Diane Rodriguez, President
Lydia R. Diamond, Vice President
Robert Hupp, Vice President
Tim Jennings, Treasurer
Ralph Bryan, Secretary
Sarah Bellamy, Associate Artistic Director - Education; Penumbra Theatre Company, St Paul, MN
Patrick A. Bradford, Attorney, New York, NY
Ralph Bryan, Managing Director-Investments; Wells Fargo Advisors, LLC, La Jolla, CA
Mark Cuddy, Artistic Director, Geva Theatre Center, Rochester, NY
Joshua Dachs, President; Fisher Dachs Associates Theatre Planning and Design; New York, NY
Lydia R. Diamond, Playwright; Evanston, IL
Teresa Eyring, Executive Director; Theatre Communications Group, New York, NY
Larissa FastHorse, Playwright and Choreographer, Santa Monica, CA
Cynthia Fuhrman, Director of Marketing & Communications; Portland Center Stage, Portland, OR
Joseph Haj, Producing Artistic Director; Playmakers Repertory Company, Chapel Hill, NC
Andrew D. Hamingson, Executive Director, St. Ann's Warehouse, Brooklyn, NY
Aimée Hayes, Artistic Director; Southern Rep, New Orleans, LA
Michelle Hensley, Artistic Director; Ten Thousand Things Theater Company, Minneapolis, MN
Ed Herendeen, Producing Director; Contemporary American Theater Festival, Shepherdstown, WV
Philip Himberg, Artistic Director; Sundance Institute Theatre Program, Sundance, UT
Robert Hupp, Producing Artistic Director, Arkansas Repertory Theatre, Little Rock, AR
Chris Jennings, Managing Director; Shakespeare Theatre Company, Washington, DC
Tim Jennings, Managing Director; Children's Theatre Company, Minneapolis, MN
Marshall Jones III, Producing Artistic Director; Crossroads Theatre Company, New Brunswick, NJ
Kwame Kwei-Armah, Artistic Director; Center Stage, Baltimore, MD
Max Leventhal, General Manager; Alliance Theatre, Atlanta, GA
Kate Lipuma, Executive Director; Writers' Theatre, Glencoe, IL
Kevin Moriarty, Artistic Director; Dallas Theater Center, Dallas, TX
Jonathan Moscone, Artistic Director; California Shakespeare Theater, Berkeley, CA
Lynn Nottage, Playwright; Brooklyn, NY
Ralph Peña, Artistic Director; Ma-Yi Theater Company, New York, NY
Heather Randall, Actor, Producer, Theatre Activist; New York, NY
Diane Rodriguez, Associate Producer/Director of New Play Production; Center Theatre Group, Los Angeles, CA
Eric Rosen, Artistic Director; Kansas City Repertory Theatre Company, Kansas City, MO
Michael S. Rosenberg, Managing Director, La Jolla Playhouse, La Jolla, CA
Tim Sanford, Artistic Director; Playwrights Horizons, New York, NY
Sean San Jose, Program Director; Intersection for the Arts, San Francisco, CA
Roche Schulfer, Executive Director; Goodman Theatre, Chicago, IL
Megan Wanlass, Executive Director; SITI Company, New York, NY
Paul G. Wolf, Principal; Denham Wolf Real Estate Services, New York, NY
Mark Valdez, Executive Director; Network of Ensemble Theatres, Los Angeles, CA
Clyde Valentin, Executive Director; Hip-Hop Theater Festival, Brooklyn, NY
Angel Ysaguirre, Deputy Commissioner for Arts Planning; City of Chicago - Department of Cultural Affairs and Special Events, Chicago, IL
Sarah Bellamy is the Associate Artistic Director - Education for Penumbra Theatre Company, one of the preeminent African American theatre companies in the nation. She has designed and launched several acclaimed programs that engage patrons of the theatre in critical thinking, dialogue and action around issues of race and social justice. Among the most renowned is the "RACE Workshop: Meet Your Metaphor," curated to accompany the Science Museum of Minnesota's 2007 exhibit RACE: Are We So Different?, and Penumbra Theatre's Summer Institute, an intensive theatre-training program for youth to practice socially responsible art and civic engagement. Graduates of the program employ practical tools acquired at Summer Institute to activate social change projects addressing issues of import to their communities. A skilled facilitator, Ms. Bellamy works with learners of all ages to engage in sometimes difficult conversations about race and American history. Using theatre as a site for critique, modeling and problem-solving, participants begin to see themselves and the potential for their own activism as empowering and inspired. Ms. Bellamy is the principal scholar and editor for Penumbra Theatre Company and in that capacity supervises the August Wilson Fellowship Program, a doctoral fellowship in dramaturgy and literary criticism, in partnership with the University of Minnesota. She has researched and composed over twenty contextual essays to accompany Penumbra's main-stage productions since 2005. In conjunction with these comprehensive study guides, she oversees the creation of standardized, original curricula for educators to engage culturally specific arts in their classrooms. A graduate of Sarah Lawrence College, she studied creative writing and postcolonial theory and holds an M.A. in the Humanities from The University of Chicago in Caribbean Studies where she specialized in colonial history from 1400-1800. Since returning to the Twin Cities, Ms. Bellamy has focused her attention once again on creative writing including short stories, screenwriting and playwriting. She is currently working toward her doctorate in Comparative Studies and Discourse in Society at the University of Minnesota.
