SPOTLIGHTFuture ON Leaders

2003-2005 and 2004-2006 Mentees in the new generations program about the New Generations program 2003-2005 recipient Kevin Bitterman TCG takes great pleasure Theatre de la Jeune Lune in introducing the mentees for 105 N 1st Street Minneapolis, MN 55401 the 2003-2005 and 2004-2006 rounds of the phone: 612-423-6611 New Generations Future Leaders program. work: 612-332-3968 x140 [email protected] The New Generations Program has been cooperatively designed [email protected] by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation In Minneapolis, MN, Theatre de la Jeune Lune’s and Theatre Communications Group. The resulting program supports co-artistic directors mentored Kevin Bitterman in two separate objectives: Future Leaders—to cultivate and strengthen the area of theatrical creation. Kevin served as a “The future of the American de facto member of the company, working as a new generation of theatre leadership through mentorships with not-for-profit theatre rests Dominique Serrand’s assistant director on accomplished theatre practitioners, and Future Audiences—to expand “in the hands of artists Carmen, The Ballroom, Maria de Buenos Aires willing to author and and strengthen existing theatre programs that have proven effective and The Miser and appearing in Carmen, Ubu for produce their own work— President, The Ballroom and the Off-Broadway in reaching young and/or culturally specific audiences. work that responds to tour of Hamlet. In addition, the theatre’s producing director, Steve Richardson, mentored Kevin in the Through a highly competitive selection process, national, independent our complex world, that illuminates the human area of theatre management. and aesthetically diverse selection panels identified exceptionally condition and searches Kevin Bitterman has collaborated as an talented theatre professionals to be mentored by accomplished for new ways of telling actor/director with Theatre de la Jeune Lune, theatre practitioners. These mentees have committed to be in residence unfamiliar stories. I strive Theatre Latté Da, Mixed Blood Theatre Company, to create theatre that with their host theatre for two years in a full-time capacity. They have been Chicago Avenue Project, Interact Center for the stimulates its audience to given the opportunity to deepen their understanding of the not-for-profit theatre— Visual and Performing Arts and the Footsbarn “respond—to disagree and Traveling Theatre. He was a visiting lecturer at the both through their time at the host theatre and in travels domestically and “encourage a dialogue École Nationale des Arts Appliqués and artist in internationally. They have made strong contributions to their theatres with the artists. I believe residence at the Fondation des Etats-Unis in Paris, and at the same time have honed their leadership skills. in the collaborative model France. There, he co-created and produced Ça, “to produce work—a theatre C’est l’Amour, La Mort du Prince and the short film without boundaries—that 4h40 with Studio Kremlin. Currently, Kevin is co- “unites artists with individ- developing an international collaborative project with the International Theatre Institute (ITI) New ual voices. One of my Project Group based on The Circular Ruins for the career goals is to 2006 ITI World Congress in the Philippines. Kevin cultivate an ensemble of holds a B.A. in theatre and communication from St. international artists whose John’s University and is a graduate of the École creative process will draw Jacques Lecoq. from diverse artistic styles, languages and tra- ditions to create new work and promote new voices both here and abroad.” 2003-2005 recipient 2003-2005 recipient

Rebecca Lynn Brown Robert Castro Luis Alfaro, associate producer of new play 73 Seaman Avenue, #3C 160 Claremont Avenue, #3G development at Center Theatre Group in Los New York, NY 10034 New York, NY 10027 Angeles, CA, and Diane Rodriguez, director of the phone: 917-604-8434 phone: 212-316-4682 Latino Theatre Initiative, mentored Robert Castro [email protected] [email protected] in the area of artistic and administrative leadership. As a member of the artistic staff, In Minneapolis, MN, the Children’s Theatre Robert participated fully in the artistic and Company’s artistic director, Peter Brosius, administrative activities of the theatre. mentored Rebecca Lynn Brown, artistic associate, in the areas of new play development, producing, Robert Castro is currently an artistic associate artistic leadership and the national and at Center Theatre Group/Mark Taper Forum. international field of theatre for young people. His directing credits include works by Ibsen, “My goal as an artist is to Shakespeare, Maeterlink, Lorca and Brecht, make theatre that poses Rebecca Lynn Brown’s directing credits include: as well as new plays by Julia Cho and Jessica significant questions to Splash Hatch on the E Going Down, Whittier Goldberg. He served as an associate