SPOTLIGHT ON Fu ure Leaders: Mentorships

2005-2007 Mentees in the new generations program TCG takes great pleasure in introducing the Mentees for the 2005-2007 round of the New Generations Program Future Leaders: Mentorships.

The New Generations Program has been cooperatively designed by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation and Theatre Communications Group. The resulting program supports two separate objectives: Future Leaders—to cultivate and strengthen a new generation of theatre leadership through Mentorships or International Fellowships at U.S. theatres, and Future Audiences—to expand and strengthen existing theatre programs that have proven effective in reaching young and/or culturally specific audiences.

Through a highly competitive selection process, a national, independent and aesthetically diverse selection panel identified exceptionally talented theatre professionals to be mentored by accomplished theatre practitioners. These mentees have committed to be in residence with their host theatre for two years in a full-time capacity. They have been given the opportunity to deepen their understanding of the not-for-profit theatre— both through their time at the host theatre and in travels domestically and internationally. They have made strong contributions to their theatres and at the same time have honed their leadership skills. Seth Bockley Brad Carlin Redmoon Theater SITI Company 1438 W Kinzie Street 520 8th Avenue #310 Chicago, IL 60622 New York, NY 10018 phone: 617-821-1177 phone: 212-868-0860 [email protected] [email protected] [email protected] In New York City, Brad Carlin is being mentored by SITI Company’s managing director Megan Wanlass In Chicago, Redmoon Theater’s artistic director Szalla in ensemble management. Brad is helping James Lasko and associate artistic director to implement the theatre’s strategic plan, Frank Maugeri are mentoring Seth Bockley in produce the Associates New Work Series and “As a performer, writer “I am most interested directing and artistic leadership. The two-year streamline the management of the company’s and collaborative director, mentorship will provide Seth with the skills of art in the power of the education programs. I’m interested in the fluid direction and resource management in a dynamic ensemble. I am inspired interchange of research, not-for-profit environment. Seth is collaborating by the creative energy Brad Carlin is from Texas and earned his writing, image-making with Redmoon as an assistant director, performer, generated by a group of undergraduate degree in acting from St. Edward’s and performance. writer and art director for the company’s major individuals who are willing University in Austin. After two years as a working actor, including several projects with I believe that the most productions, as well as for the Redmoon-for-Hire to work beyond their SITI company members, he returned to school to vital art of our times is program. With Mr. Lasko, he has embarked on own expertise—utilizing get his masters degree in arts management from that which investigates a project to document the theatre’s diverse skills and interests Carnegie Mellon University. While in graduate America’s history, artistic process. to bring the project to school, Brad worked with Americans for the biography and geography. fruition. I believe the Arts in Washington, D.C., where he designed and I seek collaborators and field is rich with talented, Seth Bockley has collaborated as a performer, implemented research studies in local cultural companies that dedicate passionate and creative writer, director and dramaturg with Chicago’s policy and arts education. Brad previously worked themselves to social Redmoon Theater, Local Infinities Visual artists, but there is a as an administrative intern for SITI, and spent change through the act Theater, Lucky Pierre, Walkabout Theater and shortage of equally able his last year of graduate school assisting the of public celebration and Collaboraction. He apprenticed under artistic administrators who are managing director of City Theatre Company investigation, with the director Stacy Klein of Double Edge Theatre willing to ensure the in Pittsburgh. aim of one day creating Productions (Ashfield, MA) in ensemble physical vitality of American a company to continue theatre direction and performance. At Chicago’s theatre. I hope, in the those goals.” 2005 PAC/edge Festival, he performed an original spirit of the ensemble, solo show based on the life of Joseph Smith. my artistic background At Redmoon, Seth’s credits include and administrative training Sink. Sank. Sunk…, Loves Me…Loves Me Not will serve me well in and The Golden Truffle. He holds a B.A. in addressing the diverse comparative literature from Brown University. issues in the field.” Jake Hooker Michael Thomas Newberry phone: 917-547-9978 Deputy Director [email protected] Chicago Shakespeare Theater 800 East Grand Avenue on Navy Pier In New York City, Big Dance Theater’s co-artistic Chicago, IL 60611 directors Paul Lazar and Annie-B Parson phone: 312-595-5621 are mentoring Jake Hooker in his artistic fax: 312-595-5607 development and administrative leadership. [email protected] Jake is participating in the company’s rehearsals as dramaturg and working with the theatre’s In Chicago, Chicago Shakespeare Theater’s staff on company planning and management, executive director Criss Henderson is mentoring grant writing and other important skills, as he Michael Thomas Newberry as deputy director in “I’m primarily a writer, “I aspire to one day lead continues to make and produce his own work producing, as well as in planning and program