I am delighted to be introducing the NTC Newsletter to you. This is a first for us — at least in this century!
I especially want to thank our secretary Jeni Mahoney. This is her brainchild, and she has many ideas about how we can use this forum to keep you updated. In this first issue, you’ll find a profile of one of our members, news from members across the country, tips for enjoying the upcoming conference, and a teaser for our new initiative: the NTC Pipeline for New Work. I am looking forward to seeing you at the conference in a few short weeks.
With best wishes,
Risa Brainin, President
In this issue:
Meet A Member
NYC Travel Tips
Experience the Pipeline
We're Going Public!
As of December 10th, NTC's Facebook Page will no longer be a secret, members-only page. This means material on NTC's page can be seen and shared more broadly, allowing us to celebrate and share each other's events and good news more widely.
Anita Gonzalez (Professor at University of Michigan, Writer and NTC Trustee) interviewed NTC member, Jill Dolan, who was recently named Dean of the College at Princeton University. Here is what Jill had to say:
1) Congratulations on your new position as Dean of the College as Princeton University. How do you think that your position as Dean of the College can help to advance your work in theatre studies?
It’s enormously important for those of us in the arts and humanities to take these administrative positions, because they allow us to sit at tables where vital questions of concern to our institutions are discussed. Already, in my four months on the job, I’ve been able to “represent” the arts in careful, articulate ways. If I weren’t at the table, I’m not sure anyone would be thinking about the stakes of theatre studies (or art, music, creative writing, or dance) in our university-wide conversations. In addition, I can keep an eye on resource allocation; on curriculum development; and on faculty hiring and teaching, to make sure that we’re not forgotten as these projects go forward. In terms of my own personal scholarship, I’ve always been interested in writing about administrative work through my performance studies background. And I’m always grateful to be a “theatre person” in these circumstances.
2) What do you see as the greatest challenges for the profession of theatre at this moment?
Diversity and funding, of course, as well as building new audiences. The issues don’t seem to change over time, but they seem particularly urgent now. I was at OSF recently, delighted by the diversity of the casting on stage (and of the playwrights and directors represented in the season). But the audience was mostly white, mostly older. If even the most progressive art-makers in our regional theatres have trouble attracting more diverse audiences, what does this say about the theatre? In addition, questions about whose stories are told continue to be pressing. I saw Lynn Nottage’s Sweat at OSF, which will no doubt be a popular, important title as it makes its way across the theatre production landscape in the U.S. She beautifully parses the intersectionality of identity in the context of an historical moment of deindustrialization that puts communities at odds. The work is there; getting audiences to see and engage it, and getting recalcitrant artistic directors to produce it, is the ongoing challenge.
3) How do you think that partnerships between the university and the profession can most influence the field?
Universities need to employ artists in ways that allow them to have real lives (and health insurance and living wages), and make them part of the ongoing conversations in our institutions. That is, we can’t isolate ourselves; we have to see ourselves as artist/scholar/citizens who have something important to contribute at each of these sites (all of us). Those of us at institutions with large endowments need to lead the way in helping new work (and new perspectives on old work) flourish. All of us should lead in training new generations of artists and critics and scholars and theatre philanthropists-- a generation of amateurs who will continue to love theatre and want it to morph, change, and grow. And we all need to make sure that the ideals about which we care—artistic, political, social justice--are heard the way we articulate them: through our work and our ideas, our practice and our teaching.
MEMBER UPDATES Share good news with your NTC colleagues
The following updates were pulled from NTC's Facebook Page. Have news you want to share in the next newsletter? Send it to us at email@example.com.
Intiman Theatre has named NTC member, director and University of Washington drama professor Valerie Curtis-Newton to co-curate the company’s 2016 season with producing artistic director Andrew Russell. Read more about it HERE.
Amy Saltz says -I've been using Via to get around Manhattan and think you'd really like it too! It costs just $5 a ride and can get you anywhere south of 110th Street. If you sign up with my code, amy9w3, we'll both get $10 of free Via Credit. Here is via app info and signing up info -
Shared ride but you're often the only rider. Very comfortable cars with usually friendly drivers.
They pick up and let off on avenues only (uptown or downtown.)
Very easy to use - download the app and put in your credit card.
When you need a ride, just use the app to tell them where you are.They deduct the charge for the ride automatically.
$5.00 for 1 person, $2.50 per additional person. Tipping is not allowed.
Weekdays only (not Saturday and Sunday - darn!) Service stops at 9 pm!!!
Jeni Mahoney says - Need a place to get some work done with real work tables, free internet, and great (Stumptown) coffee? Try thelobby of the ACE Hotel at 20 W. 29th Street. There are also couches if you just need a place to hangout and read. There is a constant hum of activity that makes some good white noise, if you like that kind of thing I do. For a quiet space, try the Main Library at 42nd and 5th Ave, which is beautiful. But no food or drink.
Looking for a great meal after our afternoon session? Check out:
Sylvia’s: Down home soul food. Several block walk from the Schomburg and Harlem Hospital. One stop the on the 2, 3 MTA subway line.
The Red Rooster: Food Network Chef Marcus Samuelsson’s upscale eatery with the private basement Ginny’s Supper Club available for rent. Several blocks walk from the Schomburg and Harlem Hospital. One stop away on the 2, 3 MTA subway line.
What is the NTC Pipeline? Inspired by a desire to find points of collaboration amongst NTC members in the development and production of new work, the Pipeline Committee is exploring options that will best serve the needs of NTC members, their organizations, participating artists and their work. Please join us at the Idea Cafe on Sunday, December 6from 10:00am-noonat The Lark to talk about this exciting initiative!
The first step in any collaborative process, is connecting with partners that excite and inspire us.
As a starting point, we've asked Linda Chapman, Associate Artistic Director of New York Theatre Workshop, to introduce us to some of the exciting, up and coming artists who have recently participated in the NYTW 2050 Fellows program: