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vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Re-launch_(2014_–_present)"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Re-launch (2014 – present)</span> </div> </a> <ul id="toc-Re-launch_(2014_–_present)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Production_history" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Production_history"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Production history</span> </div> </a> <ul id="toc-Production_history-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Programs" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Programs"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Programs</span> </div> </a> <ul id="toc-Programs-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Awards" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Awards"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Awards</span> </div> </a> <ul id="toc-Awards-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Staff_Information" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Staff_Information"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Staff Information</span> </div> </a> <ul id="toc-Staff_Information-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" 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class="mbox-text"><div class="mbox-text-span">This article includes a list of <a href="/wiki/Wikipedia:Citing_sources#General_references" title="Wikipedia:Citing sources">general references</a>, but <b>it lacks sufficient corresponding <a href="/wiki/Wikipedia:Citing_sources#Inline_citations" title="Wikipedia:Citing sources">inline citations</a></b>.<span class="hide-when-compact"> Please help to <a href="/wiki/Wikipedia:WikiProject_Reliability" title="Wikipedia:WikiProject Reliability">improve</a> this article by <a href="/wiki/Wikipedia:When_to_cite" title="Wikipedia:When to cite">introducing</a> more precise citations.</span> <span class="date-container"><i>(<span class="date">January 2021</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p><b>En Garde Arts</b> is a New York City-based theatre company, and a pioneer in the field of site-specific theatre. They are an artist-centric company that supports playwrights, directors, composers and designers in creating new work from the ground up. “They invite artists to think deeply about the stories they choose to tell and the physical sites where they belong to meet audiences where they live and work, spark conversations that explore a range of perspectives, and build an inclusive community”. Founded in 1985 by Artistic Director Anne Hamburger, the company was New York's first exclusively site-specific theatre, leading audiences to unexpected locations across the city for innovative, contemporary, highly visual new work. En Garde's productions earned six Obie Awards, two Drama Desk Awards, the Special Outer Critics Circle Award and the Edwin Booth Award. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="En_Garde_Arts_in_the_1980s_and_1990s">En Garde Arts in the 1980s and 1990s</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=1" title="Edit section: En Garde Arts in the 1980s and 1990s"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>From 1985 to 1999, Hamburger commissioned playwrights, directors and composers to create theatrical pieces for architectural sites and neighborhoods. The roster of En Garde's alumni artists includes playwrights <a href="/wiki/Charles_L._Mee" title="Charles L. Mee">Charles L. Mee</a>, <a href="/wiki/Mac_Wellman" title="Mac Wellman">Mac Wellman</a>, <a href="/wiki/Mar%C3%ADa_Irene_Forn%C3%A9s" title="María Irene Fornés">María Irene Fornés</a>; composers <a href="/wiki/David_Van_Tieghem" title="David Van Tieghem">David Van Tieghem</a>, <a href="/wiki/Jonathan_Larson" title="Jonathan Larson">Jonathan Larson</a>; directors <a href="/wiki/Michael_Engler" title="Michael Engler">Michael Engler</a>, <a href="/wiki/Tina_Landau" title="Tina Landau">Tina Landau</a>, <a href="/wiki/Anne_Bogart" title="Anne Bogart">Anne Bogart</a>, <a href="/wiki/Reza_Abdoh" title="Reza Abdoh">Reza Abdoh</a>, Jim Simpson and <a href="/wiki/Bill_Rauch" title="Bill Rauch">Bill Rauch</a>; and actors <a href="/wiki/Carl_Hancock_Rux" title="Carl Hancock Rux">Carl Hancock Rux</a>, <a href="/wiki/Fiona_Shaw" title="Fiona Shaw">Fiona Shaw</a>, <a href="/wiki/Fisher_Stevens" title="Fisher Stevens">Fisher Stevens</a>, Tyne Daly and <a href="/wiki/Jefferson_Mays" title="Jefferson Mays">Jefferson Mays</a>. Intrepid audiences followed their work to a variety of locations, including <a href="/wiki/Central_Park" title="Central Park">Central Park</a>, the <a href="/wiki/Meatpacking_District" class="mw-redirect" title="Meatpacking District">Meatpacking District</a>, <a href="/wiki/Penn_Yards" class="mw-redirect" title="Penn Yards">Penn Yards</a>, <a href="/wiki/East_River_Park" title="East River Park">East River Park</a>, Pier 25, the <a href="/wiki/Hotel_Chelsea" title="Hotel Chelsea">Chelsea Hotel</a>, the Victory Theater (<a href="/wiki/New_Victory_Theatre" class="mw-redirect" title="New Victory Theatre">New Victory Theatre</a>), and the intersection of Wall and Broad Streets in Lower Manhattan. </p><p>In 1989, En Garde produced a series of three plays at the Dairy, <a href="/wiki/Belvedere_Castle" title="Belvedere Castle">Belvedere Castle</a> and <a href="/wiki/Bow_Bridge_(Central_Park)" title="Bow Bridge (Central Park)">Bow Bridge (Central Park)</a> in Central Park to great critical acclaim. Obie Awards for Best New American Play and Best Director were given to <i>Bad Penny</i> playwright <a href="/wiki/Mac_Wellman" title="Mac Wellman">Mac Wellman</a> and director Jim Simpson. <i><a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i> wrote, “Moving environmentally through the streets and buildings of Manhattan, En Garde Arts is an invigorating urban presence.” The following year, Wellman's play <i>Crowbar</i> became the first legitimate theatrical production to be held in 42nd Street's Victory Theatre for 60 years. Designed and built for <a href="/wiki/Oscar_Hammerstein_I" title="Oscar Hammerstein I">Oscar Hammerstein</a> in 1900, the theatre's elaborately decorated interior remained intact despite decades of neglect, including 20 years as porn theatre. <i>Crowbar</i> was produced before 42nd Street's redevelopment, and En Garde Arts could not find a cleaning company willing to take on the job, so a group of volunteers cleaned the interior to make way for Mac Wellman's new play. Directed by Richard Caliban with music by David Van Tieghem, <i>Crowbar</i> won Obie awards for En Garde Arts and actor <a href="/wiki/El%C5%BCbieta_Czy%C5%BCewska" title="Elżbieta Czyżewska">Elżbieta Czyżewska</a>, and was granted a special award by the Outer Critics Circle. </p><p> Now firmly in league with New York's most influential and innovative theatre companies, En Garde continued to produce iconoclastic, critically acclaimed, award-winning work throughout the 1990s. Reza Abdoh & Mira-Lani Oglesby's spectacular, AIDS era cri de coeur, <i>Father Was a Peculiar Man</i> took place over 9 distinct locations through the Meatpacking District, long before its gentrification. </p><figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Wall_street_(4).