Patrick A. Bradford is a practicing lawyer in New York. He has served as a trustee for the Public Theater, the Negro Ensemble Company, the New Professional Theater, the Shakespeare Society and the Theater Development Fund.Back to top
Ralph Bryan (Secretary) is a past chairman of the La Jolla Playhouse where he served as board chairman from 2006 to 2009 and trustee since 2000. He has served on or chaired committees for the Playhouse's capital campaign, finance, fundraising, and long range planning and chaired the national search for Artistic Director and Managing Director. He also serves on the board of Tectonic Theatre Project. Ralph is a two time Tony winner whose shows include Jersey Boys (Tony Award), Memphis (Tony Award), Matilda, Hands on a Hard Body, Jesus Christ Superstar, American Idiot (Tony Nomination), 33 Variations (Tony Nomination), Cry-Baby (Tony Nomination) and Farnsworth Invention. Ralph is a Managing Director-Investments at Wells Fargo Advisors, LLC.Back to top
Mark Cuddy is in his 19th season as Artistic Director of Geva Theatre Center, where he has directed over thirty productions including his own adaptations of Pride and Prejudice (with Marge Betley) and A Christmas Carol (music by Gregg Coffin), as well as the premiers of Convenience, Splitting Infinity, Thornton Wilder's Theophilus North which was also seen at Arena Stage, Famous Orpheus (choreography by Garth Fagan), and the East Coast premieres of both House and Garden. Classics directed at Geva include Hamlet, The Comedy of Errors, The Miser, You Can’t Take It With You and Our Town. Musicals include Company, Sweeney Todd, The Music Man, A Chorus Line and 1776. Mr. Cuddy has overseen a complete artistic renaissance at Geva including a new play development program that has spawned 19 premier productions, two transfers to Off Broadway, and over sixty-five other productions of Geva-born plays and musicals. Geva's education programs are nationally recognized and have been under the direction of Skip Greer since 1996. Prior to his tenure at Geva Theatre Center, Mr. Cuddy was the Artistic Director of both the Idaho Shakespeare Festival and Sacramento Theatre Company.Back to top
Joshua Dachs has led the international Theatre Planning and Design firm Fisher Dachs Associates since 1984. With offices in New York and Stratford-upon-Avon, FDA is one of the leaders in the field. Founded by 9-time Tony Award winner Jules Fisher, the firm has undertaken projects in over a dozen countries on 5 continents, including 4 opera houses, 6 concert halls, and many touring houses, dance and drama theatres, recital halls, conservatories, and educational theaters. In previous lives, Dachs has been a producer, a scenic and lighting designer, and a violinist. He has worked on new building projects for many of America's leading drama companies, including over a dozen TCG member theaters. He has been a guest lecturer and critic at Harvard's Graduate School of Design, SCI-Arc, and the UCLA School of Architecture. He is a member of the American Society of Theatre Consultants and the International Society for the Performing Arts. Josh's wife, Ako, is a stage, television and film actress.Back to top
Lydia R. Diamond's plays include Stick Fly (’10 Boston Irne Award — Best Play, ’10 LA Critics Circle Awards, ’10 LA Garland Award — Playwriting, ’08 Susan S. Blackburn Finalist, ’06 Black Theatre Alliance Award — Best Play), Voyeurs de Venus (’06 Joseph Jefferson Award — Best New Work, ’06 BTAA — Best Writing), The Bluest Eye (’06 Black Arts Alliance Image Award — Best New Play, ’08 AATE Distinguished Play Award), The Gift Horse (Theadore Ward Prize, Kesselring Prize 2nd Place), Harriet Jacobs, Stage Black, and Lizzie Stranton. Theatres include: Arena Stage, Chicago Dramatists, Company One, Congo Square, Goodman Theatre, Hartford Stage, Huntington Theatre Co, Kansas City Rep, L.A. Theatre Works, Long Wharf, McCarter Theatre Center, MPAACT, New Vic, Playmakers Rep, Providence Black Rep, Steppenwolf, TrueColors, The Matrix, Lorraine Hansberry Theatre, Underground Railway Theatre, Actors Theatre of Louisville, and The Contemporary American Theatre Festival. Lydia has been commissioned by: Steppenwolf, McCarter, Huntington, Actors Theatre of Louisville/Victory Gardens, Humana, Boston University, and Roundabout. Stick Fly and Harriet Jacobs are published by NU Press, Bluest Eye, Gift Horse, Stage Black — Dramatic Publishing. Lydia was a 2007 TCG/NEA Playwright in Residence at Steppenwolf, 2006/07 Huntington Playwright Fellow, 2009 NEA/Arena Stage New Play Development Grant Finalist, is a TCG Board Member, and a Resident Playwright at Chicago Dramatists. Lydia is on faculty at Boston University.Back to top
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. She currently serves on the boards of the Performing Arts Alliance and The Actor's Fund. Eyring holds a BA from Stanford University and an MFA from Yale School of Drama.Back to top
Larissa FastHorse is a playwright and choreographer from the Sicangu Lakota Nation. She was awarded one of five 2010 National Endowment for the Arts Distinguished New Play Development Grants for FANCY DANCER with Children’s Theatre Company of Minneapolis, currently in development. Other commissions include Kennedy Center Theatre for Young Audiences, Cornerstone Theatre Company, and AlterTheater. Mountainside Theatre premiered her new play, CHEROKEE FAMILY REUNION, in the summer of 2012. Other productions include TEACHING DISCO SQUAREDANCING TO OUR ELDERS: A CLASS PRESENTATION for Native Voices at the Autry, winner of the AATE Distinguished Play Award, and AVERAGE FAMILY for Children’s Theatre Company. Larissa is an alum of Berkeley Rep's Ground Floor, Center Theatre Group’s Writers Workshop, the Playwright’s Union and the Café Bohemia series at Arizona Theatre Company. Larissa also developed the musicals, SERRA SPRINGS and DIFFERENT DOES NOT MEAN THE SAME, with Native Voices. Larissa was awarded the Sundance/Ford Foundation Fellowship, Aurand Harris Fellowship, William Inge Residency and numerous Ford Foundation and NEA Grants as well as being a three time NEA Theatre Panelist. She is published with Dramatic Publishing and Plays for Young Audiences. In her spare time, Larissa returns to her previous life as a ballet dancer through choreography. She is represented by Jonathan Mills at Paradigm NY and lives in Santa Monica with her husband, sculptor Edd Hogan. hoganhorsestudio.com.Back to top
Cynthia Fuhrman, Director of Marketing & Communications at Portland Center Stage, has worked in marketing and communications, primarily in the professional theater, since 1981, with two detours - which she highly recommends taking. She has led the marketing and communications functions at several companies around the U.S.: as Manager of Public Relations at the Oregon Shakespeare Festival in Ashland ('81-87), and Director of Marketing and Communications when OSF opened its Portland branch ('88-94), and through its transition to Portland Center Stage ('94-98); between Ashland and Portland, Cynthia spent a season at StageWest in Massachusetts ('87-88) as Director of Public Relations; and for five seasons, she was Director of Marketing and Communications at Seattle Repertory Theatre ('03-07). The first detour from professional theater came when Cynthia was from 1998-2002 the Chief Operating Officer for eyescream interactive, inc., at the time the Northwest's largest internet marketing agency; a second breather from the theater came in 2007, when for a year she was the Communications Director for the City of Portland's Office of Sustainable Development, a crash course in promoting all things green - from building to recycling. So it seemed fitting to return to PCS in 2008 as Director of Marketing and Communications, as PCS is the first LEED platinum-designated performing arts venue in the U.S. Cynthia holds her B.A. and M.A. degrees in Humanities, and attended the University of Oregon, the American University of London, and Southern Oregon University.
