoln Center.
Use of material from “Texts for Nothing” by
Samuel Beckett arranged through Georges
Borchardt, Inc. on behalf of The Estate of Samuel
Beckett. All rights reserved.
This production is supported by the Trinity Long
Room Hub, Research Institute for the Humanities, at Trinity College Dublin.
Development and in-kind support has been provided by Metabolic Studio; Christian Burgess and the Guildhall School of Music and Drama; Derval
Tubridy at Goldsmiths, University of London; the staff of the Samuel Beckett Theatre and the Arts
Technology Research Laboratory, Trinity College
Dublin; and Columbia University.
Upcoming White Light Festival Events:
Friday Evening, November 13, at 7:30 in the
Bruno Walter Auditorium
White Light on Film
Waiting for Beckett—A Portrait of Samuel
Beckett
Directed and produced for Global Village by
John L. Reilly, produced by Melissa Shaw-Smith.
1994. 86 minutes.
Friday and Saturday Evenings, November 20–21, at 7:30 at New York City Center
Sunday Afternoon, November 22, at 3:00 at New York City Center
A Sadler’s Wells London Production
Thomas Adès: Concentric Paths—Movements in
Music (U.S. Premiere)
Thomas Adès, Piano and Conductor
Orchestra of St. Luke’s
Wayne McGregor , Choreographer
Karole Armitage , Choreographer
Alexander Whitley , Choreographer
Crystal Pite , Choreographer
THOMAS ADÈS: Concentric Paths, Life Story,
Piano Quintet, Polaris
Presented in association with New York City Center
For tickets, call (212) 721-6500 or visit
WhiteLightFestival.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light
Festival brochure.
Visit WhiteLightFestival.org for full festival listings.
Join the conversation: #LCWhiteLight
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.

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By Lisa Dwan
I can’t afford to scrimp. I can’t select the off-cuts of feelings. I can’t regurgitate last night’s order. It must be the meat itself.
I must summon the very weapons that will cut it fresh. I can’t offer up a dose of the “sads”…or an intellectualized memory.
I can’t chicken out here and become sentimental…Beckett has shown me that sentimentality isn’t truthful—it is the language of gangsters.
We tend to view ourselves and our world in bite-sized chunks—what we think we can cope with. I get to peel away the trappings and entrapment of a woman, and of what society does to us as women, and go beyond the limitations we set ourselves, the little palatable realities shaped by our fears.
Beckett blows all that up and offers instead the most enormous landscape imaginable. His women are much more than characters—they are more elemental than that, more like creatures.
One of the gifts of the sensory deprivation in performing Beckett’s Not I is that I don’t even feel like a human being half the time up there, and that’s just so liberating. To have your body removed, as a woman, is one of the greatest gifts I’ve ever known. I get to play a consciousness—a trillion voices—not one consciousness but consciousness itself, a continent of consciousness.
Beckett has exposed me to my own potential, and he exposes us all to our own potential. The truths he tells and the picture of us he puts before us strip away false comforts. They are deeply challenging, but these plays make a very adult space for us all to sit with our fragility together and look at ourselves, to see his creatures as slices of the universe and to see ourselves as slices of the universe.
Who’s going to want all that from me? —Copyright © 2015 by Lisa Dwan
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By Nicholas Johnson
Written in the early 1950s in French, Texts for Nothing did not appear in English until
Beckett finished the work’s translation 15 years later, in 1966. He called the texts the
“afterbirth” of The Unnamable , the last of his series of three novels finished the year before. They represent, in that sense, how he “went on” after it was no longer possible to go on. These selections from the 13 prose texts bring to life an often neglected part of Beckett’s canon, staging the desperate logic, fierce wit, and piercingly black humor of a voice that is searching, in the dark, for who it is, what it is, and why it speaks. The texts have been read by critics in manifold ways: as philosophical documents about the nature of prose itself, as psychological struggles with the creative process, and as spiritual excavations of the traumas in Beckett’s life and in his century.