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/84/Wall_street_%284%29.jpg/220px-Wall_street_%284%29.jpg" decoding="async" width="220" height="150" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/84/Wall_street_%284%29.jpg/330px-Wall_street_%284%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/84/Wall_street_%284%29.jpg/440px-Wall_street_%284%29.jpg 2x" data-file-width="3738" data-file-height="2543" /></a><figcaption>J.P. Morgan Saves the Nation 1995</figcaption></figure><p> In an abandoned Victorian hospital on West 106th Street, Charles L. Mee's <i>Another Person Is a Foreign Country</i> confronted the social marginalization of unconventional people; in fact, it was a celebration of difference, played like a beautiful human symphony under a blanket of stars. Director Anne Bogart's cast included a blind choir with seeing-eye dogs, a group of emotionally disturbed rock musicians, and a man and woman, both 3’ tall, all staged against the Gothic, empty Towers Nursing Home (<a href="/wiki/New_York_Cancer_Hospital" title="New York Cancer Hospital">New York Cancer Hospital</a>). The evening ended with a stunning waterfall cascading down the building's stone facade. </p><p>En Garde would win further Obie Awards for Tina Landau & Charles L. Mee's <i>Orestes</i> in the Penn Yards, and Trojan Women in East River Park Amphitheatre. Deborah Warner's adaptation of The Wasteland with Fiona Shaw earned two Drama Desk Awards. Hamburger used the <a href="/wiki/New_York_Stock_Exchange" title="New York Stock Exchange">New York Stock Exchange</a> as a backdrop for <i>JP Morgan Saves the Nation</i> by composer <a href="/wiki/Jonathan_Larson" title="Jonathan Larson">Jonathan Larson</a>. On opening night, he slipped her a cassette tape of the work he was just developing; it would become the musical phenomenon <a href="/wiki/RENT" class="mw-redirect" title="RENT">RENT</a>. Hamburger was recognized with the Edwin Booth and Lee Reynolds Awards for the impressive body of her work. In 1999, she was offered and accepted the post of artistic director with the La Jolla Playhouse. Within six months of moving to California, she received an offer to establish a new creative division for the Walt Disney Company, where she remained until returning to New York. </p> <div class="mw-heading mw-heading2"><h2 id="Re-launch_(2014_–_present)"><span id="Re-launch_.282014_.E2.80.93_present.29"></span>Re-launch (2014 – present)</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=2" title="Edit section: Re-launch (2014 – present)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Basetrack Live </b> </p><p>Hamburger re-launched En Garde Arts in 2014 with <i>Basetrack Live</i>, a multimedia fusion of music, film, photojournalism and performance, that explores the impact of war on veterans and their families. The show was developed in collaboration with the corpsmen and families of the <a href="/wiki/1st_Battalion_8th_Marines" class="mw-redirect" title="1st Battalion 8th Marines">1st Battalion 8th Marines</a> and inspired by the website One-Eight Basetrack (a citizen journalism project featuring the work of Teru Kuwayama, <a href="/wiki/Balazs_Gardi" title="Balazs Gardi">Balazs Gardi</a> and Tivadar Domaniczky). The production premiered in Austin, TX in September 2014, and toured to over 40 cities nationally with a New York premiere at the <a href="/wiki/Brooklyn_Academy_of_Music" title="Brooklyn Academy of Music">Brooklyn Academy of Music</a> on Veterans Day of 2014. <a href="/wiki/Basetrack_Live" title="Basetrack Live">Basetrack Live</a> was invited to <a href="/wiki/Fort_Hood" class="mw-redirect" title="Fort Hood">Fort Hood</a> Military Base in Killeen, TX at the invitation of the Commanding General to encourage active-duty soldiers to avail themselves of mental health services. The production served as a resiliency program to prepare soon to deploy soldiers, highlight existing challenges and raise awareness of Psychological Health and Traumatic Brain Injury warning signs for senior leaders and their soldiers. In talk back sessions held after each performance, the producer, actors, and medical treatment facility treatment subject matter experts answered audience questions, discussed global treatment approaches, and described available services for treatment. Six months of research (three pre- and three post-performance) by the Intrepid Behavioral Health Center on base determined a 36% reduction in stigma surrounding seeking services for mental health issues such as post-traumatic stress disorder. <i>Basetrack</i> was also named Best Theatre of 2014 in <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. </p><p><b>BOSSS (Big Outdoor Site Specific Stuff)</b> </p><p>En Garde Arts continued to grow, creating the highly anticipated Emerging Arts Festival <i>BOSSS (Big Outdoor Site Specific Stuff)</i> in the fall of 2015. Beginning in early 2015, Hamburger gathered multiple artists together once a week to brainstorm ideas. Hamburger mentored the artists as pieces began to take shape, working with the Hudson River Park as a performance space. Completely free to the public, BOSSS programming included Given The Present, The Future Does Not Depend On The Past (written by Sam Alper, composed and lyricized by Deepali Gupta, and directed by Jimmy Maize), The Visitors (written and directed by Barbara Cassidy and choreographed by Johari Mayfield, with Jessica Corbin as Choral Leader), Moms (written by <a href="/wiki/Sarah_DeLappe" title="Sarah DeLappe">Sarah DeLappe</a> [playwright of <i><a href="/wiki/The_Wolves_(play)" title="The Wolves (play)">The Wolves</a></i>] and directed by Morgan Green), The Queer Garden (written by Kenny Finkle, directed by Jessie Geiger, and produced by Louise English), We Were Wild Once Episode 6: Talks With A Drunk (directed by Sanaz Ghajarrahimi), Night, Janitor, Carousel (directed by Ellie Heyman), An Evening With Bina48 (directed by Andrew Scoville, designed by David Tennant and Kate Freer), This Place (directed by Lee Sunday Evans), Gnomads of the Garden (written by Stephanie Okun), Long Time (conceived by PopUP Theatrics, written by Peca Ștefan, and directed by Tamilla Woodard), and Ghost Card (choreographed by Megan Weaver and Hassan Christopher). </p><p><b>Wilderness</b> </p><p>In 2016, En Garde Arts premiered <i>Wilderness</i> at the <a href="/wiki/Abrons_Arts_Center" class="mw-redirect" title="Abrons Arts Center">Abrons Arts Center</a> in New York, NY. This multimedia documentary theatre piece speaks to the search for connection between parents and children in families amongst the complexities that accompany life in the 21st century, including mental health, addiction, and gender and sexual identity. Inspired by co-writer and executive producer Anne Hamburger's own experiences with her son, this piece compiled real-life interviews, research, and the blending of documentary and fiction to portray the complex journey that parents and children embark in seeking therapy and communication. <i>Wilderness</i> toured across the country, was published by <a href="/wiki/Dramatists_Play_Service" title="Dramatists Play Service">Dramatists Play Service</a> and is now being licensed by colleges and universities around the world. In 2014, <i>Wilderness</i> was named Critics’ Pick in <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>, which called it a <a rel="nofollow" class="external text" href="https://www.nytimes.com/2016/10/27/theater/wilderness-review.html">"terrific, moving new multimedia theater piece."