Joseph Haj is the Producing Artistic Director of PlayMakers Repertory Company in Chapel Hill, NC. In addition to his work at PlayMakers he has directed and performed in theatres throughout the United States and abroad including the Guthrie, the Public Theatre/NYSF, the Alley, the Mark Taper Forum, the Ahmanson, Actors Theatre of Louisville, The Folger, the Oregon Shakespeare Festival and many others. He has worked overseas in Salzburg, Edinburgh, Paris, Berlin, Venice and Japan. Outside of traditional theatres, Joseph has directed projects in a maximum-security prison, in Batesburg-Leesville, South Carolina and in the West Bank and Gaza. As an actor Joseph has worked with many of the theatre's foremost directors including Garland Wright, Anne Bogart, Jon Jory, Peter Sellars, Sir Peter Hall, JoAnne Akalaitis, Robert Woodruff and others. Joseph is the recipient of an NEA Millennium Grant, was a participant in the Career Development Program for Directors through TCG, and was named by American Theatre magazine as one of 25 theatre artists who will have a significant impact on the field over the next quarter century. His production of Hamlet at the Folger Theatre in Washington, DC was awarded the 2010 Helen Hayes Award for Outstanding Production. Joseph is a member of Under the Radar's Director’s Circle.Back to top
Andrew D. Hamingson is the Executive Director of St. Ann's Warehouse. He is an Executive in iBroadway, the mobile marketing firm, and a Partner in Fabula Media Partners, a commercial theater production company, which was recently represented on Broadway with the show THE MOTHERF&*KER WITH THE HAT. Andy oversaw all administrative and fiscal matters at The Public Theater from 2008 until February 2011, and managed the Public Theater's first ever $35 million Building Campaign and renovation project which broke ground on March 9, 2010. Additionally, Andy was a Managing Partner of the transfers of HAIR (Broadway--Tony Award winner for Best Revival of a Musical 2009, London, and National Tour), The Merchant of Venice, and Bloody Bloody Andrew Jackson. Before joining The Public, Andy served as Atlantic Theater Company's Managing Director since 2004 where he increased contributed income by 300% in four seasons and began a $10 million capital campaign to renovate their Mainstage. Prior to the Atlantic, he worked at the Manhattan Theatre Club for 12 years, the last five as Director of Development, culminating in raising $40 million to renovate and restore the historic Biltmore Theater. Andy has been a Visiting Professor at the Yale School of Drama Theater Management Program since 1997. He serves on the Board of Theatre Communications Group. He is also a member of the Board of the League of Off-Broadway Theaters, and on the Advisory Boards of The Mahaiwe Performing Arts Center, Berkshire Playwrights Lab, and Page 73 Productions.
Aimée Hayes, Artistic Director of Southern Rep, has focused on new play development with the launch of a monthly PLAYLAB; the CROSSTOWN READING SERIES for local new plays; 6x6, a monthly play slam; the NEW PLAY BACCHANAL; and The RUBY PRIZE, an annual $10K new play award for a female playwright of color. At Southern Rep she has directed the World Premieres of Sick, Afterlife and With A Bang, and the regional premieres of In The Next Room (or The Vibrator Play), The Clean House, Speech & Debate and Grey Gardens. Locally Hayes produced and directed three seasons of the Red Light District Variety Show at Le Chat Noir, and The Uprising in a co-production with Le Chat Noir. A key member of Vital Theatre Company in NYC, Hayes directed and produced new works. She has also served as an Artistic Associate at The Shakespeare Festival at Tulane. Panels and other associations include: the National Endowment for the Arts, the MAP Fund, the Arts Council of New Orleans and ArtsReady. Hayes was a directing intern at Actors Theatre of Louisville under Jon Jory. She earned her directing MFA from Tulane University, and an English BA magna cum laude from Loyola University. Hayes was one of New Orleans Magazine's 2008 People to Watch. She serves as a board member of Theatre Communications Group (TCG), the national service organization for non-profit theatres.Back to top
Michelle Hensley is the founder and artistic director of Ten Thousand Things Theater Company. Using the Twin Cities' finest actors she has brought over fifty tours of the big stories of theater, including Shakespeare, Greek tragedy and Brecht, directly to audiences in prisons, shelters and other low-income centers, as well as the general public, with most productions ending up in multiple local critics' Best of the Year lists. She has twice been City Pages Theater Artist of the Year, twice been named Best Director by City Pages and Minnesota Monthly, was named 2012 Best Artistic Director by the Star Tribune, and has been awarded the Francesca Primus Prize, for outstanding contribution to the American Theater by a female artist.Back to top
Ed Herendeen founded the Contemporary American Theater Festival in Shepherdstown, West Virginia in 1990 with the mission to produce and develop new American theater. Through his leadership, and operating under an AEA LORT D contract and an annual budget of over one million dollars, the Theater Festival has produced 90 new plays - including 34 world premieres and nine commissions - and has gained a reputation as one of America's most important producers of new work. Hosted on the campus of Shepherd University, CATF sells over 12,000 tickets to its four-week rotating repertory season of five new plays and attracts a national audience from 35 states to the region. Each summer, the Festival generates a local economic impact of over $2.1 million dollars to West Virginia's Eastern Panhandle. Recently, Ed's directing credits include The Eclectic Society by Eric Conger, a world premiere produced by the Walnut Street Theater in Philadelphia. Among the plays he has directed at the Contemporary American Theater Festival are the following world premieres: Whores by Lee Blessing; Miss Golden Dreams: A Play Cycle and Bad Girls by Joyce Carol Oates; Compleat Female Stage Beauty by Jeffrey Hatcher (which was commissioned by CATF and later produced as the film Stage Beauty); Carry the Tiger to the Mountain by Cherylene Lee; Octopus by Jon Klein; Jazzland by Keith Glover; Dear Sara Jane by Victor Lodato; The Ecstasy of Saint Theresa by John Olive; The Occupation by Harry Newman; What Are Tuesdays Like? by Victor Bumbalo; From Prague by Kyle Bradstreet, and Still Waters and Psyche Was Here by Lynn Martin. Other Theater Festival directing credits include: Ages of the Moon, The God of Hell, and The Late Henry Moss by Sam Shepard; Fifty Words by Michael Weller; Race by David Mamet; Farragut North by Beau Willimon; The Overwhelming and White People by J.T. Rogers; Mr. Marmalade by Noah Haidle; Blessing's Thief River; and Below the Belt, Gun-Shy, and Something in the Air by Richard Dresser. Ed has also worked at The Milwaukee Repertory Theatre, The Missouri Repertory Theatre, The Old Globe, The Lyceum Theatre, and the Williamstown Theatre Festival. In 1999, WV Governor Cecil H. Underwood presented CATF with the Governor's Award for Excellence in the Arts. Ed was honored with the College of Fine Arts Distinguished Alumni Award in Theater from Ohio University (from which he received his MA in Directing); has served on the Admissions Committee for New Dramatists and as a panelist for the National Endowment for the Arts; and, in 2011, was voted onto the board of Theatre Communications Group (TCG), the national service organization for American theaters.Back to top
