CONTRIBUTE
Presenting 40 years of idiosyncratic, intellectually demanding theater would not be possible without the generous contributions of our institutional and individual supporters. Ontological-Hysteric Theater extends its sincerest thanks to all contributors throughout the last four decades.
OUR SUPPORTERS
Richard Foreman's Ontological-Hysteric Theater is supported, in part, with public funds from the National Endowment for the Arts and the New York State Council on the Arts.
Additional support includes grants from the Carnegie Corporation, The Mellon Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Shubert Foundation, the Lila Acheson Wallace Theater Fund at Community Funds, Inc., and the Foundation for Contemporary Arts. Past support includes grants from the Mental Insight Foundation, the Altria Group, Inc., Arts International, the Greenwall Foundation, the Lucille Lortel Foundation, and JP Morgan Chase Bank.
HELP US MAKE MORE!
Ontological-Hysteric Theater cannot survive without the kind contributions of our generous individual donors.
If you enjoy the work presented by Richard Foreman and our INCUBATOR artists, please consider making a donation. Your contribution will help us continue to make theatrical work that unsettles and disorients received ideas and opens the doors for alternative models of perception, organization, and understanding.
We rely upon donations to sustain our programs and we accept both monetary and in-kind donations of goods and services. OHT is a 501(c)(3) public charity and all donations are tax-deductible to the extent permitted by law.
Above all, your contribution will swell the ranks of committed loyalists who believe in idiosyncratic, intellectually demanding theater. We hope you'll join us.
“Richard Foreman is probably the most disciplined, polished and consistent theatrical auteur practicing in New York today. For more than thirty years, he has been creating handcrafted intellectual vaudevilles that have become their own genre. Yet he continues to find fresh, exotic life in a style that has spawned a host of younger imitators. In the world of the avant-garde, where things tend to age as well as Beaujolais nouveau, this counts as a miracle.”
-- Ben Brantley, New York Times