</a> </p><p><b>Red Hills</b> </p><p>In 2018, En Garde premiered <i>Red Hills</i> (written by Asiimwe Deborah Kawe and Sean Christopher Lewis, directed by Katie Pearl) in New York, NY. <i>Red Hills</i> was a site-specific piece exploring the questions of “Who has the right to tell a story?” and “Whose story is it?” through the lens of the genocide against the Tutsi in Rwanda. <i>Red Hills</i> tells the story of an American missionary named David and a Rwandan tour guide named God's Blessing who meet as teenagers during the Genocide. Back in the U.S., David writes a book called Dogs of Rwanda that becomes famous but is riddled with lies and omissions. When God's Blessing happens upon the book 20 years later, this propels David to return to Rwanda, reconnect with God's Blessing to relive the past and learn the meaning of forgiveness. The production took over a 20,000 square foot empty and raw floor of a downtown office building located at 101 Greenwich Street, transforming it into multiple sites, including an NGO-headquarters, the Kigali airport, Nyamata Genocide Memorial and the red hills of Rwanda. One of the most meaningful responses to the production came from a Genocide survivor who was so moved by the show that she asked if she could bring in a photograph of her own family to add to the altar of remembrance in the set. </p><p>En Garde Arts’ Community Engagement Coordinator Heather Cohn, along with Red Hills Community Engagement Facilitator Channie Waites, crafted post-show panel discussions with experts on Rwanda and healing trauma. On June 20, 2018, audiences were treated to a Rwandan dinner prior to a benefit performance and encouraged to talk about their reactions to the play, their thoughts on what stories need to be heard & who should tell them, what communities, groups, and/or perspectives they least understood, and whose stories they wished to open themselves to hearing. </p><p><b>Fandango for Butterflies (And Coyotes)</b> </p><p>Inspired by interviews with undocumented immigrants from Latin America living in New York, <i>Fandango for Butterflies (And Coyotes)</i> takes the form of a <a href="/wiki/Fandango" title="Fandango">fandango</a>—a community celebration where stories are brought to life through live performance, music, and dance. Written by <a href="/wiki/Andrea_Thome" title="Andrea Thome">Andrea Thome</a>, with direction by José Zayas and original music by Sinuhé Padilla, Fandango premiered at <a href="/wiki/La_MaMa_Experimental_Theatre_Club" title="La MaMa Experimental Theatre Club">La MaMa</a> in February 2020, and was a New York Times Critics Pick. The Times called it a <a rel="nofollow" class="external text" href="https://www.nytimes.com/2020/03/08/theater/fandango-for-butterflies-and-coyotes-review.html">"sensitive portrait of the in-between: characters balancing the small joys of everyday life with the fear of uncertainty."</a> </p><p>On the eve of city-wide ICE raids, a group of immigrants gather in an undisclosed community center in NYC for a fandango. As fear encroaches — fear for family left behind in their home countries, fear for loved ones in the middle of their dangerous journey to New York, fear of leaving the sanctuary of the community center simply just to get a bag of ice — a sense of camaraderie builds between the participants. Strangers become friends, friends become family, and the fandango plays on. </p><p>Performances were in English and Spanish with supertitles, making the show fully accessible to Spanish and English-speaking audiences. After its initial run, En Garde partnered with the NYC Mayor's Office of Immigrant Affairs for its five-borough tour around New York, who had a booth at select performances which provided both immigrants and allies with resources and actionable steps. The tour was forced to close on March 13, 2020, due to the COVID-19 pandemic, but was revived in the Fall of 2021 for a limited run at St. Ann & The Holy Trinity Church and a tour to Penn State Center for the Performing Arts and University of Maryland's Clarice Center. </p><p><b>A Dozen Dreams</b> </p><p>In 2021, with the theaters shuttered across New York City, En Garde Arts returned to its site-specific roots to create during Covid. A DOZEN DREAMS was an immersive theatre installation based on the pandemic dreams of 12 women playwrights. It received its world premiere at Brookfield Place New York from May 13–30, 2021. The piece was conceived by En Garde Artistic Director Anne Hamburger with John Clinton Eisner and Irina Kruzhilina. The production was offered free-of-charge and attracted New Yorkers from all walks of life for a 55-minute experience through a series of twelve dream “rooms” built and gorgeously designed in a labyrinth structure. Through sets, lights, video, and sound, the rooms brought each individual dream to life, sharing intimate moments that are vital to the human connection that we lost in isolation. The design team was: Irina Kruzhilina (visual & environment design) Rena Anakwe (sound), Brittany Bland (video/projection), and Jeanette Oi-Suk Yew (lighting). Playwrights included: Sam Chanse, Erika Dickerson-Despenza, Emily Mann, Martyna Majok, Mona Mansour, Rehana Mirza, Ellen McLaughlin, Liza Jessie Peterson, Ren Dara Santiago, Caridad Svich, Lucy Thurber, and Andrea Thome. Maya Phillips at The New York Times described the show: “a dozen rooms exquisitely designed to replicate the surreal, chameleonic chambers of the mind at rest [with] inspired dream spaces, courtesy of the production’s outstanding designers.” The production enabled En Garde Arts to employ nearly 100 artists and arts workers and welcomed 1575 audience members over the 3-week run. It was included in The New York Times “Best Theater of 2021” roundup as a “fantastic journey.” </p><p><b>Downtown Live</b> </p><p>Downtown Live was co-produced with The Tank and presented by the Downtown Alliance from May 15–16 and 22–23. This large-scale performing arts festival brought together nine performing arts groups, over 25 artists and 36 performances to three sites in Lower Manhattan over the course of two weekends. Artists included Pulitzer Prize finalist and celebrated writer and performer