Philip Himberg has overseen all aspects of the Sundance Institute Theatre Program since 1997. Under his aegis, the Sundance Institute Theatre Program has grown to include a range of new Theatre Labs, including the Sundance Institute Theatre Lab at White Oak, the Sundance Institute Playwrights Retreat at Ucross, and Labs on Governors Island and at MASS MoCA. In addition, he has created the Sundance Institute Theatre International Initiative which has championed Eastern European work and is currently engaged in Sundance Institute East Africa, a theatre initiative in Kenya, Rwanda, Tanzania, Ethiopia and Uganda. He has directed the Sundance Summer Theatre, an outdoor venue that produced American musicals and presented international and original work on the Sundance Children's Theatre stage, as well as on tour. Philip most recently wrote the play, Paper Dolls, an adaptation of the Israeli documentary film, which will have its world premiere at the Tricycle Theatre, London in March 2013 . He co-wrote and directed the world premiere of Maureen McGovern's A Long and Winding Road at Boston's Huntington Theatre and Arena Stage in D.C. Now titled Carry It On, the play opened at Geva in Rochester last season, and was subsequently produced at Two Rivers Theatre, in New Jersey in 2012. Other world premieres include Terrence McNally's Some Men at the Philadelphia Theatre Company, and the West Coast premieres of Tony Kushner's Only We Who Guard the Mystery Shall Be Unhappy, starring Sally Field and William Finn's Elegies. He directed the concert versions of William Finn's Songs of Innocence and Experience for Lincoln Center Songbook at the Allen Room, and in Williamstown, Massachusetts, and at Merkin Concert Hall in New York. In Los Angeles, he directed Flora the Red Menace for Reprise. For the Sundance Summer Theatre, he directed revivals of Fiddler on the Roof (with Michael Rupert), Funny Girl (with Judy Blazer), and a new version of Jerry Herman's musical Dear World. He also conceived and directed the world premiere of War Letters in L.A., which starred Treat Williams and Mario Van Peebles. His other directing credits (Playwrights Horizons/Queens Theatre-in-the-Park) include Chekhov's The Boor, Oh! What a Lovely War!, The Member of the Wedding, and The Dybbuk. Mr. Himberg received his B.A. in Theatre Arts at Oberlin College studying under Herbert Blau. He was coartistic director of Playwrights Horizons in New York, in the theatre's most formative years and directed there as well. He is a recipient of the Theatre Communications Group/National Endowment for the Arts Artistic Fellowship, which brought him to the Mark Taper Forum in Los Angeles, where he was staff producer for the Mark Taper's Improvisational Theatre Project (I.T.P.), a resident touring ensemble. He created the first live performance series at the Sundance Film Festivals presenting Sundance Institute Theatre Lab-developed work for audiences there (Doug Wright's I Am My Own Wife, The Gimmick by Dael Orlandersmith, and Charlayne Woodard's In Real Life), as well as curated solo performances for the Festival (Jodie's Body, The Vagina Monologues). He currently serves as President of the Board of Directors of Theatre Communications Group. Mr. Himberg has served as an adjunct professor of Theatre at NYU/Tisch and also teaches at Yale School of Drama. His essay, Family Albums, published in 2007 in the Dutton Anthology, Girls Who Like Boys Who Like Boys, was recently released in paperback. He has been licensed as a Doctor of Chinese Medicine and Acupuncture since 1985.Back to top
Robert Hupp is in his fifteenth season as producing artistic director of Arkansas Repertory Theatre. Robert’s directing credits for The Rep include Death Of A Salesman, Henry V, To Kill a Mockingbird, The 39 Steps, Hamlet, Cat on a Hot Tin Roof, Les Misérables, It’s A Wonderful Life: A Live Radio Play, Sherlock Holmes: The Final Adventure, The Full Monty, Moonlight and Magnolias, Of Mice and Men, Steel Magnolias, Much Ado About Nothing, Children of Eden, Romeo & Juliet, God’s Man in Texas, The Spitfire Grill, Fully Committed, Proof, The Tempest, You Can’t Take It With You and The Grapes of Wrath. He also recently directed Les Miserables for Arizona’s Phoenix Theatre Company (AriZoni Awards include best musical production, best director) and the American premieres of Glyn Maxwell’s The Lifeblood and Wolfpit for the Phoenix Theatre Ensemble in New York City. Prior to assuming his position at The Rep, Robert spent nine seasons as artistic director of Jean Cocteau Repertory theatre in New York City. Robert directed several works for the Obie Award-winning Jean 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. Robert was named “Non Profit Executive of the Year” at the 2012 Arkansas Business of the Year awards, is the recipient of the 2012 Diamond Award from the Public Relations Society of America and is the 2013 recipient of the Arkansas Governor’s Arts Award for an Individual Artist.
Chris Jennings joined the Shakespeare Theatre Company in 2004. He currently serves on the Board of the Theatre Communications Group, DC Downtown BID, THE ARC, DC Arts Collaborative and the Penn Quarter Neighborhood Association, and is a member of the League of Resident Theatres, where he has served on AEA and SSDC Negotiating Committees. Jennings has served as a panelist for the National Endowment for the Arts, DC Commission on the Arts and Humanities and the Mid Atlantic Arts Foundation. He previously served as General Manager of Trinity Repertory Company (1999-2004) and Theatre for a New Audience (1997-1999). Jennings has also held positions with Yale Repertory Theatre, Manhattan Theater Club, Texas Young Playwrights Festival and Dougherty Arts Center. A recipient of an Arts Administration Fellowship from the NEA, Jennings earned his BFA in Theatre/Music from the University of Miami and his MFA in Theatre Management from the Yale School of Drama.
Tim Jennings joined the Tony award winning Children’s Theatre Company as Managing Director in November of 2011. Working in partnership with Artistic Director Peter Brosius, Tim manages the marketing, resource development, educational and administrative functions of the theatre, its programs and subsidiaries (Costume Rentals, Plays for Young Audiences, Neighborhood Bridges) and supports Peter’s profound artistic vision. Prior to joining CTC, Tim spent 4 season as the Managing Director of Seattle Children’s Theatre where he shepherded the company through a $2 million budget reduction, several foreign artist collaborations (including bringing the first professional theatre company from Iran to the US in 30 years) and multiple CBA negotiations. Previously, Tim served as the Managing Director of the Roseneath Theatre in Toronto for eight seasons and taught Theatre Production and Management at both Ryerson University and Humber College theatre schools. Tim’s history includes management roles with such notable Canadian companies as the Canadian Stage Company, The Canadian Opera Company, Ainsworth at SkyDome and Theatre Passe Muraille as well as running his own theatrical management consulting firm. Tim has produced work garnering a total of 15 Dora Award Nominations (Toronto’s ‘Tony’) including 7 wins, 3 of which were for Outstanding Production. Under his leadership, Roseneath Theatre also won 3 Canada Council for the Arts ‘Prizes’, 2 Chalmers Awards for new play development and had a play nominated for the National Literary Prize of Germany (in translation). He has taken productions to 4 continents, well over a dozen countries and over 40 States in the last decade. In 2007, Tim was shortlisted for Canada’s ‘Arts Manager of the Year’. Alongside his appointment to the TCG board where he serves as Treasurer, Tim sits on the board of the Minnesota Theatre Alliance and the Ivey awards committee and is a past membership chair of IPAY (International Performing for Young People) and a past Board member of the Washington State Arts Alliance. Tim has served on the cultural database steering committees in both WA and now in MN and on the Board of the Boys and Girls Club in King/Kitsap counties (WA). Tim is married to Truly Carmichael and together they raise their 13 year old son, Zachary.