These are challenging and inspiring source texts for performance. They have been relatively rarely brought to stage (only Joseph
Chaikin and Bill Irwin have done so in New
York, in 1981 and 1992 respectively). This adaptation, co-created by Lisa Dwan and me, dramatizes one of Beckett’s most challenging suggestions, which is that identity itself is uncertain, incomplete, and fundamentally malleable.
We find a political force in Beckett’s identification of multiplicity as the core of what it is to be human. We find a philosophical force in his relentless questioning of words and being. Finally, in his staging of bodies at the margins and of consciousness worn down to its last reservoirs of resilience, we find an ethical, elemental, and defiantly human force.
—Copyright © 2015 by Nicholas Johnson

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By Mel Gussow
Samuel Beckett (1906–1989) was a towering figure in drama and fiction who altered the course of contemporary theater. His plays became the cornerstone of 20thcentury theater beginning with Waiting for
Godot , which was first produced in 1953.
As the play’s two tramps wait for a salvation that never comes, they exchange vaudeville routines and metaphysical musings—and comedy rises to tragedy.
At the root of his art was a philosophy of the deepest yet most courageous pessimism, exploring man’s relationship with his God.
With Beckett, one searched for hope amid despair and continued living with a kind of stoicism, as illustrated by the final words of his novel, The Unnamable : “You must go on, I can’t go on, I’ll go on.” Or as he wrote in Worstward Ho , one of his later works of fiction: “Try again. Fail again. Fail better.”
Beckett wrote six novels, four long plays and dozens of shorter ones, volumes of stories and narrative fragments, some of which were short novels. He wrote poetry and essays on the arts, including an essay about Marcel Proust (one of his particular favorites), radio and television plays, and prose pieces he called residua and disjecta.
In 1969 the Irish author, who wrote first in
English and later in French, received the
Nobel Prize in Literature.
For more than 50 years Beckett lived in his adopted city of Paris. Though he wrote most of his work in French, he remained definably Irish in his voice, manner, and humor. Even in his final years, when he lived in a nursing home in Paris, he joined friends in a sip of Irish whisky, which seemed to warm his bones and open him to greater conviviality. In no way could Beckett ever be considered an optimist though. In an often repeated story, on a glorious sunny day he walked jauntily through a
WhiteLightFestival.org
London park with an old friend and exuded a feeling of joy. The friend said it was the kind of day that made one glad to be alive.
Beckett responded, ‘‘I wouldn’t go that far.’’
Samuel Barclay Beckett was born in
Foxrock, a suburb of Dublin, on Good Friday,
April 13, 1906 (that date is sometimes disputed; it is said that on his birth certificate the date is May 13). He majored in French and Italian at Trinity College, Dublin. At school he excelled both in his studies and in sports, playing cricket and rugby. He received his Bachelor of Arts degree in
1927 and his Master of Arts degree in 1931.
In 1938, while walking with friends on a
Paris street, he was stabbed with a knife by a panhandler. A young piano student named
Suzanne Deschevaux-Dumesnil came to his rescue and telephoned for an ambulance.
One of his lungs was perforated and the knife narrowly missed his heart. Beckett fully recovered from the wound but it left psychological scars. When he asked his assailant the reason for the assault, the man replied, “Je ne sais pas, Monsieur.” More than ever, Beckett became aware of the randomness of life. The episode had one other long-ranging effect: He began a lifelong relationship with Deschevaux-
Dumesnil, whom he married in Folkestone,
England, in 1961. With her, he chose to remain in France during World War II rather than return to the safety of Ireland.
In the last year of his life, Beckett lived in a small, barely furnished room of a nursing home. He had a television set on which he watched major tennis and soccer events, and several books, including his boyhood copy of Dante’s Divine Comedy in Italian.
He died on December 22, 1989.
—Excerpted from The New York Times , Decem ber 27, 1989 © 1989 The New York Times. All rights reserved. Used by permission and protected by the Copyright Laws of the United
States. The printing, copying, redistribution, or retransmission of this Content without express written permission is prohibited.

