Leadership U[niversity]: Continuing Ed Recipients

Round 1
| Round 2 Cycle A | Round 2 Cycle B | Round 3 Cycle A | Round 3 Cycle B |Round 4 Cycle A

Round 4 Cycle A:

A Contemporary Theatre
Angie Kamel, Artistic Engagement Manager at A Contemporary Theatre (Seattle, WA), traveled to the Twin Cities to study its vibrant, thriving arts community and how the theatres develop powerful and healthy connections with East-African-immigrant  and Asian-American populations. Included in her travels were observerships and meetings with Mixed Blood Theatre, Mu Performing Arts, Penumbra Theatre Company, Guthrie Theater, Walker Arts Space, and more.

Center Theatre Group
Patricia Garza, Artistic Development Program Manager at Center Theatre Group (Los Angeles, CA), who, on behalf of CTG’s established Diversity, Equity and Inclusion task force, pursued targeted training activities to help CTG identify key organizational issues around retention and recruitment of staff. She participated in specific learning experiences such as attending Disney Institute, MuseumCamp: Santa Cruz Museum of Art and History, Compassion Cultivation Training at Stanford University, and observerships at The Hasso Plattner Institute of Design and more.

Classic Stage Company
Kathleen Dorman, Director of Education at Classic Stage Company (New York, NY), traveled to locations in the US and UK to meet with and learn from practitioners and organizations that are excelling in bringing Shakespeare and elementary school audiences together.  In preparation for a proposed co-production between Classic Stage Company and Trusty Sidekick Theater Company, Ms.  Dorman gained a comprehensive understanding of available techniques to design a curriculum and devise an exciting new work for young audiences based on Shakespeare's work.

Cleveland Public Theatre
Beth Wood, Associate Artistic Director at Cleveland Public Theatre (Cleveland, OH) engaged the leadership of organizations who have deep experience with producing new works, particularly those with tailor-made development processes to learn how to develop a model for multi-year, customized new play development for local artists, observing how these theatres develop new works over an extended time and/or take a customized approach to developing new works.

Manhattan Theatre Club
Wade Handy, Education Programs Manager at Manhattan Theatre Club (New York, NY) traveled to four cities to visit five different programs to learn best practices in managing community partnerships, as well as developing and administering programs, from peer organizations working with at-risk youth. These learnings will work to help Mr. Handy improve and enhance, Stargate Theatre, a  program that provides 15-20 court-involved young men transitional employment, work-readiness training, and literacy education as they compose, rehearse and perform a drama in an intensive theatre-making process over seven weeks.

Oregon Shakespeare Festival
Gabriel Barrera, Charge Scenic Artist at Oregon Shakespeare Festival (Ashland, OR) advanced his professional skills as a manager of a team and leader of diversity and inclusion initiatives in theatre production by attending a curated series of conferences, convenings and organizations to observe a variety of approaches to diversity and inclusion, mentor and teach scenic painting workshop for underrepresented populations, and recruit culturally diverse candidates for OSF's FAIR program. These experiences included attending the Latina/o Theatre Commons convening, the United States Institute for Theatre Technology conference, and connecting with the Latino Producers Action Network, Homeboy Industries, and Compton YouthBuild.

Public Theater
Stephanie Ybarra, Director of Special Artistic Projects at the Public Theater (New York City) participated in a professional development curriculum that included enhancing her Spanish language knowledge, facilitation skills, attending the Creative Placemaking Leadership Summit, and an observership with community-based theater collective, Grupo Cultural Yuyachkani in Lima Peru to study how practices around activating grass-roots community issues, mobilization and advocacy.  These experiences informd and enhanced her leadership of The Public’s Mobile Unit.

Two River Theater
Kelvin Dinkins, Jr., General Manager of Two River Theater (Red Bank, NJ) completed a fellowship in the Banff Centre for Leadership's  "New Fundamentals: Leadership for the Creative Ecology" program in Canada, and   investigated the development of new models for arts organizations as well as collective action and EDI within the Los Angeles and Seattle arts communities.  His goal was to bring best practices and resources to Two River Theater in service of inclusion and connectivity with underrepresented populations in the Red Bank community.

Brenna C. Thomas, Development Director at HERE (New York, NY) attended a three-day course in Capital Campaign management through Indiana University's Lilly School of Philanthropy; lead quarterly online convenings with peers from similar sized organizations to discuss the nature of individual giving across the country; and attended the 2017 TCG National Conference to network with a wider circle of peers and share findings.

