Board of Directors

Martha Lavey, President
James Bundy, Vice President
Dawn Chiang, Vice President
Andrew Hamingson, Treasurer
Olga Sanchez, Secretary
TBA, ITI President
 
Peter C. Brosius, Artistic Director; The Children's Theatre Company, Minneapolis, MN
Douglas R. Brown, President & CEO; Cambridge Homes, Inc., Libertyville, IL
Ralph Bryan,Managing Director; Investments; Wells Fargo Advisors, La Jolla, CA
James Bundy, Artistic Director; Yale Repertory Theatre, New Haven, CT
Dawn Chiang, Lighting Designer; Bridgeport, CT
Debbie Chinn, Managing Director; CENTERSTAGE, Baltimore, MD
Mark Cuddy, Artistic Director, Geva Theatre Center, Rochester, NY
Lydia Diamond, playwright, Boston, MA
Teresa Eyring, Executive Director; Theatre Communications Group, New York, NY
Joseph Haj, Producing Artistic Director; Playmakers Repertory Company, Chapel Hill, NC
Andrew Hamingson, Executive Director, The Public Theater, New York, NY
Aimee Hayes, Artistic Director; Southern Rep, New Orleans, LA
Philip Himberg, Producing Artistic Director; Sundance Institute Theatre Program, Sundance, UT
Robert Hupp, Producing Artistic Director, Arkansas Repertory Theatre, Little Rock, AR
Morgan Jenness, Creative Consultant, Abrams Artists Agency, New York, NY
Marshall Jones III, Executive Director; Crossroads Theatre Company, New Brunswick, NJ
Rachel Kraft, Executive Director; Lookingglass Theatre Company, Chicago, IL
Martha Lavey, Artistic Director; Steppenwolf Theatre Company, Chicago, IL
Marc Masterson, Artistic Director; Actors Theatre of Louisville, Louisville, KY
Jonathan Moscone, Artistic Director; California Shakespeare Theater, Berkeley, CA
Jennifer L. Nelson, Director of Special Projects; Ford's Theatre, Washington, DC
Paul Nicholson, Executive Director; Oregon Shakespeare Festival, Ashland, OR
Lynn Nottage, Playwright; Brooklyn, NY
Diane Rodriguez , Director of New Play Production, Center Theatre Group, Los Angeles, CA
Michael Ross, Managing Director; Westport Country Playhouse, Westport, CT
Olga Sanchez, Artistic Director; Miracle Theatre Group, Portland, OR
Sean San Jose, Program Director; Intersection for the Arts, San Francisco, CA
Roche Schulfer, Executive Director; Goodman Theatre, Chicago, IL
Mark Shugoll, CEO; Shugoll Research, Bethesda, MD
Megan Wanlass Szalla, Executive Director; SITI Company, New York, NY
Mark Valdez, National Coordinator; Network of Ensemble Theatres, Los Angeles, CA
Clyde Valentin, Executive Director; Hip-Hop Theater Festival, Brooklyn, NY
Kate Warner, Artistic Director; New Repertory Theatre, Watertown, MA
Jeffrey Woodward, Managing Director; Syracuse Stage, Syracuse, NY
Angel Ysaguirre, Director of Global Community Investing, The Boeing Company, Chicago, IL

Peter C. Brosius joined The Children's Theatre Company (CTC) as its third artistic director in 1997. During Mr. Brosius' tenure, CTC was the winner of the 2003 Tony Award for Outstanding Regional Theatre, the first time ever a youth theater was bestowed this honor. In addition, CTC's production of A Year with Frog and Toad, which completed a run at the Cort Theater on Broadway in June 2003, was nominated for three Tony Awards. In 1998, under Brosius' leadership, CTC established THRESHOLD, a new play laboratory that has allowed CTC to work with some of the leading playwrights in American to create world premiere productions: Nilo Cruz, Jeffrey Hatcher, Kia Corthrun, Naomi Iizuka, to name a few. CTC has also been involved with international collaborations with theater artists from Sweden, Britain, and The Netherlands. Along with new play development, Brosius has helped launch new education program, one of which is the acclaimed Neighborhood Bridges program that is being used as a national model. Past directing credits at CTC include: Anon(ymous), The Lost Boys of Sudan, The Monkey King, Hansel & Gretel, Amber Waves, The Snow Queen, Dragonwings, Mississippi Panorama, A Village Fable, Whale, Afternoon of the Elves, and Boundless Grace. Previously he was the artistic director of the Improvisational Theatre Project of the Mark Taper Forum, where he commissioned and directed numerous world premieres by authors such as Lisa Loomer, Erin Cressida Wilson, Peter Mattei, as well as the U.S. premieres of One Thousand Cranes by Colin Thomas, Stamping Shouting and Singing Home by Lisa Evans, and Robinson and Crusoe by Teatro Dell Angollo. At the Taper, he also directed numerous productions for the Taper's New Work Festival and for its mainstage. In addition, he has directed at theaters across the country: South Coast Repertory, Arizona Theatre Company, South Street Theatre on Theatre Row, Pan Asian Repertory. He also spent many years as director-in-residence at The Sundance Playwrights Laboratory. He is the recipient of numerous awards including Theatre Communications Group's Alan Schneider Director's Award and honors from the Los Angeles Drama Critics Circle Award and Dramalogue. He holds a B.A. from Hampshire College and a M.F.A from New York University. Brosius is married to playwright Rosanna Staffa and is the father of fourteen-year-old daughter Daria and nine-year-old son Gabriel.

