Artists build the imaginary worlds of the stage; producers and managers build the actual worlds where imaginations can play.
Harold Prince has always made work that matters to him—and most often to a wide audience.
Whatever contribution I’ve made to the theatre repertoire has been because I took risks on great material and got backers to trust me with it.
The theatre in Portland, Ore., joins the organization for national profile—and local leadership on wages.
What nonprofit managers and commercial producers can learn from each other, and pass on.
For many small theatres, the leap to midsize, and from renting to owning, can be a make-or-break deal.
The theatre subscription model may seem creaky, but maybe all its needs is an upgrade—a monthly, recurring upgrade.
Broadway’s only African-American lead producers share their paths to producing and some tricks of the trade.