Eisa Davis with Kaneza Schaal & Jackie Sibblies Drury; artistic director of the Obie-Award-winning theater The Tank Meghan Finn with playwright/actress Kaaron Briscoe; Obie Award-winning, Off-Broadway favorite playwright and actor David Greenspan and composer Jamie Lawrence; award-winning New York-based Brazilian Theater Company, Group .BR; hip-hop, spoken word and performance artists Baba Israel & Grace Galu; popular downtown music and storytelling duo James & Jerome; classical singer/musical theatre composer and performer Katie Madison; Lucille Lortel Award-winning performer Kuhoo Verma with Justin Ramos; and genre-bending songwriter, theatre-maker and solo performer Ellen Winter. The festival welcomed nearly 1,400 audience members to Lower Manhattan where many of them were seeing live performance again for the first time since COVID-19 shut everything down. Audiences were able to enjoy the vast range of offerings, some even choosing 3-show packages, as well as taking advantage of all the wonderful restaurants and sites downtown. </p><p><b>Downtown Stories</b> </p><p>Downtown Stories was a series of three theatrical adventures, co-produced with Downtown Alliance, bringing “to life the secrets and stories of Lower Manhattan, both real and imagined. Its art meets anthropological expedition as audiences traverse lower Manhattan to discover new or little-known facts about downtown that provide a fresh perspective on the places we pass by every day”. It included Sidewalk Echoes by Rogelio Martinez and directed by Johanna McKeon, a play drawn from interviews with small business owners, staged at John Street Methodist Church, as well as walking productions of Uncovering Downtown: A Magical Expedition of Unrecorded Dreams by Mona Monsour and Jessica Holt, and We the People (Not the Bots), written and performed by Eric Lockley and directed by Morgan Green. All three pieces were performed over the course of June 2022. </p><p><b>Helen.</b> </p><p>Presented by and performed at La MaMa, this SuperGeographics production, written by Caitlin Georges and directed by Violeta Picayo, imagines “a world of tightly-bound conventions”, where “the god of chaos watches three sisters talk about laundry, grout maintenance, and family planning as they wait for their mother’s wake to end, or a wedding to begin. Chaos undoes a button…and Helen, the youngest sister, tears loose from the constrictions of home, husbands, and obligations to seek adventure. Again and again, we see Helen grasp at opportunities only to be flung back through time to where she started. As the time loops, accumulates, and bursts, Helen is sent spiraling, banished from home, past the point of no return. A funny, feminist riff on a familiar myth, Helen. excavates our mothers from history and asks what the future holds for our daughters”. The piece ran from October 13–29, 2023. </p> <div class="mw-heading mw-heading2"><h2 id="Production_history">Production history</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=3" title="Edit section: Production history"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <table class="wikitable"> <tbody><tr> <th>Year</th> <th>Production</th> <th>Credits </th></tr> <tr> <td>1985</td> <td><i>The Ritual Project</i> (<a href="/wiki/Central_Park" title="Central Park">Central Park</a>)</td> <td>writer Nancy Beckett, composer Kim Sherman, and sculptor Michael Berkowicz. Directed by Michael Engler, performed by Kate Fugeli as the Girl, and sung by three opera singers </td></tr> <tr> <td>1986</td> <td><i>Terminal Bar</i> (abandoned car showroom, <a href="/wiki/SoHo" class="mw-redirect" title="SoHo">SoHo</a>)</td> <td>written by Paul Selig, directed by <a href="/wiki/Michael_Engler" title="Michael Engler">Michael Engler</a>, starring <a href="/wiki/Fisher_Stevens" title="Fisher Stevens">Fisher Stevens</a> </td></tr> <tr> <td>1987</td> <td><i>Naked Chambers</i> (intersection of Greenwich & Chambers Streets, <a href="/wiki/TriBeCa" class="mw-redirect" title="TriBeCa">TriBeCa</a>)</td> <td>written by Dick Beebe, starring Richard Gottlieb<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1988</td> <td><i>3 Pieces for a Warehouse</i> (warehouse, Lower Westside)</td> <td>by <a href="/wiki/Mar%C3%ADa_Irene_Forn%C3%A9s" title="María Irene Fornés">María Irene Fornés</a>, Anna Cassio and Quincy Long<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1989</td> <td><i>Plays in the Park</i> (Central Park). <i>Krapp's Last Tape</i> (1 Main Street, Brooklyn Waterfront)</td> <td><i>Plays</i> including <i>Bad Penny</i> written by <a href="/wiki/Mac_Wellman" title="Mac Wellman">Mac Wellman</a> and directed by Jim Simpson <sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> <p><i>Krapp's</i> starring and directed by Paul Zimet of <a href="/wiki/The_Talking_Band" title="The Talking Band">The Talking Band</a><sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> </td></tr> <tr> <td>1990</td> <td><i>Father Was a Peculiar Man</i> (<a href="/wiki/Meatpacking_District" class="mw-redirect" title="Meatpacking District">Meatpacking District</a>)</td> <td>directed by <a href="/wiki/Reza_Abdoh" title="Reza Abdoh">Reza Abdoh</a>, co-written by Reza Abdoh & Mira-Lani Oglesby<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1991</td> <td><i>Another Person Is a Foreign Country</i> (Towers Nursing Home, 455 Central Park West) <i>Occasional Grace</i> (Universalist Church at Central Park West & 76th St)</td> <td><i>Another Person</i> written by <a href="/wiki/Charles_L._Mee" title="Charles L. Mee">Charles L. Mee</a>, Jr., directed by <a href="/wiki/Anne_Bogart" title="Anne Bogart">Anne Bogart</a><sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> <p><i>Grace</i> directed by <a href="/wiki/Bill_Rauch" title="Bill Rauch">Bill Rauch</a> </p> </td></tr> <tr> <td>1992</td> <td><i>Vanquished by Voodoo</i> (façade of the Dwyer Warehouse, Harlem)</td> <td>written and directed by <a href="/wiki/Laurie_Carlos" title="Laurie Carlos">Laurie Carlos</a>, featuring <a href="/wiki/Carl_Hancock_Rux" title="Carl Hancock Rux">Carl Hancock Rux</a> and Viola Sheely<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1993</td> <td><i>Orestes</i> (<a href="/wiki/Penn_Yards" class="mw-redirect" title="Penn Yards">Penn Yards</a>)</td> <td>adapted by Charles L. Mee Jr., directed by <a href="/wiki/Tina_Landau" title="Tina Landau">Tina Landau</a>, starring <a href="/wiki/Jefferson_Mays" title="Jefferson Mays">Jefferson Mays</a> and Theresa McCarthy<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1994</td> <td><i>Marathon Dancing</i> (Grand Ballroom, Masonic Grand Lodge at 71 West 23rd St.) <i>Stonewall: Night Variations</i> (Pier 25 on the Hudson River)</td> <td><i>Marathon</i> written by Laura Harrington, directed by Anne Bogart, music by Christopher Drobny, choreography by Alison Shafer<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> <p><i>Stonewall</i> directed by Tina Landau<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> </td></tr> <tr> <td>1995</td> <td><i>J.P. Morgan Saves the Nation</i> (outside <a href="/wiki/Federal_Hall_National_Memorial" class="mw-redirect" title="Federal Hall National Memorial">Federal Hall National Memorial</a> at the intersection of Wall and Broad Streets, Lower Manhattan)</td> <td>book and lyrics by Jeffrey M. Jones, music by <a href="/wiki/Jonathan_Larson" title="Jonathan Larson">Jonathan Larson</a>, directed by Jean Randich, choreography by Doug Elkins<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1996</td> <td><i>The Trojan Women: A Love Story</i> (<a href="/wiki/East_River_Park" title="East River Park">East River Park</a> Amphitheater) <i>The Waste Land</i> (<a href="/wiki/Liberty_Theatre_(New_York,_New_York)" class="mw-redirect" title="Liberty Theatre (New York, New York)">Liberty Theatre (New York, New York)</a>, 42nd St.)