Douglas R. Brown graduated Phi Beta Kappa from Northwestern University in 1972.  Mr. Brown then joined the Midwest subsidiary of Leisure Technology, Inc., a large public homebuilder.  After graduating from Loyola University Law School in 1978, Brown began practicing law with a focus on corporate and real estate matters, ultimately opening his own law firm.   Doug joined Cambridge Homes, Inc. in 1983 as vice president and general counsel.  He was later named senior vice president and, in the early 1990's, president and chief operating officer.   Since the acquisition of Cambridge by D.R. Horton, Inc., the nation's largest homebuilder, he has served as the president of Horton's Chicago based Cambridge Homes division.  He is a member of the Home Builders Association of Illinois and the Home Builders Association of Greater Chicago.  He also serves as chairman of Steppenwolf Theatre Company's Board of Trustees, chairman of the Board of Directors of the Harris Bank Libertyville group of banks, as a member of the Economic Club of Chicago, and director of the Western Golf Association. 

Ralph Bryan (Bio Pending)

James Bundy (vice-president) is in his seventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first six seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned nearly twenty playwrights, and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy's directing credits include The Psychic Life of Savages, A Woman of No Importance, and All's Well That Ends Well at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and the Juilliard School Drama Division. A recipient of the Connecticut Critics Circle's Tom Killen Award for extraordinary contributions to Connecticut professional theater in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival; as an actor, he appeared at Berkeley Rep, Magic Theatre, Oregon Shakespeare Festival and San Jose Repertory, among others. He is an alumnus of Harvard College, LAMDA, and Yale School of Drama.

Dawn Chiang (vice-president) has designed the lighting at numerous regional theatres including Denver Center Theatre Company, Oregon Shakespeare Festival, Milwaukee Repertory Theater, Arizona Theatre Company, Alliance Theatre, Mark Taper Forum, Guthrie Theater, Syracuse Stage, San Jose Repertory Theatre and Portland Center Stage.  On Broadway, Ms. Chiang designed the lighting for Zoot Suit, was co-designer for Tango Pasion, and associate lighting designer for Show Boat, The Life and the original production of La Cage Aux Folles.  Off-Broadway, she has designed for the Roundabout Theater, Manhattan Theatre Club, and co-designed the first two seasons of the Encores! concert musical series at City Center.  Chiang was resident lighting designer for New York City Opera, where her designs included A Little Night Music and Fanciulla del West.  She is the lighting designer for the award winning FDNY Fire Zone at Rockefeller Center in New York, which teaches visitors about fire prevention through an immersive environment using video, lighting, sound, show control and special effects.  At the Whitney Museum of American Art, she created a lighting performance piece, delights: Art on 5 Outlets.  She has worked on the concert tours of Paul Anka, The Carpenters, Diana Ross and Loggins and Messina; and authored the operation manual for one of the first major computer lighting control consoles, the Strand Light Palette 1.  Awards include two Dramalogue awards, an American Theatre Wing nomination, a Los Angeles Drama Critics' nomination and a THEA Award (Themed Entertainment Association).  She is a member of United Scenic Artists, an Eastern Division board member of the Themed Entertainment Association and an associate consultant with Theatre Projects Consultants.