Marshall Jones III is the Producer of the Tony-Award winning Crossroads Theatre Company as well as an Associate Professor of Theater Arts at the prestigious Mason Gross School of the Arts at Rutgers University. Marshall has more than twenty-five years of experience in a wide variety of key executive positions at some of New York city's most reputable institutions including the world famous Apollo Theater (General Manager), the world's most famous arena — Madison Square Garden (Company Manager & Associate Producer), the historic landmark Radio City Music Hall (Producer), and Disney On Broadway's The Lion King. Marshall earned a BA in Theater Arts from Rutgers University and an MA in Arts Management from New York University. He is also a member of the New Brunswick Arts Council, in addition to proudly serving on the Board of Directors of several professional organizations including the Alliance For Inclusion in the Arts (formerly the Non-Traditional Casting Project); the American Conference on Diversity and Blackberry Productions. Most recently Marshall was appointed by the Governor as a Commissioner of the NJ Public Broadcasting Authority.Back to top
Kwame Kwei-Armah is Artistic Director of Baltimore Center Stage and Chancellor of the University of the Arts London. As a playwright, he has served as Writer in Residence for the Old Vic and BBC Radio. Amongst his many plays, Elmina’s Kitchen, Fix Up, and Statement of Regret premiered at the Royal National Theatre of Great Britain, with Elmina’s Kitchen transferring to London’s West End, making him the first Black British playwright to have that honour. Kwame was awarded an OBE from Queen Elizabeth II on her Jubilee Honours List for Services to Drama. Awards: Olivier Award, BAFTA noms., Evening Standard Charles Wintor Award, Screen Nation Award, 100 Black Men of Britain Public Figure Award, GPA Man of the year. He is currently on the board of TCG and serves on the Steinberg Playwright Award Advisory Committee. Plays directed at Center Stage: Things of Dry Hours, The Whipping Man, Enemy of the People, The Mountaintop, dance of the holy ghosts. At the Tricycle Theatre: Let There be Love, Seize the Day. At The Public Theater: Detroit ’67 (nominated for 12 Audelco Awards including Best Director), Paradise Blue. He also directed the opening ceremony of the World Festival of Black Arts and Culture in Dakar, Senegal.
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Max Leventhal is the General Manager of Atlanta's Alliance Theatre where he is on the executive management team with the Artistic Director and Director of Finance. Max and his wife, Artistic Director, Susan V. Booth, were both hired from Chicago's Goodman Theatre and are enjoying their 11th anniversary at the Alliance. This past season's work culminated in Susan's directing the Ghost Brothers of Darkland County, written by Stephen King, music and lyrics by John Mellencamp and musical direction by T Bone Burnett. Max's role on the team is the operational officer of the theatre: overseeing Marketing and Production staff, budget development and impact, strategic initiatives, union relations, mentoring staff, and acts as a community and board representative for the theatre. The Alliance enters into partnerships to bring developmental work to the Atlanta audience that the theatre could not do without additional resources. These are co-productions and enhanced projects, deals made and productions supervised by Max, which include Bring It On!, the Musical and Sister Act, the Musical, Ghost Brothers, Come Fly Away, The Color Purple, the national tour of The 25th Annual Putnam County Spelling Bee, among many others. Max Leventhal comes to the Alliance Theater from Chicago's Goodman Theatre, where he had the great good fortune to complete construction of a new facility in Chicago's Loop, ten years in the making. While at the Goodman, and before that the American Repertory Theatre, Max partnered with many theaters and New York producers on Broadway and New York stages: Death of a Salesman,The Young Man from Atlanta, Moon for the Misbegotten, Boy Gets Girl, and The Notebooks of Leonardo Da Vinci. Worked in partnerships with the Barbican Center/RSC, London; Thalia Theatre, Hamburg; MC93, Bobigny, FRA; Tokyo Old Globe; Teatro Espanol, Madrid; and in the states; Manhattan Theatre Club, Mark Taper Forum, Old Globe, Seattle Rep, the Huntington, Cinncy, St. Louis, Serious Fun Festival, and Arena Stage. Max serves on the Advisory Board of the Metropolitan Atlanta Arts Fund; The Board of Trustees of Theatre Communications Group; on the Steering Committee and Chairs the Film Selection Committee for the Atlanta Jewish Film Festival, many LORT negotiating committees and educational panels, and is a volunteer cook at the Peachtree Presbyterian Church's Shelter for Women. Max teaches Theatre 240 - Theatre Administration at Emory University. Education: BA Literature/Theatre, Reed College, Portland, Oregon. MFA in Technical Design and Production, Yale School of Drama.Back to top
Kate Lipuma joined Writers' Theatre as its Executive Director in March 2007. Currently, she is leading the planning and creation of a new state of the art theater center which will be the future home for Writers' Theatre's two venues, rehearsal and administrative spaces. Kate is partnering with internationally renowned architect and recent MacArthur Fellow or "Genius Grant" recipient Jeanne Gang of Studio Gang Architects on the project. Prior to Writers', Kate spent nine seasons as Executive Director with the award-winning Signature Theatre Company in New York, working with such acclaimed writers as Edward Albee, Lee Blessing, Horton Foote, Maria Irene Fornes, John Guare, Bill Irwin, Romulus Linney, Paula Vogel, August Wilson and Lanford Wilson. Prior to her time at Signature, she spent six years with the Goodman Theatre. Kate currently serves as a board member for the League of Chicago Theatres, the trade association representing more than 200 Chicago-area theater companies and producers and Theatre Communications Group, the national service organization of American not-for-profit theaters. She is also the co-creator of DoNORTH, a new umbrella organization joining four cultural neighbors - Chicago Botanic Garden, Kohl Children's Museum, Ravinia Festival and Writers' Theatre - to attract new audiences to the cultural and community activities of Chicago’s North Shore. She is a graduate of The George Washington University in Washington, DC.