artist with the audience for which it Stories, Stories From Montevideo and Eurydice the Institute on the Arts and Civic Dialogue at is performed, inviting an (The Children’s Theatre Company); The Clean American Repertory Theatre/Harvard University. audience to meet the House (McCarter Theatre Festival of New Plays, Robert is a recipient of the NEA/TCG Career performance in the room workshop production); You’re No One’s Nothing Development Program for Directors. as an equal partner in a Special (HERE Arts Center). Associate directing He is a member of New York Theatre Workshop’s credits include: Gertrude and Alice (Anne Bogart, Usual Suspects and a member of the Lincoln dialogue. My process director) and And God Created Great Whales Center Theater Directors Lab. He has worked includes incorporating (David Schweizer, director). Her new play with Peter Sellars, George C. Wolfe and training practices that development credits include work with Sarah Ruhl, Anna Deavere Smith. Robert is a graduate of enable a production to Jorge Cortiñas, Anton Dudley and Jordan the University of California—San Diego and the reach beyond conven- Harrison. She holds an MFA in directing from the Yale School of Drama. tional thinking about form University of Washington and has taught at the in terms of time, space, University of Maryland and Simon Fraser language, image and University in Vancouver. metaphor. My directing interests include new plays, re-imagining classics and creating original work from non-dramatic texts. Most recently I have been working to create interview-based oral histories that seek to unearth what is compelling that lies beneath the surface of a community.” 2003-2005 recipient 2003-2005 recipient Clove Galilee Melvin D. Gerald, Jr. c/o Mabou Mines African Continuum Theatre Company 150 First Avenue, 2nd Floor 3523 12th Street, 2nd Floor New York, NY 10009 Washington, DC 20017 phone: 212-473-0559 phone: 202-529-5763 [email protected] [email protected]

In New York, NY, Mabou Mines’ co-artistic director In Arlington, VA, Signature Theatre’s managing Sharon Fogarty mentored Clove Galilee as an director, Sam Sweet, mentored Melvin D. Gerald, artistic associate. The two-year mentorship Jr. Melvin participated in building the organization provided Clove with a background in balancing the as the theatre moved to a new space, promoting artistic and managerial responsibilities of an program evaluation and developing the board. “As a performer, I am artistic director at a small experimental theatre “I want to lead Melvin also assisted in budgeting and increasing interested in working with company. an organization that annual support as well as developing an internship a wide array of directors embraces and program to foster training and partnership and tackling both classic Clove Galilee is an artistic associate with Mabou celebrates the diversity opportunities with colleges and universities in and contemporary roles. Mines and co-artistic director of her theatre of America and that Washington, D.C. As co-artistic director of company, School for Gifted Children. Her work has includes the multitude my own theatre company, been presented at P.S. 122, the Public Theater, the of voices that comprise Born in Washington, D.C., Melvin D. Gerald School for Gifted Performing Garage, the Flea Theater, Primary the African-American received his B.A. in theatre from Morehouse Stages and P.S. 1 / MOMA. She is a Princess College in Atlanta, GA. In addition to organizing Children, I am dedicated community. As there Grace Award recipient in directing and grassroots arts organizations in Atlanta, Melvin to the collaborative is not one voice that performance. Her work is supported by the worked in human resources and operations creation of innovative speaks for that Greenwall Foundation, the Jerome Foundation and management for Gap, Inc. Melvin also studied arts works that combine the community, there is a New York Foundation for the Arts’s Emerging management at American University, with a focus uses of new media, Artists Fiscal Sponsorship Program. Upcoming need for a multitude on the comparison between not-for-profit and dance, live music and projects include Mabou Mines’s Red Beads at the of voices, a host of commercial business structures. After two years original scripts. I have Skirball Center in New York in September 2005, theatres—big and small, with Signature Theatre, Melvin will become the extensive experience direction of The Libation Bearers in Athens, mainstream and managing director of Washington D.C.’s African in the creation of Greece in December 2005 and choreography for alternative—that speak Continuum Theatre Company (ACTCo) where experimental theatre as and performance in Wickets with School for Gifted of the varied experi- he will heighten ACTCo’s visibility, increase an artistic associate Children in 2006. ences. I look forward its funding and strengthen the organization’s with Mabou Mines. to the partnership infrastructure at its new home in the Atlas Performing Arts Center. I am now interested in between artistic director expanding my range as a and managing director in performer and a director. leading an organization I look for projects that will that is willing to tell challenge and excite me those stories.” and further my growth as an artist.” 