Debbie Chinn (Bio Pending)

Mark Cuddy is in his 12th season as Artistic Director of Geva Theatre Center, where he directed Our Town, Tuesdays with Morrie earlier this season, Splitting Infinity and Vigil last season and A Chorus Line, Hamlet and the American premiere of That Was Then in the 2004-2005 season. Mr. Cuddy is well known for his staging of premieres, contemporary comedies and musical theatre. Among his Geva Theatre Center productions have been the Mainstage and Nextstage productions of Convenience (world premiere musical); 1776; Proof; the world premier of Thornton Wilder’s Theophilus North which was also seen at Arena Stage in Washington, D.C.; The Miser; the East Coast premieres of both House and Garden; Quilters; Art; Famous Orpheus (world premiere musical) with Garth Fagan Dance; Every Good Boy Deserves Favor with the RPO; Golf with Alan Shepard; Picasso at the Lapin Agile and State of the Union. Prior to his tenure at Geva Theatre Center, Mr. Cuddy directed a number of world and American classics while Artistic Director of the Idaho Shakespeare Festival and Sacramento Theatre Company.

Lydia Diamond is a Huntington Playwriting Fellow and a Resident Playwright at Chicago Dramatists. Her plays include Stage Black (Premiered at Arts Consortium of Cincinnati, 3rd Place Theadore Ward Prize), The Gift Horse (Premiered at Goodman Theatre, 2nd place Kesselring Prize, 1st Place Theadore Ward Prize); Stick Fly (Premiered at Congo Square Theatre Company, Joseph Jefferson Award recommended, BTAA Nominated); and The Inside (premiered at MPAACT Theatre Company), and recently published in TriQuarterly, where she is a contributing editor; Voyeurs de Venus (premiered at Chicago Dramatists, Joseph Jefferson Award recommended, BTAA Nominated, commissioned by Steppenwolf Theatre Co.) Ms. Diamond's adaptation of Toni Morrison’s The Bluest Eye premiered at Steppenwolf Theatre, won the Black Arts Alliance Image Award for Best New Play, and will be remounted at the Steppenwolf and moved to a co-production with New Victory in NY next season. Theatre Alliance, D.C., Playmakers Rep, N.C., and Plowshares, MI, will also mount productions The Bluest Eye this coming season. The Gift Horse is anthologized in 7 Black Plays, edited by Chuck Smith, Northwestern University Press. Ms. Diamond is currently working on her third Steppenwolf Theatre commission, a play based on Harriet Jacob's "Incidents in the Life of a Slave Girl", recently workshopped and presented at The Kennedy Center's New Visions New Voices festival. Ms. Diamond holds a B.S. in Theatre and Performance Studies from Northwestern University. She has taught playwriting at Columbia College Chicago, DePaul University, Loyola University, and Boston University.

Teresa Eyring joined TCG as executive director in March 2007. Ms. Eyring has been an executive in theatres around the U.S. for over twenty years. Prior to joining TCG, she served as managing director of the Children’s Theatre Company (CTC) in Minneapolis since 1999. Eyring began her theatre career as director of development for the Woolly Mammoth Theater Company in Washington, D.C. in 1983. She completed an MFA in theater administration at the Yale School of Drama between 1986 and 1989. From 1989-1993, she was assistant executive director of the Guthrie Theater in Minneapolis, where she handled artist contracts, play commissions, and oversaw a $5 million theater renovation project . From 1994-99, she was managing director of the Wilma Theater in Philadelphia, where she spearheaded completion of an $8 million capital campaign and oversaw the construction and transition to a new 24,000 square foot theater facility on Philadelphia’s Avenue of the Arts. She was named a ‘Woman to Watch” by the Twin Cities Business Journal in July 2005. Eyring’s past affiliations include service as chairwoman of the Theatre Alliance of Greater Philadelphia, board member of WYBE-TV, executive committee member of the League of Resident Theaters; board member and Treasurer of Minnesota Citizens for the Arts; and board member of Intermedia Arts. Eyring holds a BA from Stanford University and an MFA from Yale School of Drama.

Joseph Haj (Bio Pending)