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By Dan Gunn
I am in acute crisis about my work (on the lines familiar to you by now) and have decided that I not merely can’t but won’t go on as I have been going more or less ever since the Textes pour Rien
[ Texts for Nothing ] and must either get back to nothing again and the bottom of all the hills again like before Molloy or else call it a day.
The Samuel Beckett who wrote these words, in November 1958, to his friend and intimate Barbara Bray, had been far from unproductive during the seven years since completing the original French of
Nothing ; these were years which saw him write the second of his long plays,
Endgame , his first play for radio, All That
Fall , as well as his monologue masterpiece, Krapp’s Last Tape . Why, then, did he feel the need to upbraid himself for inactivity? One week earlier, to his New York publisher Barney Rosset, having issued a similar declaration of determined intent, he wrote: “It’s not going to be easy, but it’s definitely the only last gasp worth trying to pant as far as I’m concerned. So if all goes well no new work for a long time now, if ever.” A clue to what Beckett was driving at is given by the “new work” that he was about to embark upon, surely one of his most challenging and least read:
Texts for
Comment c’est ( How It Is ). If it is barely a novel, then it is surely a fictional work in prose, a work written not—above all not—for theater.
However surprising it may be to those who know Beckett best through his plays, what his letters make abundantly clear is that for him the fullest exploration of what he was trying to achieve in language was possible only, if at all, in fiction; only there, and in the quiet enjoyed by the solitary reader, could he really hope to “get back to nothing again.” From the moment his plays became popular, Beckett was forever determining to quit the stage in favor of the page. He wrote to his French publisher
Jérôme Lindon, in November 1969, after protesting that he should not be counted on for any new dramas: “There is also and above all the fact that I must work, and had promised myself, to that end, to stay away from the theater for at least 2 years.”
It is in prose written to be read, rather than plays to be performed, that Beckett felt he could be most exploratory and most uncompromising, pushing back the boundaries of his aesthetic of “indigence” far beyond what he considered performable on stage—however “dispeopled” or constraining he might make that stage (requiring as it inevitably did actors, voices, live bodies).
And within the pantheon of his prose, “The
End” holds a vital place: Begun in 1946 in
English, it was completed in French, and was the first of the “four stories” that, along with the novel Mercier et Camier , inaugurated the greatest and most productive years in Beckett’s writing life. So strongly did Beckett care about his story that when Simone de Beauvoir published its first part in Les Temps Modernes but then declined to publish the second part, he wrote to her one of his very few genuinely angry letters, appealing to her in the following terms: “You are giving me the chance to speak only to retract it before the words have had time to mean anything. There is something nightmarish about that.”
The key place, within the sequence of the prose works, held by Texts for Nothing , is clearly intimated by Beckett’s belief that he required years to move beyond it—through
How It Is . With the third novel in his “trilogy,” the formidably difficult but absolutely central The Unnamable , Beckett felt, as he put it to Lindon, that he had got himself into “a sorry state,” a state beyond which nothing could be said, with no place left from which to say it. Texts for Nothing were his attempt to write himself out of that “sorry state”: The original French title

11-09 No Knife.qxp_GP 10/30/15 11:32 AM Page 7 catches up the musical sense of a momentary silence (a bar “for nothing”), but also the sense contained in Beckett’s words to
Bray about his urgent need to “get back to nothing again.”
And these two works, written purposefully for the page, are now to be produced on stage? Famously, Beckett was almost always hostile to proposals for adaptations of his work—radio to stage (as it might be), stage to television, television to stage…
Yet, after issuing his almost invariably negative verdict, he very often did allow himself to be persuaded that adaptation might be viable. So it was that he did permit the fourth and probably best known of his
“four stories,” “First Love,” to be dramatized, while pleading that it be done as untheatrically as possible. So it was that, late in his life, when approached in 1980 by the
American actor Joseph Chaikin, who had proposed to stage Ghost Trio , he could respond: “Frankly I can’t see how the TV pieces, especially Ghost Trio , can be transferred to the stage without severe loss.
But you know what authors are. Texts for
Nothing perhaps. Seated. Head in hands.