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Kevin Moriarty is the artistic director of Dallas Theater Center, where he has directed productions of The Wiz; Henry IV; It's a Bird, It's a Plane, It's Superman; Fat Pig; A Midsummer Night's Dream; In the Beginning; and The Who's Tommy. Before joining DTC in the fall of 2007, Kevin served as the artistic director of the Hangar Theatre in Ithaca, NY for seven years. At the Hangar he directed world premieres of plays by Itamar Moses, Roberto Aguirre-Sacasa, Kenny Finkle and Kathryn Walat, as well as a variety of classics and musicals. From 2002-2007 Kevin was the Head of Directing for the Brown University/Trinity Rep Consortium MFA program in Providence, RI, and he was an Associate Artist at Trinity Rep Company, where his productions included The Merry Wives of Windsor (Elliot Norton Award: Best Director), Richard II, Richard III, A Delicate Balance and Nickel and Dimed. Kevin has also directed plays off-Broadway and at regional theaters nation-wide, including the Lamb's Theatre, Syracuse Stage, Virginia Stage Company, Queens Theatre in the Park, the Flea Theatre, HERE, Theatreworks/USA, and the national tour of Jesus Christ Superstar starring Sebastian Bach and Carl Anderson. Kevin has served as a public school music teacher at La Crescent High School in La Crescent, MN; as a teaching artist at middle schools in New York City; and as a Clinical Associate Professor at Brown University. He currently teaches at Booker T. Washington for the Visual and Performing Arts in Dallas. Kevin is a recipient of a Drama League directing fellowship and a graduate of the University of Wisconsin.
Jonathan Moscone is completing his 12th season serving as Artistic Director of California Shakespeare Theater where he most recently directed The Tempest. Earlier this year he directed the world premiere of Ghost Light, which he co-created and developed with playwright Tony Taccone for Oregon Shakespeare Festival and Berkeley Repertory Theatre. In addition, he directed Bruce Norris' Clybourne Park for American Conservatory Theater prior to its winning the Pulitzer Prize. Cal Shakes credits include the world premiere of John Steinbeck's The Pastures of Heaven by Octavio Solis (recipient of the inaugural NEA New Play Development Award); The Life and Adventures of Nicholas Nickleby; The Tempest; Candida; Twelfth Night; Happy Days; and The Seagull. He is the first recipient of the Zelda Fichandler Award, given by the Stage Directors and Choreographers Foundation for "transforming the American theatre through his unique and creative work." Regional credits include Huntington Theatre, Alley Theater, Milwaukee Repertory Theater, Goodspeed Musicals, Dallas Theatre Center, San Jose Repertory Theater, Intiman Theatre, and Magic Theatre, among others. Mr. Moscone is a recipient of a Stanford Graduate School of Business Center for Social Innovation Fellowship and is an adjunct faculty member with A.C.T.'s MFA program.Back to top
Lynn Nottage's Pulitzer Prize-winning play Ruined has also received an OBIE, the Lucille Lortel Award, New York Drama Critics' Circle Award, Drama Desk Award, and Outer Critics Circle Award for Best Play (Manhattan Theatre Club, Goodman Theatre). It premiered in London at the Almeida Theatre in April 2010, and will tour several US regional theatres in 2010-2011. Her play By The Way, Meet Vera Stark will premiere at Second Stage Theatre during its 2010-2011 season. Other plays include Intimate Apparel (New York Drama Critics' Circle Award for Best Play; Roundabout Theatre, CENTERSTAGE, South Coast Repertory); Fabulation, or The Re-Education of Undine (OBIE Award; Playwrights Horizons, London's Tricycle Theatre); Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por'knockers and POOF! Nottage is the recipient of numerous awards, including the 2007 MacArthur Foundation "Genius Grant," the National Black Theatre Festival's August Wilson Playwriting Award, the 2004 PEN/Laura Pels Award for Drama, the 2005 Guggenheim Grant for Playwriting, as well as fellowships from the Lucille Lortel Foundation, Manhattan Theatre Club, New Dramatists and New York Foundation for the Arts. Her most recent publications include: Ruined (TCG), Intimate Apparel and Fabulation, or The Re-Education of Undine: Two Plays (TCG) and Crumbs from the Table of Joy and Other Plays (TCG). She is a member of The Dramatists Guild, an alumna of New Dramatists and a graduate of Brown University and the Yale School of Drama, where she is a visiting lecturer. www.lynnnottage.net
Ralph Peña is a founding member and the current Artistic Director of the Obie and Drama Desk Award winning Ma-Yi Theater Company. Recent directing credits include Michael Lew's Microcrisis (EST/Youngblood and Ma-Yi Theater Company), Lloyd Suh's Children of Vonderly (Ma-Yi) and Happy End of the World (Children's Theater Company and Ma-Yi at Arena Stage), Nicky Paraiso's House/Boy (La Mama ETC, Singapore and Dublin Theater Festivals), and Savage Acts by Kia Corthron, Han Ong, Sung Rno, and Jorge Ignacio Cortiñas (Ma-Yi). He is also the author of Flipzoids, Dead Man's Socks, I__NY, Project: Balangina (with Sung Rno), and additional text and lyrics for Lonnie Carter's The Romance of Magno Rubio (Obie Award). Apart from Ma-Yi Theater Company, his work has been seen at Long Wharf Theater, KumuKahua, Northwest Asian American Theater, ASIA Theater, San Diego Asian American Rep, La Mama ETC, Philadelphia Shakespeare, Victory Gardens, Laguna Playhouse, Fox Theater, NYSF/Public Theater, the Odeon Theater in Romania, and the Cultural Center of the Philippines. Ralph was one of the lead organizers of the first U.S. Artists contingent to the World Social Forum in Nairobi, Kenya. He is a member of the Ma-Yi Writers Lab, and Ensemble Studio Theater.Back to top
Heather Randall is is a philanthropist, activist and actor in the theatre community. She is currently Co-President of the Board of New York Theatre Workshop and also sits on the boards of Neighborhood Playhouse and the Actors Center in addition to TCG. As an actor she appeared on Broadway in Judgment at Nuremburg, Inherit the Wind, Three Men on a Horse and The Master Builder. She is a graduate of New York University's Tisch School of the Arts and resides in New York City and Los Angeles.Back to top
Diane Rodriguez is an Obie Award winning multi-disciplinary theatre artist. She is an accomplished actor, anthologized writer, regional theatre director and Associate Producer/Director of New Play Production at Center Theatre Group (CTG), Los Angeles. She began her career as a lead actress with the seminal ensembe, El Teatro Campesino. Recognized as one of the country's leading advocates for non-text based and ensemble driven work as well as a long time advocate of Latino playwrights and actors, Diane maintains her artistic career while being a member of the artistic staff of Center Theatre Group, which includes the Mark Taper Forum, the Ahmanson Theatre and the Kirk Douglas Theatre. Currently, under her tenure as Director of New Play Production (NPP), CTG's NPP program was awarded a one million dollar grant from the Andrew W. Mellon Foundation for the commissioning and development of seven new collaborative works from ensembles or creative collaborators. She has developed and directed the works of numerous writers including Nilo Cruz's Hortensia and the Museum of Dreams and Dreams of My Father, Lynn Nottage's Fabulation at Sundance Theatre Lab, Lloyd Suh's American Hwangap at Ojai Playwrights Conference, Erik Patterson's Sick for Playwrights Arena, and Les Thomas' Cave Quest for East West Players, among many others. In 2008, for Mattel Toy Company, she wrote the book and was the supervising director for the first live Barbie musical Barbie Live/The Princess Adventures. The show premiered in Buenos Aires and will tour Brazil in 2012. She won an OBIE for Performance (Best Ensemble) in 2007 for playing 23 characters in Heather Woodbury's Tale of Two Cities. In 2012 her two plays, Living Large in a Mini Kind of Way and Pitch like a Girl will be produced in Chicago and Los Angeles, respectively. With Mark Murphy and Mark Russell she co-directed the RADAR LA Festival in 2011. She lives in the Echo Park area of Los Angeles with her long time husband, friend and advisor, Jose Delgado.Back to top