Andrew Hamingson is the Executive Director of The Public Theater. Before joining The Public in September 2008 Andrew served as the Atlantic Theater Company’s Managing Director beginning in August 2004.  While there, Andrew oversaw all administrative and fiscal matters at Atlantic, including institutional development, Board recruitment, budgeting, marketing and fundraising.  In addition, he oversaw the negotiations, planning and construction of Atlantic’s new state of the art $6 million theater complex on West 16th Street, and is currently leading the team to renovate Atlantic’s 20th St. main stage theater. In 2006 Atlantic Theater Company transferred Spring Awakening and The Lieutenant of Inishmore to Broadway—the first time in over 20 years that a not for profit had transferred back to back shows to Broadway.  On both occasions, ATC was a full Producer for the Broadway productions.  Andrew represented ATC as part of that management/producing partnerships. Since Andrew began at Atlantic, the operating budget has increased 70% and contributed income has grown by over 100%.  Prior to Atlantic, he was Manhattan Theatre Club’s Director of Development for 5 years.  While there he managed all aspects of the annual fundraising campaign, including Board development and strategic planning. In addition to the $8 million annual fund, he was responsible for raising $35 million for the Capital Campaign for the renovation of the historic Biltmore Theater.  Beyond his fundraising responsibilities, Andrew helped to redesign the new facility and led the team to create operational policies at the Biltmore. Prior to being named Director, he was Deputy Director of Development, and Associate Director of Development at MTC for 7 years.  Andrew has a B.S. in Accounting from the John Wiley Jones School of Business, State University of New York at Geneseo, and an M.A. in Performing Arts Administration from New York University. He has been a Visiting Professor at the Yale School of Drama for 8 years, and an Adjunct Professor at New York University’s Steinhardt School for Education and Arts Professions for two years. 

Aimee Hayes (Bio Pending)

Philip Himberg is the producing artistic director of the Sundance Institute Theatre Program. Since 1997, Mr. Himberg has overseen all aspects of the Sundance Institute Theatre Program including the Sundance Theatre Laboratory, an annual summer workshop in Sundance, Utah which supports the development of new work for the stage. Under his aegis, the Sundance Theatre Program has grown to include two new laboratories: The Sundance Theatre Lab at White Oak and The Sundance Playwrights Retreat at Ucross. In addition, Himberg has created the Sundance Theatre "international initiative" which is currently cultivating East African theatrical voices both in the region, as well as at the theatre labs. In 2008 he directed Flora the Red Menace for Reprise! in Los Angeles. Most recently he has directed the world premiere of Terrence McNally's Some Men at the Philadelphia Theatre Company, and a concert of William Finn's Songs of Innocence and Experience in Williamstown, MA. For Sundance, he directed revivals of Fiddler on the Roof, Funny Girl, and a new version of Jerry Herman's musical, Dear World. He also conceived and directed the world premiere of War Letters in Los Angeles.  His essay, "Family Albums" is published in the Dutton anthology "GIRLS WHO LIKE BOYS WHO LIKE BOYS" and he is in the process of re-mounting A LONG AND WINDING ROAD, a solo piece he co-authored and directed starring Maureen McGovern. He received his B.A. in Theatre Arts at Oberlin College studying under Herbert Blau. He was co-artistic director of Playwrights Horizons in New York, where he produced over sixty plays in the theatre's most formative years. He is a recipient of the TCG/National Endowment for the Arts Artistic Fellowship, which brought him to the Mark Taper Forum in Los Angeles. Subsequently he was staff producer for the Mark Taper Forum's Improvisational Theatre Project (I.T.P.), a resident touring ensemble that created and performed new work for young audiences, and for whom he conceived and directed new work.

Robert Hupp is in his ninth season as producing artistic director of the Arkansas Repertory Theatre. Robert’s directing credits for The Rep include Of Mice and Men, Steel Magnolias, Much Ado About Nothing, Romeo & Juliet, God’s Man in Texas, The Spitfire Grill , Proof, The Tempest, You Can’t Take It With You and The Grapes of Wrath. He also recently directed the premiere of Glyn Maxwell’s drama, The Lifeblood for the Phoenix Theatre Ensemble in New York City. Prior to assuming his position at The Rep, Robert spent nine seasons as artistic director, and four seasons as managing director, of Jean Cocteau Repertory theatre in New York City. Robert directed several works for the Obie Award-winning Cocteau Rep, including premieres of the Bentley/Milhaud version of Brecht’s Mother Courage and Her Children, Seamus Heaney’s The Cure at Troy and Eduardo de Filippo’s Napoli Millionaria. He has served on funding panels for Arts Midwest (Shakespeare for a New Generation) the National Endowment for the Arts, the Theatre Communications Group (New Generations), the New Jersey State Council of the Arts and the New York City Department of Cultural Affairs. Robert has been a finalist for Arkansas Business’ Non Profit Executive of the Year and is a recipient of IABC/Arkansas Communicator of the Year Award. In addition to his duties at The Rep, Robert is a site evaluator for the NEA and a visiting associate professor in the department of theatre arts and dance at the University of Arkansas at Little Rock.