Nothing else. Face invisible. Dim spot.
Speech hesitant. Mike for audibility. But don’t let this thought discourage yours. For you know what authors are.”
Dan Gunn, co-editor of The Letters of
Samuel Beckett , is Professor of Compar a tive Literature and English at the American
University of Paris. He is author, most recently, of the novel The Emperor of Ice-
Cream .
—Copyright © 2015 by Lincoln Center for the
Performing Arts, Inc.
For more on Samuel Beckett’s impact on literature, turn to page 26.
WhiteLightFestival.org

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Illumination
by Samuel Beckett what would I do without this world faceless incurious where to be lasts but an instant where every instant spills in the void the ignorance of having been without this wave where in the end body and shadow together are engulfed what would I do without this silence where the murmurs die the pantings the frenzies towards succour towards love without this sky that soars above its ballast dust what would I do what I did yesterday and the day before peering out of my deadlight looking for another wandering like me eddying far from all the living in a convulsive space among the voices voiceless that throng my hiddenness
—Poems from THE COLLECTED POEMS OF SAMUEL BECKETT by Samuel
Beckett, copyright © 1930, 1935, 1961, 1977, 1989 by Samuel Beckett.
Copyright © 2012 by the Estate of Samuel Beckett. Copyright © 1978, 1992 by
Samuel Beckett/Editions de Minuit. Used by permission of Grove/Atlantic, Inc.
Any third-party use of this material, outside of this publication, is prohibited.
For poetry comments and suggestions, please write to programming@LincolnCenter.org.

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Lisa Dwan is a producer, performer, and director originally from Ireland. Having trained in the UK as a ballet dancer, including dancing with Rudolf Nureyev in
Coppelia in Dublin, she began acting professionally in her teens. Ms. Dwan has worked extensively in theater, film, and television. Most recently she has performed to great audience and critical acclaim in the “Beckett Trilogy” of Not I/
Footfalls/Rockaby . Originating at the Royal
Court Theatre in London, the Beckett
Trilogy’s engagements have included
London’s Barbican Centre and Southbank
Centre, the Brooklyn Academy of Music, and the Perth Festival; it has also been performed in Paris, Hong Kong, and Toronto.
Ms. Dwan was coached by Billie Whitelaw and since 2012 has collaborated with
Walter Asmus.
Ms. Dwan’s film credits include An
Afterthought , directed by Matteo Ber nardini; Oliver Twist ; John Boorman’s Tailor of Panama ; and Bhopal—A Prayer for Rain .
In 2012 she adapted, produced, and performed the critically acclaimed one-woman play Beside the Sea at the Southbank
Centre and on tour, and starred in Goran
Bregovic ’s new music drama, Margot,
Diary of an Unhappy Queen, at the
Barbican. Recent theater credits include
Ramin Gray’s production of Illusions by
Ivan Viripaev at London’s Bush Theatre,
Dear Bessie: Letters Live with Benedict
Cumberbatch (Hay Festival and West End).
Ms. Dwan writes, presents, lectures, and teaches regularly on theater, culture, and
Samuel Beckett, and is also open to the possibility of comedy.
Nicholas Johnson is a director, writer, and performer based in Ireland, where he is an assistant professor of drama at Trinity
College Dublin. He trained in theater at
Northwestern University and holds a Ph.D.
from Trinity College Dublin. From 2006 to
2015 Mr. Johnson was the artistic director of Painted Filly Theatre, an independent
Irish company focused on new writing and new forms, and he is co-director of the annual Samuel Beckett Summer School at
Trinity. Recent directing credits include the first production of Wyndham Lewis’s
Enemy of the Stars (Dublin/Fez), his translation of Ernst Toller’s The Machine wreckers , and his adaptation of Dostoev sky’s The
Brothers Karamazov , as well as performance-based research projects The Howl
Ensemble (based on Allen Gins berg’s poetry) and No Matter (based on George
Berkeley’s Three Dialogues ) .
In 2012 Mr.