2003-2005 recipient 2003-2005 recipient Jennifer Green Jyana S. Gregory Piven Theatre Workshop phone: 917-584-7929 927 Noyes Street [email protected] Evanston, IL 60201 www.activeeye.org phone: 773-866-2595 work: 847-866-6597 In Cleveland, OH, Cleveland Public Theatre’s [email protected] executive/artistic director, Randy Rollison, mentored Jyana S. Gregory in the areas of In Evanston, IL, Piven Theatre Workshop’s artistic producing and artistic direction. Serving as director, Joyce Piven, mentored Jennifer Green associate artistic director, Jyana directed two in artistic leadership within a multi-dimensional productions, Suzan-Lori Parks’s Venus and an organization containing an Equity theatre, adaptation of a Japanese legend of love and “I seek to continue a a training center and a network of outreach “I want to create theatre betrayal, Dojoji (in collaboration with ACTIVE process of creative programs. To expand Jennifer’s long-range that relishes the EYE). She also managed the literary and “ exploration that celebrates strategic and artistic planning abilities, activities spontaneity and energy production departments and produced an “each individual’s unique included directing mainstage productions and of the live event, fully extensive number of projects from Varla Jean voice through an staged readings and producing the annual youth explores all possibilities Merman’s Under A Big Top and Tony Kushner’s “ensemble-based, commu- festival with the acclaimed Young People’s for theatrical expression A Bright Room Called Day. nity-oriented approach to Company. Along with hands-on administrative including movement “theatre training and responsibilities, she supervised the faculty, and music and engages Jyana S. Gregory’s directing credits include developed curricula and created new outreach Izutsu (Lincoln Center Directors Lab), Siegfried’s performance. Because the audience on a initiatives and scholarship programs within Nerve (Target Margin Theater) Cosi fan tutte of Piven Theatre’s visceral level, Piven Theatre’s training center. (Chrysalis Opera) and Kaspar (Blueprint Series, opportunities for emerg- invigorating mind and Ontological-Hysteric Theater). In New York City, ing theatre professionals spirit. I want to create Jennifer Green is the associate artistic director she co-founded ACTIVE EYE, a performance and educators and its of the Piven Theatre, where she is currently work that embraces company dedicated to creating innovative commitment to new directing a new adaptation of Great Expectations. our multi-cultural theatrical productions fully integrating music, text works and literary Her directorial credits include: Mad Forest society and tackles and movement and drawing from East Asian and adaptations, I plan on (After Dark Award), Burn This (Jeff Award those perplexing and Western performance traditions, for which she continuing my work with Recommended), Book of Days, Our Country’s often overwhelming directed productions of Woyzeck and Senjo (based Piven Theatre with the Good and Never In My Lifetime at Piven Theatre experiences of being on a Zen koan). She has assisted such prominent intention of evolving a and the world premiere of …for you were a human.” directors as Chen Shi-Zheng, David Herskovits personal mission to stranger… at Chicago’s Hothouse. She assistant- and Diane Paulus and worked with Richard directed Orlando at the Actors’ Gang in Los Foreman. Jyana is a graduate of Yale University create an environment Angeles. She is an adaptor/director with Piven and a member of the Lincoln Center Theater that inspires and Theatre’s Young People’s Company, a senior Directors Lab. She has also studied traditional and challenges audiences instructor within Piven’s training center and a contemporary performing arts in Japan. and artists alike. ” resident artist in public and private schools with both Urban Gateways and the Illinois Arts Council. 2003-2005 recipient 2004-2006 recipient Emmanuel Wilson Adam Burke phone: 646-246-7399 phone: 773-580-5853 [email protected] [email protected]