Morgan Jenness, (Bio Pending)

Marshall Jones III (Bio Pending)

Rachel Kraft joined the Lookingglass Theatre Company as executive director in September 2005, bringing almost 20 years experience in the arts. For 12 seasons she served as director of development at the Goodman Theatre, in addition to past key roles at the Arts and Business Council, Northlight Theatre and the Chicago Dance Coalition. Rachel is a new trustee of the Jewish Women's Foundation in Chicago, an active member of the Alumnae Council of the Chicago Foundation for Women, and a charter board member of the Kindling Group, a not-for-profit organization that creates documentary programming about important social, civic and historical issues. Kraft was elected to the TCG board of Directors in June 2006 and currently serves on the Executive Committee.

Martha Lavey (president) is an ensemble member and the artistic director of Steppenwolf Theatre and has appeared at Steppenwolf in Good Boys and True, Love-Lies-Bleeding, Lost Land, I Never Sang for My Father, The House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Supple in Combat, Time of My Life, A Clockwork Orange, Talking Heads, SLAVS!, Picasso at the Lapine Agile, Ghost in the Machine, A Summer Remembered, Love Letters, Aunt Dan and Lemon and Savages.  Elsewhere in Chicago she has performed at the Goodman, Victory Gardens, Northlight and Remains theaters and in New York at the Women’s Project and Productions.  She has served on grants panels for the National Endowment for the Arts, The Theatre Communications Group (TCG) and the City Arts panel of Chicago.  Lavey holds a doctorate in Performance Studies from Northwestern University and is a member of the National Advisory Council for the School of Communication at Northwestern and a board member of TCG.  She is a recipient of the Sarah Siddons Award and an Alumni Merit Award from Northwestern University.

Marc Masterson is the artistic director of Actors Theatre of Louisville, KY.  Mr. Masterson is an award-winning director specializing in new work and innovative productions of the classics. Recent Humana Festival directing credits include the premieres of The Unseen, Natural Selection, The Shaker Chair, After Ashley, and plays by Melanie Marnich, Russell Davis, Charles Mee, and Richard Dresser. Other credits include Mary’s Wedding, The Crucible, Betrayal, As You Like It, and MacBeth. As a producer, Masterson has strengthened Actors' ties with Louisville through innovative educational and community based programs. Previously, he served as producing director of City Theatre for 20 years with distinguished experience as a leader in the cultural community of Pittsburgh, Pennsylvania.

Jonathan Moscone (Bio Pending)

Jennifer Nelson is the former producing artistic director of the African Continuum Theatre, which she led for eleven years. She has worked in professional theatre for thirty-six years as an actress, administrator, educator, playwright, producer and director. She served two terms as President of the League of Washington Theatres and is currently a board member of Theatre Communications Group (TCG), the national association of not-for-profit theatres. For African Continuum Ms. Nelson produced twenty-six plays, including several world premieres. In addition to extensive directing for African Continuum, she has directed at many theatres throughout the Washington DC area, including Ford’s, Round House, Woolly Mammoth, Everyman (Baltimore), Rep Stage, Theatre of the First Amendment, Source, Imagination Stage, Young Playwrights and Tsunami.  Ms. Nelson has also directed at Manhattan Class Company in New York City, the Mark Taper Forum and LATC in Los Angeles, Penumbra in Minnesota, Oregon Shakespeare and the Fulton in Pennsylvania. She has also directed at University of Maryland at College Park, University of Maryland Baltimore County and University of South Carolina. Prior to her directing career Ms. Nelson was for twenty years an actress then associate artistic director of the Living Stage Theatre, the community outreach arm of Arena Stage.  Living Stage was devoted to working with underserved audiences including children, the incarcerated, the disabled and the elderly. Ms. Nelson is a past recipient of an Early Career Director Fellowship from the National Endowment for the Arts and TCG.  She is a published poet and playwright.  Her play, Torn from the Headlines was awarded the 1997 Helen Hayes Award for Most Outstanding New Play.  She is a three-time winner of the Larry Neal Writers Award, a three-time grantee of the DC Commission on the Arts Individual Artist program, and a recipient of the Mayor’s Arts Awards for Excellence in an Artistic Discipline. Ms. Nelson has taught in the theatre departments of George Washington University, American University, George Mason University and UCLA.  She is a graduate of the University of California at Davis.