but I don’t believe in the outside of the company. a theatre that is not just development work. In this cross-departmental primacy of language. a cultural institution, but position, Michael is the chief administrator of My goal is to destabilize Jake Hooker writes for performance. In New also a social, economic the theatre’s 60-member board of directors, the written word and to York City, his work has been seen at HERE Arts and educational entity. negotiates and fulfills actors’ contracts, manages create performance in Center, Raw Space, the Ontological-Hysteric Not content to simply be selective donor events, oversees the theatre’s which text, dance, music, Theater, La MaMa E.T.C. and the Medicine Show, a community member, MFA/Arts Leadership training program, leads the visual art, new media among others. He holds a BFA in theater from I want to direct a theatre company’s evolving website development and is and design coalesce into Cornish College of the Arts in Seattle and an that is a community the interim manager for the individual giving staff. a cohesive whole that M.A. in theater and the world from the Centre leader—bringing to the for Performance Research at the University of Michael Thomas Newberry holds a degree excites the imagination stage provocative texts Wales. In New York, he is a founding member in electrical engineering from the University of and allows the spectator that spark conversation, of the International Company Project, resident Michigan, where he spent more time producing, access to a world outside tell compelling stories that playwright with Adhesive Theater Project, directing and performing theatre than doing his her own making. I want and co-curator of the Bridge Dance-Theater for challenge our beliefs and semiconductors homework. Prior to obtaining mystery, magic, mayhem; WaX. His newest piece, Pot au Noir, will premiere evoke disbelief and wonder a masters degree in arts management from equal parts lyricism and at New York’s Chocolate Factory in November. with grand theatricality. Carnegie Mellon University, Michael worked for matter-of-factness. For me, the theatre is Teach For America, first as a 4th and 8th grade I want entertainment and that rare place where, teacher in Phoenix, then as development director enlightenment; poetry and for two-and-a-half hours, for the Arizona region. He has also worked with prosaism in a performance we lose hold of our Childsplay in Tempe, AZ, and with Future Tenant, of paradox. This is a wholly certainties and dare to a laboratory space for emerging visual, literary American theatre and a reconsider, to dream, and performance artists in Pittsburgh. hopefully global one: to be moved.” a Theatre-of-All-Things.” Kemati Porter KJ Sanchez McCarter Theatre Center 408 W 51st Street #103 91 University Place New York, NY 10019 Princeton, NJ 08540 phone: 917-744-6700 phone: 609-258-0595 [email protected] [email protected] [email protected]

In Princeton, NJ, McCarter Theatre Center’s In New York City, New Dramatists’ artistic producing director Mara Isaacs is mentoring director, Todd London, is mentoring KJ Sanchez Kemati Porter in artistic producing. in artistic leadership and new play and playwright Kemati is focusing on producing both new work development. KJ is serving as a partner-director and classics, and participates in season planning, on a large number of existing programs in all “I am interested in a “I’m a Slasher. It’s not artist cultivation, short- and long-term project areas of operation, including co-producing New theatrical landscape that development, artistic oversight of the production as violent as it sounds: Dramatists’ Playtime Lab, co-administering the supports culturally specific process and facilitating the work of other I’m a director/actor/ admissions process and assisting on all benefit voices and validates departments within the theatre. teacher/writer. events. She will also create workshops for the theatre in our myriad I’m passionate about playwright company and hold a series of forums communities as necessary Kemati Porter is a director, actor and arts empowering actors, for playwrights on leadership issues. and contributory to the administrator with eta Creative Arts Foundation supporting the ‘worldview’ of art and in Chicago. In her tenure with eta, Kemati chaired playwright’s voice and KJ Sanchez wrote and directed Pants on Fire literature. I am focusing the task force for new program development for encouraging all theatre at American Repertory Theatre in Cambridge, my attention and energies the planned multimillion-dollar theatre expansion, artists to ‘slash’ across MA; Highway 47 for Working Classroom in was a founding member of the Playwrights Albuquerque, NM; Handcuff Girl Saves the World to directing and producing the boundaries of Discovery/Development Initiative (PDI), with Washington Ensemble Theatre (WET); and projects that present their disciplines. and contributed as a writer and editor to the Too Much Water and Panaphobia as a University an opportunity for me I’m also passionate documentation of eta’s development of African- of Washington MFA guest artist. In New York City, to engage, nurture and American playwrights. Kemati resides in Chicago, about diversity—of culture, KJ is a former member of Anne Bogart’s SITI sustain artists who are and holds a B.A. in writing from Columbia College form, philosophy and Company, and is now an associate artist with cultural anthropologists. Chicago and an MFA in Directing from economy. Collaboration The Civilians. She originated the role of Thyona I like the notion of DePaul University. has always been my focus, in Charles L. Mee’s Big Love (Actors Theatre of specificity of voice. I want and at New Dramatists, Louisville’s Humana Festival, Long Wharf Theatre to recognize and honor the I see how beautifully in New Haven, CT, Berkeley Repertory Theatre, artistic contributions of collaboration can The Goodman Theatre in Chicago and Brooklyn ‘whoever’ is talking to me, work on a staff level. Academy of Music). KJ is a William and Eva Fox telling me their story. And I have also seen the direct Foundation fellow and a recipient of the NEA/TCG Career Development Program for Directors, and I long for it to come from link between financial served two terms on the Screen Actors Guild their authentic experience. support and creativity, national board of directors. The theatre is open!” and now have another slash I can be proud of: administrator.” Hana S. Sharif Jennifer Timm Hartford Stage 1720 Wynkoop Street, Suite 310 50 Church Street Denver, CO 80202 Hartford, CT 06103 phone: 303-601-6550 phone: 404-849-4237 [email protected] work: 860-520-7144 [email protected] In New York City, SITI Company’s managing [email protected] director Megan Wanlass Szalla mentored Jennifer Timm in ensemble management. In Hartford, CT, Hartford Stage’s associate Jennifer was involved in all aspects of producer and dramaturg Christopher Baker is management, including budgeting, contract mentoring Hana Sharif in literary management negotiations, board relations, overseeing “My artistic journey is “With a shrewd fiduciary and producing as well as in artistic planning and education programs and implementing rooted in the exploration development. Hana is helping with the season strategy and bold vision SITI’s strategic plan. In addition to her fiscal of the diversity of the selection process, assisting with the Brand:NEW I intend to nurture an responsibilities, Jennifer had the opportunity human experience and Fall Festival of New Work, producing readings, artistic home, a place to study performance composition under the the homogeny of the community and humanity events, aiding in long- where ensemble artists tutelage of artistic director Anne Bogart. human spirit. Ultimately and short-term strategic planning, studying the and administrators feel I want to found a theatre history of artistic diversity for the institution encouraged to explore, Jennifer Timm received her MBA with that exists as a playground and helping to draft a blueprint for future artistic to challenge themselves a concentration in management and an M.A. for new work and a and audience diversity efforts. and to shine. Serving an in arts administration from the University of training ground for writers, audience where sexes, Cincinnati after graduating from the Juilliard Hana Sharif is the co-founder of Nasir Productions, School of Drama. Jennifer’s background in artistic directors and actors, ages, races and classes a theatre dedicated to the exploration of collaboration has included performance art in where the imagination merge, our diverse set contemporary voices experimenting with Berlin, Germany; InterArts exploration onstage is the only glass ceiling. of spectators will find traditional structure. She has brought theatre to at Carnegie Hall in New York City; “most original” I envision a safe space underserved communities and has directed and themselves challenged accolades from the New York International Fringe for experimental work produced shows in Atlanta and Houston, as a group to take the hard Festival; and fiercely interactive direction for deconstructing and including the world premiere of Fragility’s questions about human an electronic opera at the Contemporary Arts reflecting society’s ever- Decline. She is a graduate of Spelman College nature back to their Center in Cincinnati, OH. In addition to her hope evolving social, political in Atlanta and the University of Houston, where individual lives and to of managing an ensemble theatre company, and cultural face; a womb she participated in Edward Albee’s playwriting life as a community. she intends to serve the sector by studying and nurturing and fostering workshop and the Stuart Ostrow new musical Our collaboratively sharing best practices in the field. art which ignites and workshop and completed a full-year internship created art will be rooted purges, assaults and at Hartford Stage. Recently, Hana assisted Regina in classic themes and Taylor on the premiere of The Dreams of Sarah absolves, challenges and will thrive through an Breedlove at Alabama Shakespeare Festival. affirms the fragile—often artistic expression painful—beauty of life and that is contemporary, its infinite possibility.” awake to today and forging toward tomorrow.” Mia Yoo Mark Jared Zufelt La MaMa E.T.C. phone: 206-817-0412 74A East 4th Street [email protected] New York, NY 10003 phone: 917-806-8891 In Seattle, WA, Book-It Repertory Theatre’s work: 212-254-6468 co-founding artistic directors Myra Platt and [email protected] Jane Jones are mentoring Mark Jared Zufelt in all www.lamama.org facets of artistic leadership. Serving as associate artist and director of new play development, In New York City, La MaMa Experimental Theatre Mark produced a new workshop series and Club’s artistic director and founder Ellen Stewart directed touring productions of The Secret Life is mentoring Mia Yoo in artistic leadership and of Bees, The Trumpet of the Swan and An Evening “To me theatre is about “As a director and theatre management. Mia is assisting with of Dorothy Parker Shorts, in addition to the expansion. Through the season selection and development of new producer, I am drawn mainstage production of Bud, Not Buddy. theatre’s art of