</td> <td><i>Trojan Women</i> written by Charles L. Mee Jr., directed by Tina Landau, starring Sharon Scruggs<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> <p><i>Waste Land</i> directed by <a href="/wiki/Deborah_Warner" title="Deborah Warner">Deborah Warner</a>, starring <a href="/wiki/Fiona_Shaw" title="Fiona Shaw">Fiona Shaw</a><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> </td></tr> <tr> <td>1997</td> <td><i>Sweet Thereisenstradt</i> (Archa Theater, <a href="/wiki/Prague" title="Prague">Prague</a>)</td> <td>based on the diary of Willi Mahler, directed by Damien Gray<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td>1998</td> <td><i>Mystery School</i> (<a href="/wiki/Angel_Orensanz_Center" title="Angel Orensanz Center">Angel Orensanz Foundation Center for the Arts</a>, 172 Norfolk St., SoHo) <i>Secret History of the Lower East Side</i> (roof of the Seward Park High School, 350 Grand St, Lower East Side)</td> <td><i>Mystery School</i> written by Paul Selig, directed by <a href="/wiki/Doug_Hughes" title="Doug Hughes">Doug Hughes</a>, music and sound design by <a href="/wiki/David_Van_Tieghem" title="David Van Tieghem">David Van Tieghem</a>, starring <a href="/wiki/Tyne_Daly" title="Tyne Daly">Tyne Daly</a><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> <p><i>Secret History</i> written by Carlos Murillo, <a href="/wiki/Alice_Tuan" title="Alice Tuan">Alice Tuan</a> and Peter Ullian, directed by Matthew Wilder<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> </td></tr> <tr> <td>2014</td> <td><i>Basetrack Live</i> (<a href="/wiki/Brooklyn_Academy_of_Music" title="Brooklyn Academy of Music">Brooklyn Academy of Music</a>)</td> <td>created by Edward Bilous, co-adapted by Jason Grote & Seth Bockley & Anne Hamburger, Directed by Seth Bockley, Music Composed by Michelle DiBucci, Edward Bilous and Greg Kalember. (Inspired by the website One-Eight Basetrack, a citizen journalism project featuring the work of Teru Kuwayama, <a href="/wiki/Balazs_Gardi" title="Balazs Gardi">Balazs Gardi</a> and Tivadar Domaniczky) </td></tr> <tr> <td>2016</td> <td><i>Wilderness</i> (<a href="/wiki/Abrons_Arts_Center" class="mw-redirect" title="Abrons Arts Center">Abrons Arts Center</a>)</td> <td>Written by Seth Bockley & <a href="/wiki/Anne_Hamburger" title="Anne Hamburger">Anne Hamburger</a>, Directed by Seth Bockley, Movement by Devon DeMayo & Patrick McCollum, Music by Kyle Miller & Towr's, Kyle Henderson & Desert, Noises and Gregory Alan Isakov, Video by Michael Tutaj, Sound by Mikhail Fiksel, Lighting by Scott Bolman. </td></tr> <tr> <td>2018</td> <td><i>Red Hills</i> (101 Greenwich Street)</td> <td>Written by Asiimwe Deborah Kawe and Sean Christopher Lewis, directed by Katie Pearl; with actors Christopher McLinden and Patrick J. Ssenjovu; composition and live music by Farai Malianga and singer Sifiso Mabena; set design by Adam Rigg; lighting design by Brian Aldous & Adam Macks; costume design by Angela M. Fludd; and dramaturgy by Morgan Jenness. </td></tr> <tr> <td>2020</td> <td><i>Fandango for Butterflies (And Coyotes)</i> (<a href="/wiki/La_MaMa_Experimental_Theatre_Club" title="La MaMa Experimental Theatre Club">La MaMa Experimental Theatre Club</a>)</td> <td>Written by Andrea Thome, directed by José Zayas, original music by Sinuhé Padilla; with actors Carlo Albán, Jen Anaya, Silvia Dionicio, Sinuhé Padilla, Andrés Quintero, Frances Ines Rodriguez, Roberto Tolentino, and Tania Mesa; scenic and projection design by Johnny Moreno; lighting design by Lucrecia Briceno; sound design by Marcelo Añez; costume design by Fabian Fidel Aguilar; and choreography by Alexandra Beller. </td></tr> <tr> <td>2021</td> <td><i>A Dozen Dreams</i> (Brookfield Place, 230 Vesey Street NY)</td> <td>conceived by Anne Hamburger, John Clinton Eisner and Irina Kruzhilina; written by Sam Chanse, Erika Dickerson-Despenza, Emily Mann, Martyna Majok, Mona Mansour, Rehana Mirza, Ellen McLaughlin, Liza Jessie Peterson, Ren Dara Santiago, Caridad Svich, Lucy Thurber, and Andrea Thome; visual and environment design by Irina Kruzhilina; sound design by Rena Anakwe, video/projection design by Brittany Bland, and lighting design by Jeanette Oi-Suk Yew. Downtown Live (three sites in Lower Manhattan) co-produced with The Tank and presented by the Downtown Alliance. </td></tr> <tr> <td>2022</td> <td><i>Downtown Stories</i></td> <td><i>Sidewalk Echoes</i> by Rogelio Martinez, directed by Johanna McKeon, with actors Sheher Azaad, Lakpa T. Bhutia, Chris Crofton, Ashley Noel Jones, and Jacob Rodriguez. Lighting design by Chris Brown, costume design by Val Ramshur, sound design by UptownWorks, and creative consultation by John Clinton Eisner. Performed at John Street Methodist Church and 1 Battery Park Plaza from June 8 to 25. <p><i>Uncovering Downtown: A Magical Expedition of Unrecorded Dreams</i> by Mona Monsour and Jessica Holt, directed by Holt. Performed by Michelle J. Rodriguez, costume design by Azalea Fairley, and sound design and engineering by Andrew Lynch. Performed around Bowling Green Park from June 8 to 25. </p><p><i>We the People (Not the Bots)</i> written and performed by Eric Lockley, developed and directed by Morgan Green. Costume design by Azalea Fairley, and sound design and engineering by Andrew Lynch. Performed in Manhattan's financial district from June 8 to 30. </p> </td></tr> <tr> <td>2023</td> <td><i>Helen</i> (La MaMa Experimental Theatre Club)</td> <td>by Caitlin George, directed by Violeta Picayo, presented by En Garde Arts, and La MaMa. A new work of the SuperGeographics, led by artistic director Jonathan T. Taylor. With actors Lanxing Fu, Constance Strickland, Grace Bernardo, Melissa Coleman-Reed, Jackie Rivera, Jonathan T. Taylor, and Jessica Frey. Lighting design by Jackie Fox and Connor Sale, set and costume design by James Schuette, sound design by Darron L West, dramaturgy and production by Megan E. Carter, production stage management by Caroline Englander, assistant stage management by Alison Greene, and production management and technical direction by Gabriela Gutierrez. Performed from October 13 to 29. </td></tr></tbody></table> <div class="mw-heading mw-heading2"><h2 