St. Ann’s Warehouse plays a vital role on the global cultural landscape as an artistic home for international companies of distinction, American avant-garde masters and talented emerging artists ready to work on a grand scale. St. Ann’s signature flexible, open space allows artists to stretch, both literally and figuratively, enabling them to approach work with unfettered creativity, knowing that the theater can be adapted in multiple configurations to suit their needs. In the heart of Brooklyn Bridge Park, under the vision of St. Ann’s founder and Artistic Director Susan Feldman, Marvel Architects, DBI Projects, theater consultants Charcoalblue and a team of expert engineers have designed a theater that offers St. Ann’s signature versatility and grandeur on an amplified scale while respecting the walls of the original 1860 Tobacco Warehouse. The new building complex includes, a Studio for smaller-scale events and community uses, as well as The Max Family Garden designed by landscape architects Michael Van Valkenburgh Associates, which is open to Brooklyn Bridge Park visitors during Park hours, and Bar Jolie curated by Vinegar Hill House in the lobby. Among the many acclaimed St. Ann’s productions are Lou Reed and John Cale’s Songs for ’Drella; Marianne Faithfull’s Blazing Away; Artistic Director Susan Feldman’s Band in Berlin; Carter Burwell, Charlie Kaufman and the Coen Brothers’ Theater of the New Ear; The Wooster Group’s Hamlet, The Emperor Jones, To You, the Birdie!; Mark Rylance’s Measure for Measure and Nice Fish; Antony’s Turning; Mabou Mines’ DollHouse; Lou Reed’s Berlin; Cynthia Hopkins’ Accidental Trilogy; Enda Walsh’s The Last Hotel, The Walworth Farce and Misterman with Cillian Murphy; TR Warszawa’s Macbeth, Festen, and 4:48 Psychosis; The National Theatre of Scotland’s Black Watch and Let The Right One In; the American debuts of Jeff Buckley, Daniel Kitson and Kate Tempest; Yael Farber’s Mies Julie; Dmitry Krymov’s Opus No. 7; Emma Rice/Kneehigh’s Brief Encounter, Tristan & Yseult; The Donmar Warehouse and Phyllida Lloyd’s all-female Shakespeare Trilogy; Tricycle Theatre’s Red Velvet; and the Young Vic’s A Streetcar Named Desire.