make- programs, and will help to produce shows in toward new work that believe, the imagination each of the theatre’s three venues. As an artistic reflects, challenges and Mark Jared Zufelt’s Seattle directing credits is allowed to explore associate she is also participating in the daily inspires its audience—be it include Back of the Throat (Seattle Times the unknown and administration of the theatre, assisting with through unique language, Footlight Awards for Best Fringe Production challenge notions of curation and development of La MaMa’s yearly structure or subject and Best New Play) at Theater Schmeater, Gum at human potential. I am dance festival and helping to facilitate the matter. In this age of ‘on the Ethnic Cultural Theatre, The End of Youth for passionate about the activities of incoming artists. demand’ programming, Book-It Repertory Theatre and Let My Blood Be theatre’s ability to enable I take it as my charge to the Seed of Freedom for the Latin Hope Theatre Mia Yoo is a member of La MaMa E.T.C.’s Project. He has assistant-directed for Jon Jory greater awareness of cultivate material and repertory company, Great Jones Repertory, at Actors Theatre of Louisville’s Humana Festival and contact with people artists that will draw the and has toured internationally with the company. and ACT Theatre in Seattle. A former Allen Lee and cultures beyond all community to the theatre, Regionally she has performed at the American Hughes Fellow (Arena Stage, Washington, D.C.), borders. Through creative Repertory Theatre in Cambridge, MA, and in the where they can explore, an SDC Foundation observation grantee collaborations with other Royal Shakespeare Company/Denver Center as active participants, and a member of Directors Lab West, countries, giving exposure Theatre Company production of Tantalus. the challenges of our Mark holds an MFA in directing from the to different artistic forms She is a co-coordinator of La MaMa’s International society with the depth and University of Washington. of expression, I believe Directors’ Symposium, bringing accomplished complexity that only live the theatre can enhance international directors to conduct workshops performance can serve.” cultural understanding at La MaMa Umbria International in Italy. and uniquely examine She has also been involved in organizing the richness of what it La MaMa Umbria’s summer theatre festival. She holds a B.A. from Brown University and an is to be human.” MFA from Columbia University. 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: conservation, medical research and the prevention of child maltreatment, and to strengthen, nurture and promote the professional not-for-profit American through preservation of the cultural and environmental legacy of Doris Duke’s theatre. Artistic programs support theatres and theatre artists by awarding properties. Established in 1996, the foundation supports four national $3 million in grants annually, and offer career development programs for artists. grantmaking programs in the areas described above. It also oversees three Management programs provide professional development opportunities for properties that were owned by Doris Duke in Hillsborough, New Jersey; theatre leaders through workshops, conferences, forums and publications, Honolulu, Hawaii; and Newport, Rhode Island. The foundation’s activities are as well as industry research on the finances and practices of the American guided by the will of Doris Duke, who endowed the foundation with financial not-for-profit theatre. Advocacy, conducted in conjunction with the dance, assets that currently total approximately $1.7 billion. As of December 31, 2005, presenting, opera and symphony orchestra fields, includes guiding lobbying the foundation has approved approximately $437 million in grants to nonprofit efforts and providing theatres with timely alerts about legislative developments. organizations throughout the United States. More information on the foundation The country’s leading independent press specializing in dramatic literature, can be found at www.ddcf.org TCG’s publications include American Theatre magazine, the ARTSEARCH employment bulletin, plays, translations and theatre reference books. In 2000 the Doris Duke Charitable Foundation and the Andrew W. Mellon As the U.S. Center of UNESCO’s International Theatre Institute, a worldwide Foundation developed a joint Theatre Initiative that supports two programs: network, TCG supports cross-cultural exchange through travel grants and other the Leading National Theatres Program for theatres invited by the Foundations assistance to traveling theatre professionals. Through these programs, to apply; and the New Generations Program, cooperatively designed by TCG seeks to increase the organizational efficiency of its member theatres, Theatre Communications Group, the Doris Duke Charitable Foundation and cultivate and celebrate the artistic talent and achievements of the field, and The Andrew W. Mellon Foundation. promote a larger public understanding of and appreciation for the theatre field. TCG serves over 430 member theatres nationwide. The Andrew W. Mellon Foundation is a private philanthropic institution, with assets of approximately $4.8 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 $17.3 million per year since 2000, not including approximately $20 million in disaster recovery relief grants made to New York based performing arts organizations in the wake of September 11, 2001. 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. tcg Theatre Communications Group 520 Eighth Avenue 24th Floor New York NY 10018-4156 T 212 609 5900 F 212 609 5901 www.tcg.org