id="Programs">Programs</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=4" title="Edit section: Programs"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Uncommon Voices</b> </p><p>Uncommon Voices is a new work developmental residency program that gives artists working at the intersection of theatre and social change the tools to engage in a collaborative creative process to build stories that spark conversation and promote community. En Garde Arts offers support to artists to create genre-bending work and think deeply about the story they are telling, where it belongs and to whom it speaks. Uncommon Voices began as an intergenerational series for art, activism, conversation and community, which occurred on the first Monday of each month at The Commons Cafe in Brooklyn. Since launching in January 2019, the series has featured dozens of playwrights, directors and performers whose work is at the intersection of art and social justice. Artists that have been featured in Uncommon Voices are grappling with subject matter that has ranged from the issues of teaching teens at Rikers; misogyny and #MeToo; the climate crisis; and xenophobia. Some of the playwrights and performing artists featured in the Uncommon Voices series include Tonya Pinkins, Andre De Shields, Miranda Rose Hall, Nadine Malouf, Pascale Armand, Kevin R. Free, Danny Pudi, and Syndee Winters, among others. </p><p>ALL ARTS: Beginning in early 2020, En Garden's Uncommon Voices series was featured on WNET's All Arts program in collaboration with Emmy Award-winning producer Jesse Green. Over the course of 2020, the series received over 230,000 views across all streaming platforms. Uncommon Voices, Unexpected Places: Due to the COVID-19 pandemic suspending all indoor performances, En Garde Arts created an outdoor alternative: Uncommon Voices: Unexpected Places. This program is a site-specific continuation of the Uncommon Voices program, with En Garde returning to its roots and using the city as its stage. The first performance of Uncommon Voices: Unexpected Places featured renowned writer and performer David Greenspan in collaboration with Jamie Lawrence in Wartime Canteen for a New Era, which saw Greenspan and Lawrence performing on the stoop of a brownstone in Brooklyn in October 2020. </p><p>It continues to grow as a program with a new strategy through two development phases. Artists who enter the process for Phase One receive a commission and a sharing with a small audience in whatever form is appropriate to the piece, and artists who develop into Phase Two are provided with funding for an extended workshop with a small presentation based on the needs of the piece. Current artists in residence include Sasha Molochnikov, Samora La Perdida (with Josiah Handelman, Matthew Zwiebel and Mobéy Lola Irizarry), Irina Kruzhilina, Leila Buck, Charlene Jean (with Franklin Rankin), and Kristina Wong, the inaugural recipient of the Joan D. Firestone Commissioning Fund. </p> <div class="mw-heading mw-heading2"><h2 id="Awards">Awards</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=5" title="Edit section: Awards"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Obie_Awards" class="mw-redirect" title="Obie Awards">Obie Awards</a> (6): <i>Bad Penny</i> (Best New American Play: <a href="/wiki/Mac_Wellman" title="Mac Wellman">Mac Wellman</a>) 1990; <i>Bad Penny</i> (Best Direction: Jim Simpson 1990; <i>Crowbar</i> (Performance: Elzbieta Czyzewska) 1990; En Garde Arts (Obie Grant) 1991; <i>Orestes</i> (Performance: <a href="/wiki/Jefferson_Mays" title="Jefferson Mays">Jefferson Mays</a>) 1994; <i>The Trojan Women</i> (Performance: Sharon Scruggs) 1997<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Drama_Desk_Awards" class="mw-redirect" title="Drama Desk Awards">Drama Desk Awards</a> (2): <i>The Waste Land</i> (Outstanding One Person Show, Unique Theatrical Experience) 1997<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Outer_Critics_Circle_Awards" title="Outer Critics Circle Awards">Outer Critics Circle Awards</a> (1): <i>Crowbar</i> (Special Award) 1989-90<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p><p>Edwin Booth Award, 1995 </p> <div class="mw-heading mw-heading2"><h2 id="Staff_Information">Staff Information</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=6" title="Edit section: Staff Information"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b><a href="/wiki/Anne_Hamburger" title="Anne Hamburger">Anne Hamburger</a></b> (Founding Artistic Director) founded En Garde Arts in 1985. As its artistic director and Creative Producer, she is responsible for pioneering site-specific theatre in New York in the 80s and 90s, using its streets and historic landmarks as her stage. Hamburger produced the work of artists that are now internationally renowned: Anne Bogart, Charles L. Mee, Tina Landau, Jonathan Larson and Reza Abdoh, with large scale predominantly outdoor work. In 1999 she went on to launch and run Creative Entertainment, a global division for <a href="/wiki/Disney" class="mw-redirect" title="Disney">Disney</a> where she brought the finest theatre artists into the parks for the first time in their history. She then returned to NYC and re-launched En Garde Arts in 2014. In its second incarnation, En Garde is developing theatre that has social change at its core, assembling some of the finest most visionary artists working in the theatre today. En Garde's producing structure is highly collaborative, encouraging artists to explore storytelling through music, movement, multimedia and site-specificity. </p><p>For her work, she has won 6 Obies, 2 Drama Desk Awards, an Outer Critics Circle Award, Lee Reynolds Award and the Exceptional Merit in Media Award from The National Political Women's Caucus. </p><p>Anne is a member of the League of Professional Theatre Women and is the recipient of an Exceptional Merit in Media Award from the National Political Women's Caucus. She graduated with a Master of Fine Arts degree from the <a href="/wiki/Yale_School_of_Drama" class="mw-redirect" title="Yale School of Drama">Yale School of Drama</a>. </p><p><b>Clara Alonso</b> (Marketing Director + Producer) is a marketing strategist, product and project manager and believer in the arts as a way to transform the world. She was born and raised in Madrid, Spain and spent almost 6 years in Munich, Germany. She has a strong multicultural background and has developed her career in the automotive world. Clara has a master's degree in Translation and Interpreting and an MBA in Marketing and Sales Management. She started working in En Garde Arts in January 2022. </p><p><b>Nedelle Torrisi</b> (Development Manager + Producer) has joined En Garde Arts with development experience at the nonprofit Art Start and logistics experience as a tour manager for musical artists, and as Executive Assistant to the Vice President at PETA (People for the Ethical Treatment of Animals). As a songwriter and multi-instrumentalist, she has released multiple albums