trevordayschool

places all over town. We also work with talent agents and managers. And we provide quite a few programs for which the only barrier of entry is talent, which exposes us to a large number of new and exciting artists. ese include ANT Fest, Showgasm, and Play Group. When did you become interested in theatre and the arts? I credit my time at e Day School for setting me on the path of a life in the arts. Most significantly, my Upper School advisor, Jim Morgan, was a game-changer for me. He was not only a talented set designer, but he had impeccable and sophisticated taste in the shows he chose for us. (How many 12-year-olds perform e Man Who Came to Dinner?!) Jim always encouraged me and gave me my first glimpse on a small scale of what a life in the theatre might mean. We would be rehearsing for a show and when we'd leave at the end of the day, Jim would have just begun painting the set. When we'd arrive the next morning at school, an incredible set would have "magically" appeared. ere was something electric and inspiring in that to me—the idea of creating something from nothing. I am very happy that I get to work in the same industry as the person who first inspired and encouraged me. (Jim is now the Producing Artistic Director of e York eatre Company, which produces established musicals, but is also at the forefront of producing wonderful new musicals.) What are some of your proudest achievements? I am deeply proud of the work that we do at Ars Nova. I once heard said of the arts, "In the department store of life, we're the toy department" and I love that—because it's not only true, but it keeps things in perspective so that we never take ourselves too seriously. at said, I also believe in the transformational power of art in all mediums. It provides an opportunity to see the human condition reflected back at us—a chance to look more deeply into ourselves and ask questions that may stimulate change and growth. I feel lucky to have a small part in facilitating that conversation. Opposite page top: 2015 Ars Nova benefit to honor alums of the theatre. Pictured from left to right are Renée Blinkwolt (Managing Director), Jon Steingart (co-founder and Jenny's husband), Lin-Manual Miranda, Jill Furman, omas Kail, Jenny, and Jason Eagan (Founding Artistic Director); Opposite page, right bottom: Jenny and her brother, Gabe, for whom Ars Nova is named; is page, left top: Jenny playing Moonbeam McSwine in the Upper School's 1980 production of Li'l Abner; is page, left bottom: Sixth-grade class photo in 1980. Jenny is in the second row from the back, fourth from the right; is page, right: As board president, Jenny addresses the audience at an Ars Nova benefit. 3 3 T R E V O R D AY S C H O O L n W I N T E R 2 0 1 6 – 2 0 1 7 How did your time at e Day School impact your path? e Day School was a deeply nurturing environment where I felt supported and part of a team. I suppose it was because our class size was small, but I really felt that the projects we worked on and the assignments we had were often things we did together as classmates. When we started having free periods and needed to schedule our science and language labs, I learned how to budget my time and plan my work. is has become a useful lifelong skill. I realize now, that in launching Ars Nova, I was trying to re-create the feeling of a "club house" that I experienced in the Upper School (for me, that was grades 6–8) at e Day School. ere is a lot of cross-pollination that goes on at our theatre and a sense of family—that we're all in it together, trying to create things that are bigger than ourselves. I always felt that at e Day School. What is your fondest memory from e Day School? I loved when we had the "lame duck session" and rehearsed for the school play and got to take electives instead of our usual classes. I can still taste the spring rolls from the Chinese cooking class I took! n

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