Organizational Models

Playwright Donna Hoke writes about an opportunity that allowed her to develop a new play on its feet in advance of a world premiere.

In this second installment, Ricky Young-Howze shares a lesson he learned while wearing multiple hats in his theatre company.

verity healey on Cardboard Citizens’ Meta in London, England, and theatre for social change. 

The keynote address delivered by Todd London at the Association of Performing Arts Service Organization on April 6, 2016.

Workhaus Collective member Trista Baldwin reflects on the history and organizing philosophy of the playwright collective as it comes to a close after ten years.

In this first installment, Ricky Young-Howze shares his experience of starting his own not-for-profit theatre company and offers advice.

In this first installment, Daniel Dvorkin and Shana Johnson of Two Lights Theatre Company introduce Art Forms in Flux, a creative process influenced by the Fluxus movement.

February 2 marks forty years since then twenty-two-year-old Mixed Blood Artistic Director Jack Reuler sat down to write the original mission and primary objectives for Mixed Blood. Jack commemorates that founding by presenting a list of qualities and practices for successful and ethical artistic leaders.

John F. Corrigan looks to the world of professional wrestling for lessons for the theatre community.

Thom Dunn makes a case for union protection for the marketers and fundraisers and other theatre administrators who all play important roles, working long hours for little pay or glory.

Ben Gassman discusses the LIT Fund’s grant lottery system and the concept of radical transparency.

Trip Venturella outlines a process for theatremakers to build their own theatres.

Robert Moskowitz discusses the needs for and advantages of creating a local theatre cooperative.

Holly L. Derr on Destiny of Desire by Karen Zacarías, Animal by Claire Lizzimore, Queens Girl in the World by Caleen Sinette Jennings, Women Laughing Alone with Salad by Sheila Callaghan, and Uprising by Gabrielle Fulton, all part of the Women’s Voices Theater Festival in Washington, DC.

Daniel Gallant discusses expensive ticket costs and advocates more financial accessibility for arts events.

Seth Lepore discusses why artists and producers can’t depend purely on ticket sales for revenue, using one of his tours through the Midwest as an example. 

Raphael Martin on the history, organizational model, current reality, and aspirations of The Theatre Centre in Toronto, Canada.  

Artistic Director Shakina Nayfack discusses the origins and trajectory of the Musical Theatre Factory, which advocates new musical development.

Eli Keel discusses Rough House Theater and their strategies for touring their work like a punk band.

Artistic Director Moritz von Stuelpnagel and Board President Roberta Pereira discuss the decision to close Studio 42 at the end of 2015 and the natural lifespan of a theatre.

Fran Kumin in conversation with Signature Theatre’s outgoing artistic director, Jim Houghton.

Playwright Paul Heller describes his process for self-producing his current work in living rooms and nursing homes.

Seth Lepore lays out the pros and cons of fiscal sponsorship versus becoming a non-profit for small arts groups or individuals.