on respected independent record labels, and performed on numerous U.S. and international tours. She is currently finishing the BMI Lehman Engel Musical Theater Workshop. Nedelle holds a Bachelor of Arts in Music History & Literature from San Francisco State University. She started working in En Garde Arts in March 2024. </p><p><b>Amanda Cooper</b> (Consulting General Manager) is an arts producer, consultant and advocate, working with a wide variety of theater and music companies around New York City and beyond. Alongside her work with En Garde Arts, companies she has, or has recently worked with include: Pearldamour, DNAWORKS, The Bushwick Starr, Concrete Temple Theatre, Sinking Ship, and The Prototype Festival, among others. Previously she was the General Manager for HERE, a multi-disciplinary arts space in Manhattan. She has also held positions at The House Foundation, Symphony Space, Theatre Development Fund, Voice & Vision Theater and the Look + Listen Festival, where she has been serving as the President since 2014. </p><p><b>Isabella Holmes</b> (Business Manager) is a freelance Business Manager & Accounting Advisor for artists and small business owners. </p><p><b>John Clinton Eisner</b> (Resident Creative Producer) co-founded The Lark in 1994 as a community of theater professionals dedicated to the playwright's vision. In June 2021, he collaborated with En Garde Arts on “A Dozen Dreams,” a response by 12 playwrights to the isolation of pandemic times. He divides his time between working directly with playwrights and creating strategies with artistic leaders in the United States and abroad to advance new plays into the repertoire. Trained as an actor, he began his transition to directing and producing through his experiences at the Eugene O’Neill Theater Center's National Playwrights Conference, the National Theatre of the Deaf, the Denver Center Theatre Company and Williamstown Theatre Festival (where he acted in one of Tennessee Williams’ last plays, Gideon's Point). He has led workshops at many universities and served as advisor for CEC Artslink, the National Endowment for the Arts, New York State Council on the Arts, Theatre Development Fund, Theatre Communications Group, National New Play Network, TheatreForum Magazine, Transport Group and the Lucille Lortel Awards Committee and on the boards of the National Theatre Conference and the Shakespeare Theatre Association of America. He received degrees from Amherst College and the National Theatre Conservatory and lives in New York City with his wife, actor Jennifer Dorr White. </p> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>En Garde Arts 2014 to present</b> </p><p>Official Website <a rel="nofollow" class="external autonumber" href="http://engardearts.org">[14]</a> New York Times Review on Wilderness <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/2016/10/27/theater/wilderness-review.html">[15]</a> New York Times Feature on Wilderness <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/2016/10/23/theater/therapy-becomes-theater-in-wilderness.html">[16]</a> Georgetowner Review on Wilderness <a rel="nofollow" class="external autonumber" href="https://georgetowner.com/articles/2017/10/12/wilderness-urgent-fresh-theater/">[17]</a> Village Voice Review on Wilderness <a rel="nofollow" class="external autonumber" href="https://www.villagevoice.com/2016/11/03/teens-vs-nature-wilderness-explores-the-therapeutic-power-of-roughing-it/">[18]</a> MD Theatre Guide Review on Wilderness <a rel="nofollow" class="external autonumber" href="https://mdtheatreguide.com/2017/10/theatre-review-wilderness-at-the-john-f-kennedy-center-for-the-performing-arts/">[19]</a> Theater Pizzazz Review on Wilderness <a rel="nofollow" class="external autonumber" href="http://www.theaterpizzazz.com/wilderness-abrons-arts-center/">[20]</a> Metro Weekly Feature on Wilderness <a rel="nofollow" class="external autonumber" href="https://www.metroweekly.com/2017/10/wild-en-garde-arts-wilderness/">[21]</a> Washington Post Feature on Wilderness <a rel="nofollow" class="external autonumber" href="https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/10/14/wilderness-sends-teenagers-into-the-wild-to-find-themselves/?noredirect=on">[22]</a> NBC Feature on Wilderness <a rel="nofollow" class="external autonumber" href="https://www.nbcwashington.com/news/local/ies_-Struggles-with-Mental-Health_Washington-DC-450439893.html">[23]</a> </p><p>New York Times Review on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/2014/11/13/theater/lives-of-returning-marines-in-basetrack-live-at-bam.html?module=inline">[24]</a> New York Times Feature on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/2014/12/14/theater/charles-isherwoods-best-theater-of-2014-father-comes-home-from-the-wars-and-more.html?ref=theater&_r=0">[25]</a> New York Times Feature on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://atwar.blogs.nytimes.com/2014/11/13/basetrack-live-the-story-of-a-marines-deployment-and-his-return-home/?mtrref=www.google.com&mtrref=atwar.blogs.nytimes.com&gwh=8073D25665E3C80B8762A39DC64C8A63&gwt=pay">[26]</a> The Daily Texan Review on Basetrack Live <a rel="nofollow" class="external autonumber" href="http://www.dailytexanonline.com/2014/09/16/%E2%80%9Cbasetrack-live%E2%80%9D-is-a-powerful-engaging-multimedia-production">[27]</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160716125157/http://www.dailytexanonline.com/2014/09/16/%E2%80%9Cbasetrack-live%E2%80%9D-is-a-powerful-engaging-multimedia-production">Archived</a> 2016-07-16 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> Daily Bruin Review on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://dailybruin.com/2014/10/13/theater-review-en-garde-arts-basetrack-live/">[28]</a> Theater Mania Review on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://www.theatermania.com/off-broadway/reviews/basetrack-live_70639.html">[29]</a> Broadway World Feature on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://www.broadwayworld.com/austin/article/BWW-Interviews-BASETRACK-LIVE-Not-an-Ordinary-Show-20140911">[30]</a> BAM Feature on Basetrack Live <a rel="nofollow" class="external autonumber" href="http://blog.bam.org/2014/10/basetrack-livevirtually-home.html?m=1">[31]</a> American Theatre Feature on Basetrack Live <a rel="nofollow" class="external autonumber" href="https://www.americantheatre.org/2014/10/14/basetrack-live-marks-reboot-of-en-garde-arts/">[32]</a> </p><p><b>En Garde Arts 1985 to 1999</b> </p> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Gussow, M. (10/1/1987) “Critic’s Notebook; The World on Windows, in ‘Site-Specific’ Drama”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1987/10/01/theater/critic-s-notebook-the-world-on-windows-in-site-specific-drama.html">[1]</a></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Gussow, M. (5/20/1988) “Review/Theater; Peripatetic Double Bill By En Garde