Round 3 Cycle B:

New Conservatory Theatre Center
New Conservatory Theatre Center's (San Francisco, CA) Director of YouthAware Educational Theatre, Sara Staley explored the ways in which theatres in Chicago, Washington D.C., and New York are using traditional storytelling, Theater of the Oppressed techniques, applied theatre methods, and civic practices (dialogue, engagement, collaboration) to promote societal growth and change in their communities. These practices and methods will be applied to NCTC's YouthAware program with the objective of more deeply engaging young audiences in theatrical work that reflects their community, and empowering them to effect positive change in the world around them.

Cincinnati Playhouse in the Park
Cincinnati Playhouse in the Park's (Cincinnati, OH) Development Director, M. Patricia Rosely, took a deep dive into the challenges and successes of the facility renovations/building projects and the capital campaigns that supported them at four regional theatres, providing her with a hands-on learning opportunity to positively impact the Playhouse's capital campaign. Meeting with both development directors and managing directors, she got insider information on the successes and challenges of capital campaigns, as well as those in the management of the Building Project.

Dallas Theater Center
Dallas Theater Center’s (Dallas, TX) Costume Shop Manager, Jennifer Ables, traveled to New York City to study with some of the top creative minds in the digital printing industry. Ables observed the process from ideation to programming and scanning to fully-realizing 3D printed products. By exploring its utility in customized clothing and the future of theatrical costuming, this opportunity sought to change the way Dallas Theater Center makes art, and pioneer a new technology in the field.

Curious Theatre Company
Curious Theatre Company’s  (Denver, CO) Producing Artistic Director, Chip Walton, engaged founding artistic directors across the field in dialogue that explores the unique challenges of their positions, their decisions to remain with their organizations, and the challenges that they have faced over the evolution of their tenures, as well as their best practices to address those challenges. By doing so, he sought to find the answers to important questions regarding how our field recognizes, values, and supports founding artistic directors and the relationship these individuals and their organizations have to the respective communities they serve.

ArtsEmerson’s (Boston, MA) General Manager, Bonnie J Baggesen, traveled to three presenting/producing organizations around the country to meet with managers who have extensive experience navigating the intersection between non-profit and commercial co-production. During these site visits, Bonnie discussed best practices, structural models, and co-producing approaches that ArtsEmerson can learn from, and, when appropriate, implement in their own co-producing models.

Dallas Children's Theater
Dallas Children's Theater’s (Dallas, TX) Education Director, Nancy Schaeffer investigated immersive theatre methods at several national and international theatre sites to determine how to best use these practices in the continuation and expansion of sensory-friendly and inclusive programming for youth on the autism spectrum at DCT. This exploration offered opportunities to observe innovative methods that can help the organization reach an often underserved audience and their families in new and meaningful ways.

Round 3 Cycle A:

Indiana Repertory Theatre
Indiana Repertory Theatre’s (Indianapolis, IN) Associate Director of Development, Jennifer Turner, learned and implemented new fundraising strategies along with new community/partnership building skills in order to continue to stabilize and grow their development program. This provided a new foundation of ideas for herself as well as staff and the board development committees as their theatre continues to grow their annual campaign and began the process of launching a capital campaign.

Lark Play Development Center
The Lark's (New York, NY) Managing Director Michael Robertson embarked on a personalized equity and inclusion curriculum focused on facilitation training and knowledge-building. His collaborators included Carmen Morgan (Leadership Development in Intergroup Relations), Sharifa Johka (Oregon Shakespeare Festival), Leslie Ishii (independent artist and activist), and the Interaction Institute for Social Change. He furthered his leadership skills to become more deeply involved in organizational and field-wide changes with respect to inclusion, access and equity. Robertson investigated how organizations are implementing systemic change(s) related to issues of equity and increased his knowledge of systemic racial oppression so that he can be a more effective communicator, collaborator and facilitator.

The Old Globe
The Old Globe’s (San Diego, CA) Resident Associate Costume Designer, Charlotte Devaux shields, engaged in an intensive immersion in the UK to explore aspects of the world's greatest collections of historical costume and gain insight and inspiration from leading costume professionals. Research activities included investigating expert methods of organizing, archiving, and exhibiting costume collections; examining the anatomy of authentic costume for future replication; and viewing special exhibitions of historical costume and contemporary fashion. This project expanded her knowledge of authentic costume design and construction techniques while strengthening her ability to lead, advise, and support others' success in designing and building compelling costumes at The Old Globe.