Johnson directed Ethica: Four Shorts by
Samuel Beckett , presenting Play, Come and Go, Catastrophe , and What Where in
Bulgaria and Dublin, among others. His experience as a performer of Beckett includes roles in Abstract Machines: The
Televisual Beckett and Three Dialogues with Georges Duthuit , and the role of Clov in Endgame . Mr. Johnson’s scholarship has appeared in edited collections including The
Plays of Samuel Beckett (Methuen, 2013) and in numerous journals. With Jonathan
Heron he co-edited the special “Per formance Issue” of the Journal of Beckett
Studies and co-founded the Samuel
Beckett Laboratory. Mr. Johnson has taught performance workshops in Ireland,
Germany, Bulgaria, the U.S., the UK, Japan,
India, Turkey, Morocco, Israel, and the
West Bank, and in 2016 he will take up a visiting position at Yale University.
Designer Katherine Graham is a Ph.D. candidate at the University of Leeds, where her research centers on the agency of light in performance, and she holds a master’s
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11-09 No Knife.qxp_GP 10/30/15 11:32 AM Page 10 degree from Wimbledon College of Art,
London. Ms. Graham is an associate artist with Beyond the Bark Puppet and
Installation Theatre, with whom she has designed lighting for Spun and The Bright
Side of the Moon. Credits as lighting and stage designer include Romeo and Juliet for
Gaiety Theatre in Dublin and Cinderella for National Concert Hall. Recent design credits include Blind Man’s Song , The Little
Soldiers , and The Gambler for Theatre Re.
Recent lighting design credits include
Saxon Court, Re sponsible Other, Sense, and Chicken for Made by Brick, Nineveh for
Theatre Temoin, The Flying Roast Goose for
Out of Chaos, BYPASS for Painted Filly, and
You Can’t Just Leave There’s Always
Some thing and Andy Warhol’s Nothing
Special for Spilt Gin .
I could compare my music to white light, which contains all colors. Only a prism can divide the colors and make them appear; this prism could be the spirit of the listener.
—Arvo Pärt.
Celebrating its sixth anniversary, the White Light Festival is Lincoln
Center’s annual exploration of music and art’s power to reveal the many dimensions of our interior lives. International in scope, the multidisciplinary Festival offers a broad spectrum of the world’s leading instrumentalists, vocalists, ensembles, choreographers, dance companies, and directors complemented by conversations with artists and scholars and post-performance White Light Lounges.
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 resident organizations. In addition, LCPA led a
$1.2 billion campus renovation, completed in October 2012.

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Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Mauricio Lomelin, Producer, Contemporary Programming
Julia Lin, Associate Producer
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Madeleine Oldfield, House Seat Coordinator
Kathy Wang , House Program Intern
For the White Light Festival
Avancy Inc., Production Services
Stefanie Lehmann, Company Manager
Lori Nelson, Production Assistant
For No’s Knife
Maurina Lioce, Stage Manager
Marc Atkinson, Assistant Director
ArKtype/Thomas O. Kreigsmann, Excecutive Producer
Special thanks to Edward Beckett, Jon Nakagawa, Mauricio Lomelin, and all at Lincoln
Center’s White Light Festival, Anne Bogart and Columbia University, Simone & Gerald
Davidson, Lauren Bon, the Metabolic Studio, The Guildhall School of Music, Lauren Bon,
DeVon Jackson and Ciara Moloney, Mark Nixon
WhiteLightFestival.org

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L incoln Center Education (LCE) was founded 40 years ago with a simple objective: work with teachers, principals and parents to redefine the role of the arts in classrooms. From the beginning, the focus was not on the next generation of professional artists, but rather to cultivate in every student a deep appreciation for the arts while infusing their education with creativity, imagination, and grit; skills associated to “thinking like an artist.”
The initial programs—collaboratively designed by Columbia University’s
Dr. Maxine Greene (LCE’s Philosopher
Emeritus), artists and educators— ambitiously innovated the classic field trip experience by including teacher training programs and pre- and postviewing workshops for students... ideas that are now the international industry standard. In 1975, LCE began piloting this work with 90 students in 16 schools across Manhattan, the
Bronx and Westchester.