In New York City, TADA! Youth Theater’s executive In Tempe, AZ, under the guidance of founder and and artistic director, Janine Nina Trevens, artistic director David Saar, director Adam Burke mentored Emmanuel Wilson in leadership and serves as artistic associate at Childsplay. In this artistic programming and planning. As artistic capacity Adam directs, develops new work and associate/ literary manager, Emmanuel assistant- participates in all artistic planning and directed and assisted in organizational and season management. planning, commissioning of new projects and producing a playwriting contest/reading series Adam Burke is the founder and artistic director of “As an artist for the 21st for teens. “There is a story that the Chicago Theatre for Young Audiences and an century I am dedicated to when Stanislavski was artistic associate at Childsplay. He participated in these four ideas: Creating A playwright and producer, Emmanuel Wilson asked by a member of the 2002 International Directing Symposium a richly diverse and co-founded the Blue Rose Stage Company his company how to act hosted by La MaMa Experimental Theatre Club in forward thinking theatre (BRSC) in New York City at the age of 18 and for children, he replied, Umbria, Italy, the National Advanced Stage that is responsible in served as its artistic director for six years. ‘We act for children the Combat Workshop hosted by the Society of presenting work that For the last three years Emmanuel served as same way we act for American Fight Directors and ASSITEJ’s One represents its community; artistic associate and literary manager at TADA! adults—only better.’ Theatre World. He is a 2003 recipient of the Youth Theater. Under his leadership, the theatre ASSITEJ/USA Ann Shaw Fellowship, the 2002 creating a new base of I strive to create work commissioned or supported new works from Women’s Board of Chicago International Research audience members that that inspires the Stephen Schwartz, Lisa Diana Shapiro, Grant and will be representing ASSITEJ/USA in will participate in the audience’s imagination Eric Rockwell, Joanne Bogart, Doug Cohen and the upcoming International Directors’ Seminar in discussion of how and and is of quality, material Alex S. DeFazio. Currently Emmanuel is writing Stuttgart, Germany. Adam received his MFA in why theatre should exist; House, a three-part play cycle about an African- and standards high directing from Northwestern University. creating a ‘Fluid Theatre’ American family and their lives in a public housing enough for my chosen where ideas of race and complex, and a modern adaptation of Georges audience, young people. gender are presented in Feydeau’s farce A Little Hotel on the Side. ‘Great is the thing that new and compelling ways dares a child to dream.’ by traditional and As I look forward to the non-traditional artists; birth of my first child this and creating an fall, I am filled with a environment that fosters sense of hope and new playwrights and plays responsibility to inspire not through a never-ending his/her dreams. I live for play reading circuit, those moments of theatre but through productions magic, the squeals of where playwrights can delight and the dreams and should communicate that a child of any age directly to an audience dares to embrace.” that is not directly involved in theatre-making.” 2004-2006 recipient 2004-2006 recipient Lena Carstens Justin B. Handley Alliance Theatre 948 Conway Road 1280 Peachtree Street NE Ashfield, MA 01330 Atlanta, GA 30309 phone: 413-628-0151 phone: 404-733-4621 fax: 253-498-2206 work: 404-733-4625 [email protected] [email protected] [email protected] In Ashfield, MA, Double Edge Theatre’s founder and artistic director, Stacy Klein, is mentoring In Atlanta, GA, Alliance Theatre’s managing Justin Handley in ensemble leadership, director, Thomas Pechar, is mentoring Lena performance creation and management. Justin will Carstens in administrative leadership. create, perform, tour and collaborate in the “Through management, Lena is participating in the implementation “I am interested in theatre ensemble’s next performance of the “Garden I have dedicated my of the theatre’s strategic plan, the budgeting that shakes me to the Cycle” and is being integrated into every aspect of career to enabling artists process and board relations. Lena’s projects to core; that makes me the theatre’s leadership. to connect with an date have included coordinating the spring question everything or audience through the LORT meeting hosted by the Alliance Theatre makes me believe in it Justin B. Handley is a composer, musician and medium of theatre. and Georgia Shakespeare Festival, beginning all, or both at once. associate director of Double Edge Theatre and has As a student growing up an advocacy plan for the Alliance and working on I hope to create theatre been working with the company for five years. in rural North Georgia, the Alliance Theatre’s proposal to host the 2006 that absolutely rocks, He was musical director and composed music for TCG National Conference with the 14 other Double Edge’s Ex-CHANGE project from I experienced the power that leaves people with a Atlanta-area TCG member theatres. Lena looks 2002–2004. Justin composed the musical score for in theatre to create sense of hope in times of forward to welcoming the TCG membership to the UnPOSSESSED, which premiered at La MaMa community where none despair and a sense of Atlanta in June 2006, coinciding with the end of Experimental Theatre Club in New York City in existed before and despair in times of hope. her mentorship at the Alliance. October 2004 and will tour to Poland, Spain and to strengthen the I am interested in making throughout the U.S. in 2005. The New York Times bonds among groups Lena Carstens is the management associate at a wider range of described his music as ‘a haunting score.’ of people through a the Alliance Theatre. Prior to returning to her emotional experience Justin received a B.A. in music from Hampshire shared experience. I look hometown of Atlanta, Lena lived in Dallas, TX comfortable and fun for College, where he studied performance forward to partnering where she earned her M.A. in arts administration people to play with and and composition. with an artistic director and MBA from Southern Methodist University and in. In 100 words or less, at a theatre with an received a Cox School of Business Distinguished I just want to touch established presence Leader Award. While in Dallas, her internships people and be touched included working with the Dallas Theater Center. within the local by them.” Lena’s stage management credits include community.” Broadway and Off-Broadway productions. She has also worked for Roundabout Theatre Company, Manhattan Theatre Club, Repertory Theatre of St. Louis, Opera Theatre of St. Louis and Hope Summer Repertory Theatre. Lena holds a BFA in theatre from Webster University. 2004-2006 recipient 2004-2006 recipient Eric Rhys Miller Lori Monnier Traveling Jewish Theatre 5541 E. Camden St. 3130 20th Street, Suite 308 Tucson, AZ 85712 San Francisco, CA 94110 phone: 520-398-4992 phone: 415-285-8282 x304 cell: 520-906-2920 [email protected] Eric Rhys Miller’s mentorship with Naomi Newman at Traveling Jewish Theatre in San Francisco, CA Arizona Theatre Company has involved directing an educational touring and phone: 520-884-8210 x8102 outreach program and writing and performing in [email protected] a major company-created work, Blood Relative Eric’s mentorship also involves grant writing Arizona Theatre Company’s managing director, “My background includes and leading a strategic planning process. “My long-term career goal Jessica L. Andrews, continues to mentor Lori traditional naturalism and Next year he will begin leading a collaborative is to become the Monnier in all areas of administration and physical theatre, scripted process developing the story of quarantined managing director of a management. Working in both Tucson and plays and dance-theatre. Jewish immigrants in 19th-century New York and regional theatre where, Phoenix, Lori’s primary responsibilities include I am less interested in will assist with producing The One That Got Away, working in partnership board relations, advocacy and development efforts dedicating myself to a play in a pool. with the artistic director, including grant writing and serving as a community a particular form than we foster a creative representative. As a part of the theatre’s senior to the discovery of Eric Rhys Miller graduated from Cornell home for all artists, staff, Lori is participating in the development and University and Dell’Arte International. He has implementation of Arizona Theatre Company’s expression that is artisans and support worked with Traveling Jewish Theatre since 1999 long-term strategic plans and capital development visceral and undeniable staff in which to produce as a writer and performer for The Golden Bird, study. in the service of vital art for all the God’s Donkey: A Play on Moses, Moonwatcher questions that are theatre’s constituents and the Middle East Project’s Blood Relative. Lori Monnier is the assistant managing director necessary. I tend to look Eric studies with the SITI Company as often as and make significant at Arizona Theatre Company. Prior to Arizona for emblematic gesture; he can. He joined Traveling Jewish Theatre as an contributions to the Theatre Company, Lori spent three years as I work on my feet and associate artist in 2002 and directs the educational community and also to general manager of the Shakespeare Theatre of then try to write from a touring and outreach program, creating mobile the field. I would like to New Jersey. She holds an MFA in theatre small empty frame. original work for all-ages community spaces. be the type of leader who management from the Yale School of Drama, My intuition leads me He is co-artistic director (with his wife Kendra is able to focus equally where she served as an associate managing increasingly away from Fanconi) of the Only Animal in Vancouver. on the daily and long- director of Yale Repertory Theatre and managing ironic detachment and term needs of my director of the Summer Cabaret. She has also worked at American Conservatory Theatre in San towards the possibility of organization while also Francisco and at the National Endowment for the meaning and value. being a representative of Arts. She was a stage manager in Washington, I enjoy leading the regional theatre