Paul Nicholson (treasurer) has been executive director of the Oregon Shakespeare Festival since 1995, having spent the prior 16 years as the Festival's general manager. A native New Zealander, Mr. Nicholson served for six years as the administrative director of Downstage Theatre, New Zealand's largest and longest-established professional theatre. Prior to becoming involved in professional theatre, Nicholson worked for ten years in the corporate world. He has a B.C.A. Honors degree (the New Zealand equivalent of an MBA) from Victoria University, Wellington, New Zealand. He has been a guest lecturer at Stanford University, Victoria University of Wellington and other education institutions, and has acted as a management consultant for many not-for-profit organizations. He is actively involved in arts advocacy efforts for the state of Oregon, and served for many years as the president of the Oregon Cultural Advocacy Coalition. He was a founding faculty member of the Western Arts Management Institute and since 1984 has been an adjunct professor at Southern Oregon University. He has also served on a number of panels for TCG and the National Endowment for the Arts. He is a past-chair of the Ashland Community Hospital Board of Directors, a member of the Southern Oregon University Advisory Board, a member and prior director of Rotary, has served on the board of directors of the Ashland Chamber of Commerce and has participated on many local committees and boards.

Lynn Nottage (Bio Pending)

Diane Rodriguez is an OBIE winning theatre artist who directs, writes and performs.  Currently she has a new play running at the Fountain Theater in Los Angeles, titled And Her Hair Went With Her written by Zina Camblin and performed by Tonya Pinkins and Tracie Thoms. For Mattel/Theme Star Productions, she wrote and is supervising director for the international tour of Barbie Live/The Adventures of a Princess premiering in Argentina in July of 2008. Regionally she has directed at South Coast Repertory, Victory Gardens-Chicago, Phoenix Theatre, Actors' Theatre of Phoenix, Borderlands Theatre-Arizona, Hartford Stage-Connecticut, San Jose Repertory, Mixed Blood-Minneapolis, City Theatre- Pittsburgh, and in Los Angeles for Cornerstone Theater Company, The Group at Strasberg, Playwrights Arena and the Mark Taper Forum. She won an OBIE for Performance in 2007 for playing multiply characters in Heather Woodbury's Tale of Two Cities. She received the TCG/NEA Early Career Award for Directing in 1998 and was nominated for the TCG Alan Schneider Director Award by David Emmes/South Coast Repertory for her work on Octavio Solis' Posada Majica. She has developed and directed the works of numerous writers including Nilo Cruz's Hortensia and the Museum of Dreams and Lynn Nottage's Fabulation at Sundance Theatre Lab. In 2005 she became Associate Producer/Director of New Play Production at Center Theatre Group which includes the Ahmanson/Mark Taper and Kirk Douglas Theatres. For ten seasons she was director of the Latino Theatre Initiative and resident artist at the Mark Taper Forum.  

Michael Ross is managing director at Westport Country Playhouse in Connecticut, a position he assumed in 2009. Previously, he served as an arts management consultant specializing in strategic planning, board development and fundraising. As a consultant he has worked with Kansas City Repertory Theatre, SITI Company, Eugene O'Neill Theater Center, Guthrie Theater, Chicago Shakespeare Theater, Crossroads Theatre Company, Puerto Rican Traveling Theatre and Trinity Repertory Theatre. Ross served as the managing director of Center Stage and Long Wharf Theatre. Prior to this he held various positions at National Arts Stabilization, Hartford Stage, Baltimore Opera Company and the Alley Theatre. Additionally, he has served as a panelist for the NEA, Theatre Communications Group, Massachusetts Cultural Council and New England Foundation for the Arts, and has been an adjunct professor at Yale School of Drama. He currently serves on the board of the National Women's Hall of Fame.

Olga Sanchez (secretary) serves as artistic director for the Miracle Theatre Group’s Miracle MainStage and Bellas Artes companies. Olga is an actor, director, writer and artist-educator, originally from New York City, where received her BA in Theatre from Hunter College and served as a co-artistic director of the People's Playhouse. In Seattle, she served as a founder and the artistic director of Seattle Teatro Latino, for which she wrote and directed several pieces celebrating the beauty of Latino cultural heritage. Olga is a member of Los Norteños and Los Porteños writers groups. Her original plays include Reuñión, a ritual play for Día de los Muertos, and Retratos Lindos, bilingual Latin American folktales for children, which toured Western Washington. Her screenplays include Yesler Way, an eight-episode telenovela, and Santiago, a Cuban love story. For Miracle Theatre Group, she has directed some of her favorite projects, including Nilo Cruz' Lorca in a Green Dress, for which she received a Portland Drama Critics’ DRAMMY award for Excellence in Direction. She most recently directed Federico García Lorca’s Bodas de sangre (Blood Wedding, in Spanish). World premiere productions she has directed for Miracle include Quiara Alegría Hudes’ The Adventures of Barrio Grrrl!, Joann Farías’ The Road to Xibalbá, and Rubén Sierra’s When the Blues Chase Up a Rabbit. She co-wrote and directed Miracle’s adaptation of Spirits of the Ordinary with novelist Kathleen Alcalá.  Upcoming projects include Dos Pueblos, a collaboration with Hand2Mouth Theatre and La Comedia Humana (Mexico City), and The Shrunken Head of Pancho Villa by Luis Valdez.  Olga is a member of the Lincoln Center Theatre Director’s Lab; her directorial work has been seen in Seattle, Portland, NYC, Martha's Vineyard, Peru, Venezuela and Cuba. As an actor, Olga has performed in NYC, Martha's Vineyard, Seattle, Portland, Los Angeles, London and Jerusalem. She is a co-founder of La Casa de Artes, a Seattle-based Latino arts and cultural organization. She is the creator of Miracle’s Pluma Nueva bilingual literary and performing arts workshops, Posada Milagro, Miracle’s community-based holiday program, and Cuentos y Teatro, Miracle’s Spanish-language summer acting camp for children. Olga holds a M.A. in Human Development from Pacific Oaks College NW, with specialization in Bicultural Development.