Forty years later, LCE has expanded its mission across New York City, the country and the world reaching more pre-kindergarten, kindergarten, elementary, middle and high school students than ever before, and by becoming a global destination for teacher training. LCE is actively engaged in school reform efforts that apply arts-based solutions to current challenges such as adolescent literacy, family participation, and engaging students with special needs in equitable experiences with their peers.
Placing the arts at the center of education in order for students to become more collaborative, communicative and creative is imperative for today’s society. Through our many offerings, from field trips to schools co-founded by LCE, this work now reaches more than 25,000 students each year in more than 250 schools. Considered the birthplace of teaching artistry,
LCE boasts of a roster of more than
50 professional artists who partner with teachers daily to make sure that students of all ages, neighborhoods and socio-economic backgrounds have uncompromised access to quality arts education.
LCE believes that the arts cultivate a unique skill set that is indispensable for the 21st century: problem-solving, collaboration, communication, imagination and creativity. Through this work, Lincoln Center equips young people for success in their careers and to serve as active participants in their communities.
Learn more about Lincoln Center Education: LincolnCenterEducation.org

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R eflecting a quote by Lincoln
Center’s first president John D.
Rockefeller III that “the arts are not for the privileged few, but for the many,”
Lincoln Center has had as a central mission from its start making the arts available to the widest possible audiences. In 1985, that led to the establishment of the Department of
Programs and Services for People with
Disabilities to ensure full participation in the thousands of events presented annually across the Lincoln Center campus. It was the first such program at any major performing arts center in the U.S. and has longserved as a model for other arts institutions around the country.
Celebrating its 30th anniversary with a new name, Accessibility at Lincoln Center , the program continues to provide exceptional guest care to all visitors, as well as training in accessibility to colleagues at Lincoln
Center’s resident organizations, including the Film Society of
Lincoln Center, the
New York Philharmonic, and Jazz at Lincoln Center.
Accessibility oversees the production of large-print and Braille programs for hundreds of performances taking place each year at various Lincoln
Center venues. Another major component of Accessibility is its longstanding “Passport to the Arts.”
The program annually distributes to children with disabilities thousands of free tickets to a variety of Lincoln
Center performances, including
New York City Ballet and the New
York Philharmonic—a welcoming introduction to the arts .
A parent who participated in a recent “Passport” event commented “It allowed my family and I to enjoy and learn along with everyone else. The accessibility… made it easier for our family to “relax” and truly enjoy the experience.”
Accessibility is expanding the ways it serves adults with disabilities. It introduced and oversees American
Sign Languageled official tours of Lincoln Center, and offers live audio description for select Lincoln
Center Festival performances.
Accessibility looks forward to growing its inclusive programs in the years to come.
To learn more about Accessibility at Lincoln Center , please contact access@lincolncenter.org
or call
212.875.5375
.

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LINCOLN CENTER, THE WORLD’S
LEADING PERFORMING ARTS
CENTER, is a premiere New York destination for visitors from around the globe. Did you know that tours of its iconic campus have made the Top
Ten Tour list of NYC&CO, the official guide to New York City, for two year’s running? All tour options offer an inside look at what happens on and off its stages, led by guides with
Visitors get a concert preview at rehearsal an encyclopedic knowledge of
Lincoln Center, great anecdotes, and a passion for the arts. The daily one-hour Spotlight Tour covers the Center’s history along with current activities, and visits at least three of its famous theaters. Visitors can now also explore broadcast operations inside the Tisch WNET-TV satellite studio on Broadway, and see Lincoln Center’s newest venue, the Elinor Bunin Munroe Film Center, home to the largest Plasma screen in the nation on public display.
Want more? A number of specialty tours are available:
RADIO CITY MUSIC HALL & LINCOLN CENTER COMBO TOUR Experience two of
New York City’s “must-see” attractions with one ticket. This package combines the Music
Hall’s Stage Door tour of its Art Deco interior—which might include meeting a world-famous
Radio City Rockette—with Lincoln Center’s Spotlight Tour, where a sneak peak at a rehearsal happens whenever possible.