D.C., working for five seasons at the Shakespeare collaborative teams scope as a whole. ” Theatre, as well as Arena Stage and Signature into unknown territory. Theatre. Lori is married to scenic designer Fred The application of Kinney. mindful practices to theatre work is compelling to me.” 2004-2006 recipient 2004-2006 recipient Jess Moreles Rebecca Taichman 103 Lime Blossom Court phone: 917-553-5540 San Jose, CA 95123 [email protected] phone: 408-227-6919 cell: 408-593-4417 AGENT Jack Tantleff The William Morris Agency Teatro Visión phone: 212-903-1125 1700 Alum Rock Avenue, Suite 265 San Jose, California 95116 In Washington, D.C., Woolly Mammoth Theatre phone: 408-928-5587 Company’s artistic director, Howard Shalwitz, is www.teatrovision.org mentoring Rebecca Taichman in directing and artistic leadership. The mentorship is designed to “I am interested in theatre In San Jose, CA, Teatro Visión’s executive director, “I’ll be lucky to find my support Rebecca’s interest in director-initiated that thrives financially Raul Lozano, has mentored Jess Moreles, allowing way through this productions, to introduce her to all aspects of an and is artistically vibrant. him to observe and participate in the company’s complicated, often artistic director’s job and to integrate her into the I have long believed that day-to-day administrative and creative processes. confounding and truly local and national theatre community. the style of teatro that The emphasis has been on the strategic planning marvelous career. Teatro Visión creates, and visioning that has long been a hallmark of the I am a theatre director. Rebecca Taichman won the Barrymore/Harold theatre that is both Latino company’s success. In addition to directing Prince Award for Best Direction of a Musical influenced by and that is new and classic texts, for her production of Green Violin, starring Jess Moreles is the operations manager Raul Esparza, at the Prince Music Theater. crucial to the community I create and author new at Teatro Visión, where he has focused on fund She directed/created the Obie award-winning it serves, is work that is theatre pieces. These development, audience development and budget Menopausal Gentleman, and has directed at relevant and necessary. pieces are based on analysis. Jess’s previous position on the board of Yale Repertory Theatre, New York Stage and Film A company that is found or historical texts directors of this Latino theatre company was the and the Eugene O’Neill Center, among others. successfully supported impetus to a transition from the private to the and require an artistic Her production of Anne Frank at the Round House by its community, public-benefit sector. He currently sits on the home—for me that Theatre was recently nominated for three especially those City of San Jose’s Arts Commission and on a means artistic stability Helen Hayes Awards. Next season, communities with local coalition of multi-ethnic arts organizations, (is there such a thing?), Rebecca will direct Sarah Ruhl’s Clean House emergent populations, First Voice. He is a member of the community long-term collaborations, and Roberto Aguirre Sacasa’s Velvet Sky and is managed planning committee for the upcoming international an interested audience at Woolly Mammoth Theatre Company and effectively, can take a symposium and festival on art and technology, and a community A Body of Water by Lee Blessing at the leadership position in the International Symposium on Electronic Art of artists to learn from. Round House Theatre. She is a graduate 2006 Conference. of the Yale School of Drama. influencing the cultural I also love freelance landscape of artistic directing and am always communities.” in search of plays that are stylistically innovative and fearless in how they explore ideas. I opt for theatre with high octane impact…theatre that really moves, questions, entertains, challenges.” 2004-2006 recipient Eric Ting phone: 718-490-4236 [email protected]

Long Wharf Theatre 222 Sargent Drive New Haven, CT 06511 phone: 203-787-4284 x267 [email protected]

In New Haven, CT, Long Wharf Theatre’s artistic director, Gordon Edelstein, is mentoring Eric Ting “I am deeply fascinated in preserving and advancing the artistic vision and with the theatre that voice of a major non-profit theatre institution in the evolves to confront our face of the current challenges facing the arts contemporary world. community. As artistic associate, Eric is fostering A theatre relevant to the relations with new playwrights and new audiences, artists that create it, developing and producing new works reading the microcosm of the series, assisting and observing directors, community that enhancing audience experience through curation and design of lobby exhibits and participating surrounds it and the in season planning and the administration macrocosm of the world of the theatre. that it reflects. A theatre that incites, provokes, Eric Ting is co-founder of Company