"I never met Gilbert, but I think I know the man. Those touched by Gilbert and his spirit can't help but continue as he did to reach out and share."
Helen McCullagh (intern, 1984)

"The knowledge that I gained is not available through any training program. If I had just come to New York and started assisting working designers, it would certainly have taken much longer to experience as much as I did at City Opera."
Russ Swift (intern, 1985)

"It has been a tremendous experience - a chance to develop skills and reach toward goals on a scale which would not otherwise have been available to me...Gilbert Hemsley's gifts to his students were an eye for quality, an outlook on life, and an opportunity to grow. Through the internship, his friends have found an inspired vehicle to continue his legacy."
Peggy Mueller-Borrer (intern, 1986)

"I have an appreciation of opera that I hope will last the rest of my life. I have the confidence to succeed in any professional situation because I have managed to stay afloat in on of the most demanding. And I have a chance to look back and say 'I did it' and finally get some sleep."
Lynn Lefkoff (intern, 1988)

"The Internship provided me with a program that was tailored to meet my needs, and this is what made the experience so beneficial to me."
Gary Marder (intern, 1989)

"I've also learned a great deal about who Gilbert Hemsley was. I've found that the respect and love that he gained during his time in the theater has survived to this day. The words "Hemsley Intern"have sparked conversations...and evoked fond memories of Gilbert and often a wonderful story."
Eileen Dougherty (intern, 1990)

"The New York City Opera schedule is a tough and demanding one. When I started I was told that if I could make it through his I could make it through anything. I see why they said that. I am now ready to prove it to be true."
Jeff Croiter (intern, 1993)

"Gilbert's legacy lives in the contributions of those who have allowed me to luxuriate in their wisdom and generosity...My tenure as (this year's) intern when it ends, I already know, will have been more rewarding, enriching, educational, and beneficial that I can say."
Kenneth Schutz (intern, 1994)

"Being able to see the works of great artists like George Balanchine, Jerome Robin ...is an opportunity that does not occur often to someone who originates from the southwest."
Christopher Reay (intern, 1995)

"The phrase 'Just when you think you know everything...you find out you don't ' is the first thing that comes to mind when trying to describe my experiences during this internship...I have learned an enormous amount about myself and what I am capable of accomplishing."
Nicole Pearce (intern, 1998)

"It has been said that every new generation stands on the shoulders of giants. Through the Gilbert Hemsley Internship I have shook the hands of many of those giants."
Michael Patterson (intern, 1999)

"This internship has brought me everything one can hope for...I believe it is the only place that gives young designers such a unique opportunity."
Kazuko Oguma (intern, 2000)

"Through this internship I learned to think outside the normal boundary of a theatrical show while problem solving to get it back into the boundary... Although I never knew Gilbert personally, I can without a doubt sense his spirit in and through each experience I have had at Lincoln Center."
Camille Connolly (intern, 2002)

"Through the Internship...I've come to understand how much each individual personality not only affects those around him, but also the work itself."
Jeff Carnevale (intern, 2004)

"At the Lincoln Center Festival, I had to discuss the intent of the show with the (foreign) designers. I then researched their equipment to find what would work best in New York. It was invaluable to watch how these companies used their aesthetics and our tools to create vastly different styles of production."
Daniel Gallagher (intern, 2005)

"Artistically this internship has opened my eyes to the possibilities of a repertory system. This is an aspect of lighting design that schools often do not teach and it is only through working within it that one can truly understand it's potential...This internship has allowed me to take on challenges and thrive in demanding settings while sharpening my aptitude in lighting design and developing the stamina to succeed. It is the perfect opportunity for me to transition from the academic setting into the professional world of theater design."
Jeanette Oi-Suk Yew (intern, 2006)

"The Intership has broadened my lighting palette by introducing me to a European design aesthetic where the light plots are precisely simple as a result of the clarity of the design ideas...It has been absolutely fascinating to watch all of the personal relationships at work around me between directors, designers, lighting supervisors, electricians and carpenters in all their combinations."
Michael Jarett (intern, 2007)