ART & ARCHITECTURE TOUR Lincoln Center’s 16-acre campus has one of New York
City’s greatest modern art collections, with paintings and sculpture by such internationally acclaimed artists as Marc Chagall, Henry Moore, and Jasper Johns. The tour not only examines these fine art masterworks, it also explores the buildings and public spaces of visionary architects like Philip Johnson, as well as the innovative concepts of architects
Diller Scofidio+ Renfro with FXFOWLE, Beyer Blinder Belle, and Tod Williams Bille Tsien, designers of the campus’ $1.2 billion renovation.
I nside the David H. Koch
Theater
EVEN MORE TOUR OPTIONS Lincoln Center offers Foreign
Language Tours in five languages: French, German, Italian,
Japanese, and Spanish, in addition to American Sign
Language tours. Visitors with a special interest in jazz can take the Jazz at Lincoln Center Tour of the organization’s gorgeous venues at the Times Warner Center, the only facilities created specifically for the performance of jazz music. And Group Tours of more than 15 people get a discount.
For more information, click on LincolnCenter.org/Tours.To book a tour, call (212) 875.5350, email tour_desk@lincolncenter.org, or visit the Tour and Information Desk in the David Rubenstein
Atrium at Lincoln Center, located on Broadway between 62nd and
63rd Streets. –Joy Chutz

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WHO SAYS THE NIGHTLIFE FOR YOUNG PROFESSIONALS IS DOWNTOWN?
Young Patrons of Lincoln Center (YPLC) is a dynamic network of urban professionals in their 20s to early 40s making a splash way above 14th Street. With an annual contribution of $250, YPLC members enjoy year-round opportunities to experience the finest performing arts up-close-and-personal.
The core of YPLC’s programming is the popular 101 Series, which brings members together for bi-monthly cocktail parties with live performances where they meet likeminded arts enthusiasts and interact with the artists. Recent 101 events have included
Ballet 101 : The Nutcracker with dancers from the New York City Ballet; Mixology 101 at
Lincoln Ristorante; and Lincoln Center 101 with Harvard Business School professor Allen
Grossman.
Beyond events produced especially for YPLC, members also receive email updates and invitations to Lincoln Center’s broader programming, including reserved seating at
American Songbook, Great Performers , and Lincoln Center Festival . In July 2011, eighty young professionals went to see As You Like It performed by the Royal Shakespeare
Company at the Park Avenue Armory, and were joined by the cast at an exclusive cham-
Members Walter Hack and
Katherine Carey smile for the camera at a YPLC mixer pagne after-party at the Nespresso Boutique on Madison
Avenue.
To support this flourish of activity, YPLC hosts an annual black tie gala. The event attracts more than 600 young philanthropists who raise a glass to celebrate and support the spectacular redevelopment of Lincoln
Center’s campus with hors d’oeuvres, open bar, and dancing into the night.
And it doesn’t stop there. By flashing their purple membership card, YPLC members receive discounts at restaurants and retailers in the Lincoln Center neighborhood. For those who are volunteer-oriented, YPLC offers an opportunity to participate on committees focused on outreach, education, and fundraising. Funds raised through YPLC events, along with annual membership contributions, support projects that bring new audiences to Lincoln Center. With four hundred members and counting, YPLC is committed to celebrating and supporting the world’s leading performing arts center, and has a lot of fun in the process.
For more information on YPLC membership and events, visit www.lincolncenter.org/yplc, email yplc@lincolncenter.org or call 212.875.5236.
YPLC is sponsored by Nespresso.

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Most people think of CenterCharge as a convenient way to purchase Lincoln Center tickets by phone or through the Lincoln Center website. CenterCharge , however, is much more than that. A division of Lincoln Center for the Performing Arts, Inc., it offers a whole range of services and merchandise from the world’s leading performing arts center.
Call CenterCharge at 212.721.6500, and:
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