Ajar, contradicts, celebrates, a provocative physical theatre that fuses puppetry, illuminates, heals. mask and music with original/found text. He has A theatre that demands performed internationally from France to Canada human interaction, to Bali. His directing highlights include Camino gives voice to the mute, Real, The Visit and adaptations of short stories vision to the blind. by Czech writer Ewald Murrer. Eric has assisted A theatre that preserves such esteemed directors as Lou Bellamy, and promotes our Henryk Baranowksi, Liviu Ciulei, Carey Perloff, Bartlett Sher and Loy Arcenas. Original plays understanding of who include Rwanda: A Vaudeville and Comfort we are, who we were Women. His current projects include: a musical and who we might adaptation of Blood Wedding with playwright yet become. I seek the Quiara Alegria Hudes and a history of America theatre of Big Vision, woven from interviews of residents at an assisted of human potential.” living community. The mission of the Doris Duke Charitable Foundation is to improve the Theatre Communications Group (TCG), the national organization for the quality of people’s lives through grants supporting the performing arts, wildlife American theatre, offers a wide array of services in line with its mission: to conservation, medical research and the prevention of child maltreatment, and strengthen, nurture and promote the professional not-for-profit American theatre. through preservation of the cultural and environmental legacy of Doris Duke's Artistic programs support theatres and theatre artists by awarding $3 million in properties. Established in 1996, the foundation supports four national grants annually, and offer career development programs for artists. Management grantmaking programs in the areas described above. It also oversees three programs provide professional development opportunities for theatre leaders properties that were owned by Doris Duke in Hillsborough, New Jersey; through workshops, conferences, forums and publications, as well as industry Honolulu, Hawaii; and Newport, Rhode Island. The foundation’s activities are research on the finances and practices of the American not-for-profit theatre. guided by the will of Doris Duke, who endowed the foundation with financial Advocacy, conducted in conjunction with the dance, presenting and opera fields, assets that currently total approximately $1.6 billion. As of December 31, 2004, includes guiding lobbying efforts and providing theatres with timely alerts about the foundation has approved approximately $376 million in grants to nonprofit legislative developments. The country’s leading independent press specializing in organizations throughout the United States. More information on the foundation dramatic literature, TCG’s publications include American Theatre magazine, the can be found at www.ddcf.org. ArtSEARCH employment bulletin, plays, translations and theatre reference books. As the U.S. Center of UNESCO’s International Theatre Institute, a worldwide In 2000 the Doris Duke Charitable Foundation and the Andrew W. Mellon network, TCG supports cross-cultural exchange through travel grants and other Foundation developed a joint Theatre Initiative that supports two programs: assistance to traveling theatre professionals. Through these programs, TCG seeks the Leading National Theatres Program for theatres invited by the Foundations to increase the organizational efficiency of its member theatres, cultivate and to apply; and the New Generations Program, cooperatively designed by celebrate the artistic talent and achievements of the field and promote a larger Theatre Communications Group, the Doris Duke Charitable Foundation and public understanding of and appreciation for the theatre field. TCG serves over The Andrew W. Mellon Foundation. 430 member theatres nationwide.

The Andrew W. Mellon Foundation is a private philanthropic institution, with assets of approximately $4 billion, that makes grants on a selective basis to institutions of higher education, independent libraries, centers for advanced study, museums, art conservation, and performing arts organizations. The Foundation’s Performing Arts Program focuses on achieving long-term results by providing multi-year grants to leading organizations in the disciplines of music, theatre, dance, and opera. These grants, which are awarded on the basis of artistic merit and leadership in the field, seek to strengthen institutional artistic and administrative capacity; encourage the development and performance of new work; identify and train new generations of arts leaders; reinforce the role of individual artists within institutions; and expand research, learning, and scholarship in the performing arts. Annual giving in the area of performing arts has averaged $16.8 million since 2000. In 2004, the Foundation was awarded a National Medal in the Arts. Further information about the Foundation is available on the website, www.mellon.org.