Part II of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on inspiring leadership choices, pacing yourself, and cultivating diverse audiences.

Part I of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on personal values, gratitude, and how the joy lives in the struggle.

Mallory Kay Nelson and Michael Maag talk about the low number of full-time designers working in theatre; the realities of costume, lighting, and projection design as a disabled artist; and how delegation is a skill they’ve both had to master.

Bri Ng Schwartz looks at the importance of companies doing the hard work when it comes to equity, diversity, and inclusion conversations and initiatives.

Carl(os) Roa offers thoughts on how organizations can create healthier workspaces, weaving in ideas from artists at Philadelphia Young Playwrights and Applied Mechanics.

Artistic directors Marya Sea Kaminski, of the Pittsburgh Public Theater, and Chris Coleman, of the Denver Center for the Performing Arts, talk about board relationships, connecting with new audiences, budgets as moral documents, and more.

David Dower, artistic director of ArtsEmerson, reflects on the many recent leadership changes in North American theatre and asks, “What now?”

In Part Two of this conversation, Sarah Rasmussen, artistic director at Minneapolis’s Jungle Theater, and Joanie Schultz, former artistic director at Addison’s WaterTower Theatre, talk about their biggest successes over the past couple of years, the difference in a board’s relationship to a founding artistic director and to a new leader, and more.

In Part I of this conversation, Sarah Rasmussen, artistic director at Minneapolis’s Jungle Theater, and Joanie Schultz, former artistic director at Addison’s WaterTower Theatre, talk about the importance of working with a third party during leadership transitions, trusting your gut in decision-making, and more.

Kinan Valdez and Jacob G. Padrón talk about growing up in a theatre family, leadership in the Latinx community, the skills needed to be the artistic leader of a company, and more.

Naomi Campbell, Luminato’s new artistic director, sits down with Emma Stenning, Soulpepper’s new executive director, about theatre in Toronto, reaching communities outside of the downtown core, cross-collaboration, and more.

Johanna Pfaelzer, incoming artistic director at Berkeley Rep Theatre, and Lisa Steindler, executive artistic director of Z Space, talk about creating partnerships with organizations across the Bay Area, the younger generation of leaders, and more.

Joe Melillo, BAM’s outgoing executive producer, talks to Rob Orchard about his thirty-five-year-long time at the company, continuing his work with emerging artists, and more.

Sarah Bellamy, artistic director of Saint Paul’s Penumbra Theatre, talks to Jamil Jude, incoming artistic director of Kenny Leon’s True Colors Theatre Company in Atlanta, about learning from the founders, the funding disparity between predominantly white institutions and theatres of color, and more.

Lydia Milman Schmidt, founder of the advocacy group Parents in Chicago Theatre, looks at the progressive policies Rivendell Theatre Ensemble has in place when it comes to working with parent artists on production.

Susie Medak, managing director of Berkeley Rep Theatre, talks to Rob Orchard about how to best prep staff for a major leadership change, how an outgoing artistic director can work with the incoming one, and more.

Susan Medak, managing director of Berkeley Rep Theatre, speaks with Rob Orchard about a board’s involvement with changing leadership, reevaluating a company’s artistic mission in the lead up to hiring someone new, and more.

Berkeley Rep’s outgoing artistic director Tony Taccone talks with new artistic director of A.C.T. Pam MacKinnon about moving from freelancing to running an institution and vice versa, the language used to talk about a company’s vision, subscriptions as economic foundation of theatre, and more.

Director, dramaturg, and founding AD of Crowded Fire, Rebcca Novick, speaks with Marissa Wolf, the new AD of Portland Center Stage—and former AD of Crowded Fire as well—about knowing when you’re ready for change, leaving communities you’ve helped build, parenting in the arts, and more.

Kim Whitener, the former executive director of HERE, and theatre producer and consultant Mara Isaacs sit down to talk about moving from institutions to the freelance world (and vice versa), the generosity of other theatre creators, work-life balance, and more.

Howard Shalwitz, co-founder of Woolly Mammoth, talks with Carey Perloff, longtime director of American Conservatory Theater, about their decades-long tenures at their respective companies, covering everything from the throughline of founding manifestos, to the five- to six-year cycles companies go through, to how lonely it is to be an artistic director, and more.

May Antaki speaks with Brendan Healy, the new artistic director of Toronto’s Canadian Stage, about leadership changeovers happening across Canada, how his approach to being an AD has shifted over the years, his desire to cultivate curiosity inside audiences, and more.

David Dower, artistic director of ArtsEmerson, introduces the leadership series with thoughts and advice from his past experiences with major leadership transitions over his thirty-year career. 

Tufts professor Dr. Noe Montez's keynote speech at the Fourth Symposium on Doctoral Programs in Theatre and Performance Studies in Boston, MA on 5-6 October 2018.