Sean San Jose, (bio pending)

Roche Schulfer, (bio pending)

Mark Shugoll is Chairman of the Arena Stage Board of Trustees. Dr. Shugoll serves on the boards of the Mason Arts Partnership at George Mason University, which includes the Theater of the First Amendment, and the Business Committee for the Arts (BCA). Professionally, Shugoll is CEO of Shugoll Research, a nationally known marketing research company and a leader in arts and entertainment research. Its clients include a prestigious roster of nonprofit theaters, symphony orchestras, opera companies, dance companies, performing arts centers, and choral groups. The company has worked for over 20 TCG member theaters. Under his leadership, Shugoll Research has been an active supporter of the arts. It has created a series of nationally known arts education programs including TheaterTrips! which underwrites theater tickets for students, and ArtSpeak! which brings great artists such as Brian Stokes Mitchell, Kristin Chenoweth, Audra McDonald, Marvin Hamlisch, and Stephen Schwartz into schools. Shugoll Research was twice named one of the "10 Best Companies Supporting the Arts in America" by the Business Committee for the Arts and Forbes magazine. The company and Dr. Shugoll has also been honored with the Business in the Arts Commitment Award (1998), the Business in the Arts Innovation Award (2000) the 2002 Washington Post Award for Innovative Leadership in the Theatre Community, the 2002 Council of American Survey Research Organizations Community Leadership Award for Promoting the Arts Through Research and School Outreach, and the 2003 Founders Award from the Cultural Alliance of Greater Washington. He is in great demand as a speaker and has delivered presentations at the TCG Fall Forum and the annual meetings of LORT, Dance USA, American Association of Museums, Association of Performing Arts Presenters, Opera America and Chorus America. He received his Ph. D. in Policy Analysis from American University (Washington, DC) and lives with his wife, a Signature Theatre trustee, in suburban Washington, DC.

Megan Wanlass Szalla has been a member of SITI Company since 1995. Megan was the Company Stage Manager for five years prior to becoming SITI’s Executive Director. In her tenure with SITI, Megan has helped to create over 25 shows. She began working with Anne Bogart during The Adding Machine at Actors Theatre of Louisville. She has an Arts Administration Certificate from New York University, attended the Executive Program for Non-Profit Leaders at Stanford University Business School, was a member of the Arts Leadership Institute Charter Class at Teachers College, Columbia University and holds a B.A. in Theater from Occidental College in Los Angeles, California.

Susan Trapnell retired from ACT Theatre in April 2008, after 21 years as Managing Director and 1 year as head of endowment planning. Susan also spent two years as Executive Director of the Seattle Arts Commission (now the Office of Arts & Cultural Affairs), one year as Managing Director of the Guthrie Theater in Minneapolis and 4 years as Managing Director of the Bill Evans Dance Company. She currently serves of the Board of Town Hall, Seattle; the Medieval Women’s Chorus, the Kreielsheimer Remainder Trust and TCG. She joined the Arts Consulting Group in June 2008. She is on the advisory board of ArtSpace and the University of Washington Drama School. She has served as President of the Washington State Arts Alliance, Vice Chair of the King County Arts Commission and on the Boards of the Downtown Seattle Association, Seattle Preparatory Academy, and the UMO Ensemble advisory council. Susan moved to Seattle in 1976 to work with the Bill Evans Dance Company where she became Managing Director in 1979. She holds a Bachelor of Arts degree in French from the University of North Carolina and has lived in Vienna, Austria; Lyons and Paris, France; and Guelma, Algeria. Susan is recipient of the Safeco Corporation Rudy Award and the Corporate Council of the Arts Unsung Hero Award.