Eric Rosen is a recognized playwright, director and producer and the fourth artistic director in the 48-year history of Kansas City Repertory Theatre. He is also co-founder and former artistic director of Chicago's acclaimed About Face Theatre, where he developed nearly 30 world premieres in his thirteen seasons there. Rosen's Kansas City Rep credits include direction of Metamorphoses (also Australia and regional tour) and The Trip to Bountiful prior to his appointment, and direction of Clay (prior to N.Y. premiere at Lincoln Center Theater/LCT3, winner of Chicago's Jefferson Award and nominee for the Drama Desk Award in N.Y.); Winesburg, Ohio (for which he also wrote book and lyrics, winner of the Jeff Award for Best New Work and Philadelphia's Barrymore Award for Best Musical); the world premiere of A Christmas Story, The Musical! (transfer to 5th Avenue Theatre, Seattle and will have a holiday season Broadway run in 2012); the world premiere of Venice, a new musical he co-wrote with Matt Sax (co-production with CTG in Los Angeles, Fall of 2010; currently in development for a N.Y. premiere, named Best Musical of the Year in TIME magazine) and the acclaimed hits Cabaret, August: Osage County and The Whipping Man. He has also recently directed The Fairy Tale Lives of Russian Girls at Alliance Theatre in Atlanta. His other original plays include Dream Boy (Jeff Award for best direction and production, produced nationally) and Wedding Play (Jeff nomination for best new work, produced at Steppenwolf), Dancer from the Dance, Whitman and Undone (About Face). Additional directing credits include the world premieres of M. Proust by Mary Zimmerman (Jeff nomination for best new play) and Theater District (Jeff Award for best new play), and the Chicago premiere of Take Me Out, all in About Face/Steppenwolf co-productions. Rosen's regional theatre credits include work at Center Theatre Group in Los Angeles; Steppenwolf, the Goodman, Chicago Shakespeare Theater, and Lookingglass Theatre in Chicago; the Prince Music Theater; Hartford Stage; Cincinnati Playhouse; Repertory Theatre of St. Louis; 7 Stages in Atlanta; and workshops at the Public Theater, Playwrights Horizons, the O'Neill, and Sundance Theatre Lab. He produced the pre-N.Y. premiere of Doug Wright's play I Am My Own Wife, winner of the Tony Award for best play and the Pulitzer Prize; Eleven Rooms of Proust created by Mary Zimmerman; and was dramaturg for Frank Galati and Stephen Flaherty's Loving Repeating at the Museum of Contemporary Art, Moises Kaufman's One Arm at Steppenwolf Theatre and Kaufman's Tony nominated 33 Variations at Sundance Theatre Lab. Rosen earned his Ph.D. in performance studies from Northwestern University, and held a National Endowment for the Arts (NEA)/Theatre Communication Group (TCG) Career Development Fellowship for Directors. He has twice served as a theatre panelist for the NEA and has participated in the TCG/Pew Charitable Trusts' National Theatre Artists Residency Program. Rosen has taught at Northwestern University, University of Chicago, Brooklyn College and the University of North Carolina-Chapel Hill, his alma mater.
Michael S. Rosenberg was appointed Managing Director of La Jolla Playhouse in April 2009. During his tenure he has worked in partnership with Artistic Director Christopher Ashley to produce eight world premieres, six Playhouse commissions and the hit musicals Bonnie & Clyde (now on Broadway) and Limelight. He was also was instrumental in bringing two special engagements to the Playhouse: the international sensation Aurelia's Oratorio and the new Page To Stage workshop production of John Leguizamo Diary of a Madman, which recently enjoyed a successful Broadway run. Additionally, he fostered the growth of the Playhouse's award-winning Performance Outreach Program (POP) tour, achieving sold-out performances in local schools for the first time in Playhouse history. Previously Mr. Rosenberg was Co-Founder and Executive Director of Drama Dept., a New York non-profit theatre company, where he produced new works by the likes of Douglas Carter Beane, Warren Leight, Isaac Mizrahi, Paul Rudnick and David and Amy Sedaris. He has been part of the producing teams for the Broadway productions of Grey Gardens and American Buffalo and the current national tour of Little House on the Prairie. He is a member of The Broadway League and the Producers Guild of America.Back to top
Tim Sanford is the Artistic Director of Playwrights Horizons. He began his tenure at Playwrights in 1984 as a literary intern, followed by nine years as Literary Manager and two years as Associate Artistic Director, before assuming the leadership of the theater in January 1996. Notable productions from his tenure include Floyd Collins by Adam Guettel and Tina Landau (Lucille Lortel Award, Obie), Violet by Jeanine Tesori and Brian Crawley (New York Critics Circle and Lucille Lortel Awards, Obie), Lillian by David Cale (Obie), Betty’s Summer Vacation by Christopher Durang (Obie), James Joyce’s The Dead by Richard Nelson and Shaun Davey (New York Critics Circle, Lucille Lortel, and Tony Awards), The Bubbly Black Girl Sheds Her Chameleon Skin by Kirsten Childs (Obie), She Stoops To Comedy by David Greenspan (Obie), I Am My Own Wife by Doug Wright (Pulitzer Prize, Lucille Lortel, Outer Critics Circle, Drama Desk and Tony Awards), Small Tragedy by Craig Lucas (Obie), Fabulation by Lynn Nottage (Obie), Grey Gardens by Scott Frankel, Michael Korie and Doug Wright (Outer Critics Circle Award), Clybourne Park by Bruce Norris (Tony Award, Pulitzer Prize), Milk Like Sugar by Kristen Greenidge (Obie), Detroit by Lisa D’Amour (Obie),The Whale by Samuel D. Hunter (Lucille Lortel and Drama Desk Special Awards) and Circle Mirror Transformation (Obie) and The Flick (Obie), both by Annie Baker. In recognition of Tim’s dedication to diverse writers and unique voices, Playwrights Horizons received a special 2008 Drama Desk Award for “ongoing support to generations of theater artists and undiminished commitment to producing new work.” He is a past President of The Literary Managers and Dramaturgs of the Americas and a contributor to Dramaturgy in American Theater. He has a B.A. from Occidental College and a Ph.D. in Dramatic Literature from Stanford University.Back to top
Sean San Jose is the Program Director of Theatre at Intersection and co-founder of Intersection's resident theatre company Campo Santo. He has created works with Marc Bamuthi Joseph, Jessica Hagedorn, Margo Hall, Tommy Shepherd, Octavio Solis, Dan Wolf, and more than 500 artists in his time at Intersection. He has created theatre works from the writings of Jimmy Santiago Baca, Dave Eggers, Denis Johnson, Ntozake Shange, Vendela Vida, and is currently developing their new piece from Junot Diaz's Pulitzer Prize winning book The Brief Wondrous Life of Oscar Wao.Back to top