Round 2 Cycle B :

Center Stage
Center Stage's (Baltimore, MD) Director of Community Programs & Education, Rosiland M. Cauthen investigated ways to expand Center Stage’s current programs into two areas: social service programs, such as theatre in prisons, and professional children’s theatre productions. Through research, interviews, and site visits at The Public Theater, South Coast Repertory and Ten Thousand Things, she developed and implemented a successful model for Center Stage.

EgoPo Classic Theater
EgoPo Classic Theater's (Philadelphia, PA) Artistic Director, Lane Savadove, conducted an in-depth investigation of the Extended Voice Technique through training workshops with Master Teacher Richard Armstrong and the Roy Harts Institute in order to bring this specialized training back to his theatre and utilize it in the acting ensemble’s on-going creative process.

Perseverance Theatre
Perseverance Theatre's (Douglas, AK) Artistic Associate & Summerfest Producer, Bostin Christopher, investigated theatres with new play development models and residency programs and learn the methodologies and techniques they use to incorporate those models and programs in a festival-type setting.

Theatre Horizon
Theatre Horizon's (Norristown, PA) Artistic Director, Erin Reilly, studied Cornerstone Theater Company's model of creating community-generated theatre pieces to determine how community-generated work can be included in Theatre Horizon's season and be used as a tool to build new and diverse audiences.

Round 2 Cycle A :

Actors Theatre of Louisville
Actors Theatre of Louisville's (Louisville, KY) Production Manager, Paul Werner, observed the production process at Steppenwolf Theatre Company, Berkeley Repertory Theatre and Contemporary American Theater Festival to learn best practices to incorporate into his own theatre’s production process.

Hangar Theatre
Hangar Theatre's (Ithaca, NY) Managing Director, Joshua Friedman, increased his fundraising skills at intensive courses at the Fund Raising School at the Indiana University Lilly Family School of Philanthropy. He was mentored by Timothy J. Shields, managing director of McCarter Theatre in board relations and board development.

PlayGround's (San Francisco, CA) Artistic Director, James Kleinmann, examined models of new play and playwright development: specifically, how we support early-career playwrights through meetings with and observation of new play leaders from coast to coast, including the Lark Play Development Center, New Dramatists, Playwrights Horizons, Lincoln Center Theater’s LCT3, National New Play Network, South Coast Repertory and Center Theatre Group.

Steppenwolf Theatre Company
Steppenwolf Theatre Company's (Chicago, IL) Director of Digital Assets, Thomas Weitz, investigated the process by which arts and cultural institutions conceive and produce interactive exhibitions by making site visits all over the country. He studied many arts and cultural institutions’ creative processes to learn how they measure success and what they perceive as potential pitfalls in the process of execution.

Round 1:

Chicago Dramatists
Chicago Dramatists' (Chicago, IL) associate artistic director, Meghan Beals McCarthy, connected with playwright development centers around the country to interview and observe organizational leadership and artists to learn varying new-play development methodologies and techniques.

The Civilians
The Civilians' (Brooklyn, NY) artistic director, Steve Cosson, researched models of investigative and verbatim theatre organizations, and artistic directors that translate their missions into a breadth of programming.

Dallas Theater Center
Dallas Theater Center's (Dallas, TX) stage operations manager, Travis Ross, explored safety practices and procedures and expanded his knowledge of constructing and operating complex and large-scale productions.

Dell'Arte International
Dell'Arte International's (Blue Lake, CA), executive director, Stephanie Thompson, sought perspectives from leaders in the theatre field and her local community to investigate the nature of the action "to thrive" as it relates to the development of a sustainable business model.

The Old Globe
The Old Globe's (San Diego, CA) Technical Director, Benjamin Thoron, explored project management methods in both theatrical and industrial settings, interviewing production staff at theatres in the UK and working longitudinally with a local shipyard's production department.

Seattle Repertory Theatre
Seattle Repertory Theatre's (Seattle, WA) associate artistic director, Braden Abraham, visited organizations with successful playwright residency programs and writers groups to learn from their models of providing meaningful long-term support to playwrights.

Tennessee Women's Theater Project
Tennessee Women's Theater Project's (Nashville, TN) founder and artistic director, Maryanna Clarke, traveled to Nightwood Theatre in Toronto, Ontario to investigate elements of their success and longevity including artistic process, audience development, marketing and education.

Theatre of Yugen
Theatre of Yugen's (San Francisco, CA) artistic director, Jubilith Moore, traveled to Japan to participate in Theatre Nohgaku's Noh Costuming Workshop.