Mark Valdez (Bio Pending)

Clyde Valentin (Bio Pending)

Kate Warner (Artistic Director) Kate is beginning the second year of her tenure at New Repertory Theatre in Boston.  Kate is continuing New Rep’s mission of producing plays that speak powerfully to the essential ideas of our time, fostering new work, expanding our commitment to education and outreach and promoting New Rep as a major voice in the national dialogue defining the role of theater in our culture. Prior to coming to New Rep, Kate was Artistic Director of Dad's Garage Theatre in Atlanta, Georgia, where she developed innovations in season planning, business models, education programs and audience development.  Kate has amassed an impressive history as both a director and producer as the previous Managing Director/Artistic Associate with Atlanta's Theatrical Outfit, which in December of 2004 moved into its new $5.4 million home, a renovated downtown Atlanta landmark, thus completing an award-winning strategic plan. Her body of directorial work includes, for Dad's Garage: One Flew Over the Cuckoo’s Nest, Skin, and Mojo; for Actor’s Express: The Last Five Years, Pulp, and Octopus; for Theatrical Outfit: Waiting for Godot and The Island; for American Stage: Proof; and for Magic Theatre: Octopus. She has championed new work from playwrights such as Lisa Kron, Alice Tuan, Peter Nachtrieb, Chris Craddock, Kyle Jarrow, Suzan-Lori Parks, Megan Gogerty, David J (Bauhaus), Caridad Svich, Lauren Gunderson, Roberto Aguirre Sacasa, Ross Maxwell, Rolin Jones, David Holstein, John Pierson, Steve Yockey, Heather Woodbury, Chay Yew, and Greg Kotis. Kate serves as a board member of Theatre Communications Group (TCG), the national service organization for non-profit theatres. She is also a member and facilitator of the Lincoln Center Theatre Directors' Lab in New York, a member and panelist of the Directors Lab West in Los Angeles, and a member of the Society for Stage Directors and Choreographers. In summer 2004, Kate completed the Executive Program for Non-Profit Leaders in the Arts at Stanford Graduate School of Business and the New Artistic Leadership Institute with TCG/Dance USA at the McCarter Theatre. Recognition for Kate's directing work includes a Suzi Bass Award Nomination for Best Musical 2008, Sunday Paper Top 10 Director 2007, Suzi Bass Award for Best Director and Best Play 2006, and Best Director Readers’ Pick in Creative Loafing's Best of Atlanta 2007 and 2006. She is a graduate of Kalamazoo College, Kalamazoo, MI with degrees in Theatre and Anthropology.

Jeffrey Woodward has been the managing director of Syracuse Stage since April 2008.  Mr. Woodward has worked for McCarter Theatre Center, Hartford Stage, Northlight Theatre, the Mark Taper Forum and the Oregon Shakespeare Festival and served as a consultant to a number of organizations including the University of Chicago, Court Theatre and the Weston Playhouse.  In 2001, under the sponsorship of the U.S. State Department, Woodward traveled to South Africa to serve as a management consultant to the Baxter Theatre Centre and the Grahamstown Festival.  He is a trustee of Theatre Communications Group, ArtPride New Jersey (a statewide advocacy group for the arts), and is the Secretary for the League of Resident Theatres.  He has served as panel chairman, panelist, and on-site evaluator for the NEA and a panelist for the NEA/TCG Theatre Residency Program for Playwrights, the Leading National Theatre Program for the Duke and Mellon foundations, and the Massachusetts Cultural Council.

Angel Ysaguirre is the Director of Global Community Investing at The Boeing Company. He was a program officer at the McCormick Tribune Foundation from 1996 to 1999 and managed the Foundation’s grants in homelessness, youth development, and employment programs and co-authored “A Guide to Funding Youth Development.” He served as Director of Programs at the Illinois Humanities Council from 1999 to 2005. There he managed the grantmaking program and developed “Brown v. Board 50 Years Later: Conversations on Race, Integration, and the Courts,” “Einstein’s Revolutions,” and The Odyssey Project, a series of college-level courses in philosophy, literature, history, art history, and critical thinking and writing for the poor. He has served on the boards of the Donors Forum of Chicago, the Illinois Center for the Book, Horizons Community Services, Blair Thomas and Company, and the Next Theatre, where he served as board chair.