Roche Schulfer is in his 40th season as executive director of Goodman Theatre. He has overseen the production of more than 330 plays including more than 120 world or American premieres. Mr. Schulfer instituted the Goodman's annual production of A Christmas Carol, which celebrated its 33rd year as the leading Chicago holiday tradition in 2010. Under his leadership the Goodman has received numerous local and national awards for excellence, including being named the Best Regional Theater in the United States by Time magazine (2003), the Tony Award for Outstanding Regional Theater (1992) and the Pulitzer Prize for Ruined by Lynn Nottage (2009). Mr. Schulfer has arranged for the transfer of Goodman productions to many cities, including New York, Los Angeles, Dublin, London and Paris. He coordinated the design and development of the new Goodman Theatre which is now celebrating its 10th anniversary as an anchor in the creation of Chicago's North Loop Theater District. Mr. Schulfer is a founder and two-time chairman of the League of Chicago Theaters, the trade association representing more than 200 Chicago-area theater companies and producers. He is a past chair and a board member of the Arts Alliance of Illinois, the statewide arts advocacy coalition. He was recently named to a second term as chair of the Performing Arts Alliance, the national network of more than 18,000 not-for-profit, performing arts and presenting organizations. Mr. Schulfer is on the executive committees of Theatre Communications Group, the national service organization consisting of more than 400 not-for-profit theaters as well as the League of Resident Theaters, the management association serving more than 65 theaters across the country. Mr. Schulfer is a member of the boards of Lifeline Theater and the Arts & Business Council. He has been recognized for his work by Actors' Equity Association, the American Arts Alliance, Chicago magazine, Chicago Tribune, City of Chicago, Columbia College Chicago, Crain's Chicago Business, the Illinois Arts Alliance, the Joseph Jefferson Awards Committee, Lawyers for the Creative Arts, the League of Chicago Theatres, the Raymond R. Snyder Award from Lifeline Theater and Season of Concern. He received an honorary doctorate of fine arts from North Central College in 2009. In 2010, he was honored by the Arts & Business Council for his work in Chicago over the past 25 years. He is a frequent guest lecturer at colleges and universities and informally consults with numerous theater companies. Mr. Schulfer is a member of the adjunct faculty of The Theatre School at DePaul University. He is a graduate of the University of Notre Dame where he managed the cultural arts commission on campus.Back to top
Megan Wanlass 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.Back to top
Paul G. Wolf is a veteran of the New York City real estate industry with more than 20 years of diverse development, leasing and project management experience. He has represented developers and property owners to secure commercial tenants, managed a vast commercial property portfolio, represented tenants in acquiring and developing property and helped to finance projects through both traditional and less conventional routes.As a principal of Denham Wolf, Paul's projects have included providing financial expertise and business consulting for arts, cultural, community development and educational organizations as they considered their real estate-related needs and requirements. He has guided and coached nonprofits in articulating their goals and using their real estate to serve those goals. His vision and analysis underpin many of our clients' strategic real estate decisions.Before co-founding Denham Wolf, Paul was Senior Vice President of Asset Management at the New York City Economic Development Corporation. He was responsible for the fiscal management of a portfolio of more than 11 million square feet of commercial and industrial space. He frequently functioned as the market expert to support the City's corporate retention efforts. Paul holds an MBA from the Columbia University Graduate School of Business in its Executive Program as well as a bachelor's degree in English from Columbia University. He has been a licensed real estate broker in New York State for 20 years. Paul is a frequent public speaker and presenter on real estate development and nonprofit organizations.Back to top
Mark Valdez is the Executive Director of the Network of Ensemble Theaters, a national coalition of ensemble-based theaters that aims to support and sustain ensemble practice. Current NET projects include the Micro-Fest: USA initiative (theater festivals in Detroit, Eastern Kentucky, New Orleans and Honolulu) and the creation of an artist-to-artist touring network. Based in Los Angeles, Mark has worked as an educator, writer and director. Current directing projects include:Learn to be Latina at Mixed Blood Theater in Minneapolis and the premiere of a new community-based play created with the residents of Weedpatch, CA for Cornerstone Theater Company. Directing credits include the first ever approved adaptation of the Kaufman and Hart classic, You Can't Take It With You, adapted to LA's Muslim community, and a bi-lingual, Spanish-English, adaptation of the musical comedy, The Pajama Game. Mark has directed world premiere plays by Erik Ehn, Tracy Scott Wilson, Jose Cruz Gonzalez, Peter Howard, Rickerby Hinds, and others. His play, Around Atlanta on $80, an adaptation ofAround the World in 80 Days was recently presented through the Alliance Theater's Collisions Project. Mark has led workshops and participated in panels for TCG, Lincoln Center, Southwest Arts Conference, Leadership for a Changing World, REDCAT, NYU, The New School, ATHE, NEA and the Ford Foundation, and many others. He received an MFA in Directing from UC Irvine and is the recipient of Princess Grace Foundation Award for Directing.Back to top
Clyde Valentin was born and raised in Sunset Park, Brooklyn and is the producer and executive director of the Hip-Hop Theater Festival (HHTF), a unique arts organization dedicated to bringing new and diverse audiences to the theater. HHTF produces its Festivals and other productions in major urban markets around the United States including New York City, Washington, DC, Chicago and San Francisco.
Over the last decade HHTF has grown into one of the most influential outlets showcasing Hip-Hop performing arts in the country and has become a major contributor to the cultural life of participating cities. In addition to critical acclaim and positive response from audiences, HHTF was recently recognized with a special award from the Words, Beats and Life as an outstanding non-profit organization representing the Hip-Hop generation. In 2004, it was recognized by the New York Regional Association of Grantmakers as an outstanding grantee of the Nathan Cummings Foundation for "its innovative approach to addressing socio-political issues in New York City and beyond through the arts". He serves on the Art Advisory Board for the Times Square Alliance and recently joined the Board of the Theatre Communications Group (TCG), America's largest service organization for non-profit theatres. He is also serves as a Panelist for the New York State Council on Arts Theatre Program.
Clyde is a graduate of Binghamton University where he was a member of La Raza Theater Company, a student run theater collective that served as the inspiration for his work.
Angel Ysaguirre is the Deputy Commissioner for Arts Planning for the City of Chicago Department of Cultural Affairs and Special Events. He was previously the Director of Global Community Investing at The Boeing Company. Prior to that, 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.Back to top