Arts Administration

When utilized fully, social media can function as a critical extension of work being done onstage. Trevor Boffone pulls from his experience as a content creator and social media manager to share concrete steps that theatremakers and theatre companies can use to leverage the unique potentials of social media. 

Lauren Halvorsen reports on the origins, development, and learnings of the Artistic Caucus, a collaborative initiative between four regional theatres. By employing a racially and geographically diverse collective of freelance artists to identify new work, scout projects, and facilitate relationships on behalf of all four theatres, the Artistic Caucus seeks to disrupt traditional curatorial practices.

Tony Garcia and Claudia de Vasco share their experiences becoming immersed in the Chicano movement, which has informed both of their careers in artistic leadership.

Munroe Shearer discusses the problem of white queer men’s positionality excusing them from anti-racism and anti-misogyny practices in theatre leadership.

For three years, Kristin Patton and Nick Rabkin worked with five case study theatre companies to study the often fraught, high risk, and complex decision-making process of theatrical repertoire selection. The result of their research project, the Moonshot Report, offers insights into their process and practical recommendations for strategic approaches to season planning.

Michelle Ramos sits down with Ashley Davis, founder and director of the social enterprise Unlock Creative, to discuss Ashley’s experience being a mom in the field and how she works to make her own organization more accommodating of parents and caregivers.

Ryan Ferrebee discusses the disadvantages of theatres attempting to balance fiscal responsibility with anti-racism work from his perspective as a white fundraising professional.

Jackson Cooper calls on fundraising professionals to reinterrogate their institutions’ relationships with wealth and value to forge more equitable development practices.

Susan Booth, artistic director of Atlanta’s the Alliance Theatre, talks about how we are currently living in what is referred to as “the carnival” and shares ideas of how artistic organizations ought to react during this time.

Kirsten Greenidge discusses how being the Playwright in Residence at Company One Theatre gave her a stronger appreciation for the work of the staff, particularly around speaking to the social justice goals of all the company’s programming.

Genevieve Beller argues that the current forced pause on society provides a rare opportunity for theatres to take stock, inventory priorities, and enact positive and lasting change, and she provides tangible steps to do so.