Arts”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1988/03/20/theater/review-theater-peripatetic-double-bill-by-en-garde-company.html">[2]</a></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Gussow, M. (6/20/1989) “Review/Theater; 3 Site-Specific Plays in Central Park”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1989/06/20/theater/review-theater-3-site-specific-plays-in-central-park.html">[3]</a></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Gussow, M. (12/17/1989) “Review/Theater; Reflections of Despair In a Sardonic ‘Krapp’”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1989/12/17/theater/review-theater-reflections-of-despair-in-a-sardonic-krapp.html">[4]</a></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Collins, G. (7/19/1990) “Street Theater Audience Must Make a Choice”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1990/07/19/theater/street-theater-audience-must-make-a-choice.html">[5]</a></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Holden, S. (9/10/1991) “In Decayed, Empty Nursing Home, A Pageant of the Lame and Hurt”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1991/09/10/theater/review-theater-in-decayed-empty-nursing-home-a-pageant-of-the-lame-and-hurt.html">[6]</a></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.nytimes.com/1992/06/17/theater/theater-in-review-735292.html">Gussow, M. (6/17/1992) “Theater in Review”, New York Times</a></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.nytimes.com/1993/06/30/theater/theater-in-review-051093.html">Bruckner, D. (6/30/1993) “Theater in Review”, New York Times</a></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Canby, V. (3/20/1994) “Theater in Review; They’re Dancing as Fast as They Can”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1993/06/30/theater/theater-in-review-051093.html">[7]</a></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Canby, V. (7/3/1994) “Celebrating a Birthday and a Battle”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1994/07/03/theater/sunday-view-celebrating-a-birthday-and-a-battle.html">[8]</a></span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Brantley, B. (6/16/1995) “Theater Review; ‘J.P. Morgan’ and Some Heavy Site-Specificity”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1995/06/16/theater/theater-review-j-p-morgan-and-some-heavy-site-specificity.html">[9]</a></span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Brantley, B. (7/3/1996) “Theater Review; An Epic War Resolved With a Gershwin Ditty”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1996/07/03/theater/theater-review-an-epic-war-resolved-with-a-gershwin-ditty.html">[10]</a></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Brantley, B. (11/18/1996) “Memory and Desire: Hearing Eliot’s Passion”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1996/11/18/theater/memory-and-desire-hearing-eliot-s-passion.html">[11]</a></span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.nytimes.com/1997/03/02/theater/a-mordant-tale-of-the-holocaust.html">Fuchs, E. (3/2/1997) “A Mordant Tale of the Holocaust”, New York Times</a></span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Marks, P. (3/13/1998) “Theater Review; Tyne Daly Re-Emerges as a New Age Totem Pole”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1998/03/13/movies/theater-review-tyne-daly-re-emerges-as-a-new-age-totem-pole.html">[12]</a></span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Gates, A. (9/21/1998) “Theater Review; On a Roof, Vignettes That Get Around”, New York Times. <a rel="nofollow" class="external autonumber" href="https://www.nytimes.com/1998/09/21/theater/theater-review-on-a-roof-vignettes-that-get-around.html">[13]</a></span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.villagevoice.com/obies/">The Village Voice</a></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://archive.today/20080518085649/http://www.dramadesk.com/history.html">Drama Desk Awards’ History</a></span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20090423125557/http://www.outercritics.org/AwardArchives.aspx">"Outer Critics Circle Archive"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.outercritics.org/AwardArchives.aspx">the original</a> on 2009-04-23<span class="reference-accessdate">. Retrieved <span class="nowrap">2009-04-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Outer+Critics+Circle+Archive&rft_id=http%3A%2F%2Fwww.outercritics.org%2FAwardArchives.aspx&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEn+Garde+Arts" class="Z3988"></span></span> </li> </ol></div></div> <p>Information from <i>The New York Times</i> online archives and the En Garde Arts archives. </p> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=En_Garde_Arts&action=edit&section=8" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><span class="official-website"><span class="url"><a rel="nofollow" class="external text" href="https://www.engardearts.org/">Official website</a></span></span></li> <li><a rel="nofollow" class="external text" href="http://archives.nypl.org/the/21710">En Garde Arts records, 1980-1999</a>, held by the Billy Rose Theatre Division, <a href="/wiki/New_York_Public_Library_for_the_Performing_Arts" title="New York Public Library for the Performing Arts">New York Public Library for the Performing Arts</a></li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=En_Garde_Arts&oldid=1228821453">https://en.wikipedia.org/w/index.php?title=En_Garde_Arts&oldid=1228821453</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Arts_organizations_based_in_New_York_City" title="Category:Arts organizations based in New York City">Arts organizations based in New York City</a></li><li><a href="/wiki/Category:Theatre_companies_in_New_York_City" title="Category:Theatre companies in New York City">Theatre companies in New York City</a></li><li><a href="/wiki/Category:Arts_organizations_established_in_1985" title="Category:Arts organizations established in 1985">Arts organizations established in 1985</a></li><li><a href="/wiki/Category:1985_establishments_in_New_York_City" title="Category:1985 establishments in New York City">1985 establishments in New York City</a></li><li><a href="/wiki/Category:Theatre_company_production_histories" title="Category:Theatre company production histories">Theatre company production histories</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_lacking_in-text_citations_from_January_2021" title="Category:Articles lacking in-text citations from January 2021">Articles lacking in-text citations from January 2021</a></li><li><a href="/wiki/Category:All_articles_lacking_in-text_citations" title="Category:All articles lacking in-text citations">All articles lacking in-text citations</a></li><li><a href="/wiki/Category:Webarchive_template_wayback_links" title="Category:Webarchive template wayback links">Webarchive template wayback links</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 13 June 2024, at 11:06<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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