Board of Directors

Susan V. Booth, President
Rosalba Rolón, Vice President
Philip Himberg, Vice President
Paul Nicholson, Treasurer
Jeffrey Woodward, Secretary
 
Susan V. Booth, Artistic Director; Alliance Theatre, Atlanta, GA
Peter C. Brosius, Artistic Director; The Children's Theatre Company, Minneapolis, MN
Carlyle Brown, Playwright; Minneapolis, MN
Douglas R. Brown, President & CEO; Cambridge Homes, Inc., Libertyville, IL
James Bundy, Artistic Director; Yale Repertory Theatre, New Haven, CT
Dawn Chiang, Lighting Designer; Bridgeport, CT
Mark Cuddy, Artistic Director, Geva Theatre Center, Rochester, NY
Lydia Diamond, Huntington Playwriting Fellow and a Resident Playwright at Chicago Dramatists, Chicago, IL
Teresa Eyring, Executive Director; Theatre Communications Group, New York, NY
Andrew Hamingson, Executive Director, The Public Theater, New York, NY
Philip Himberg, Producing Artistic Director; Sundance Institute Theatre Program, Sundance, UT
Robert Hupp, Producing Artistic Director, Arkansas Repertory Theatre, Little Rock, AR
Melanie Joseph, Producing Artistic Director; The Foundry Theatre, New York, NY
Rachel Kraft, Executive Director; Lookingglass Theatre Company, Chicago, IL
Martha Lavey, Artistic Director; Steppenwolf Theatre Company, Chicago, IL
Todd London, Artistic Director; New Dramatists, New York, NY
Marc Masterson, Artistic Director; Actors Theatre of Louisville, Louisville, KY
Benjamin Moore, Managing Director; Seattle Repertory Theatre, Seattle, WA
Jennifer Nelson, Director; Washington, DC
Paul Nicholson, Executive Director; Oregon Shakespeare Festival, Ashland, OR
Diane Rodriguez , Writer, Director, Performer, Los Angeles, CA
Rosalba Rolón, Artistic Director; Pregones Theater, Bronx, NY
Michael Ross, Managing Director; CENTERSTAGE, Baltimore, MD
Olga Sanchez, Artistic Director; Miracle Theatre Group, Portland, OR
Bartlett Sher, Artistic Director; Intiman Theatre, Seattle, WA
Timothy J. Shields, Managing Director; McCarter Theatre Center, Princeton, NJ
Mark Shugoll, CEO; Shugoll Research, Bethesda, MD
Molly Smith, Artistic Director; Arena Stage, Washington, DC
Susan Trapnell, Managing Director; ACT Theatre, Seattle, WA
Shay Wafer, Managing Director; Cornerstone Theater Company, Los Angeles, CA
Kate Warner, Artistic Director; Dad’s Garage, Atlanta, GA
Les Waters, Associate Artistic Director, Berkeley Repertory Theatre, CA
Jeffrey Woodward, Managing Director; Syracuse Stage, Syracuse, NY
Angel Ysaguirre, Director of Global Community Investing, The Boeing Company, Chicago, IL

Susan V. Booth (president) is the artistic director of the Alliance Theatre Company. Ms. Booth’s regional directing credits include; the Alliance, Goodman Theatre, Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, Northlight Theatre, Actors Theatre of Louisville, Connecticut Repertory, City Theatre of Pittsburgh, New York Stage and Film, Victory Gardens, Touchstone Theatre, Organic Theatre, RAPP Arts, La Jolla Playhouse, Ojai Playwrights Festival, the National Playwrights Conference and L.A.Theatreworks’ Theatre On the Air. Booth has held teaching positions at Northwestern and DePaul Universities and the School of the Art Institute in Chicago and currently serves as adjunct faculty with Emory University.  She holds degrees from Northwestern and Denison Universities and was a fellow of the National Critics Institute.  She is a member of Leadership Atlanta’s Class of 2003, was cited as a Lexus Leader for the Arts by WABE and "Atlanta's Best New Visionary" by Atlanta Magazine in 2004, was named one of Atlanta’s “25 Power Women to Watch” in 2006 by Atlanta Woman Magazine, and was chosen as the Best Local Director in The Sunday Paper’s 2006 and 2007 Readers’ Choice Awards.  She also serves as an officer on the board of the Metro Atlanta Arts and Culture Coalition and is the co-chair of the City of Atlanta’s One Book, One Community Program.

Peter C. Brosius joined The Children's Theatre Company (CTC) as its third artistic director in 1997. During Mr. Brosius' tenure, CTC was the winner of the 2003 Tony Award for Outstanding Regional Theatre, the first time ever a youth theater was bestowed this honor. In addition, CTC's production of A Year with Frog and Toad, which completed a run at the Cort Theater on Broadway in June 2003, was nominated for three Tony Awards. In 1998, under Brosius' leadership, CTC established THRESHOLD, a new play laboratory that has allowed CTC to work with some of the leading playwrights in American to create world premiere productions: Nilo Cruz, Jeffrey Hatcher, Kia Corthrun, Naomi Iizuka, to name a few. CTC has also been involved with international collaborations with theater artists from Sweden, Britain, and The Netherlands. Along with new play development, Brosius has helped launch new education program, one of which is the acclaimed Neighborhood Bridges program that is being used as a national model. Past directing credits at CTC include: Anon(ymous), The Lost Boys of Sudan, The Monkey King, Hansel & Gretel, Amber Waves, The Snow Queen, Dragonwings, Mississippi Panorama, A Village Fable, Whale, Afternoon of the Elves, and Boundless Grace. Previously he was the artistic director of the Improvisational Theatre Project of the Mark Taper Forum, where he commissioned and directed numerous world premieres by authors such as Lisa Loomer, Erin Cressida Wilson, Peter Mattei, as well as the U.S. premieres of One Thousand Cranes by Colin Thomas, Stamping Shouting and Singing Home by Lisa Evans, and Robinson and Crusoe by Teatro Dell Angollo. At the Taper, he also directed numerous productions for the Taper's New Work Festival and for its mainstage. In addition, he has directed at theaters across the country: South Coast Repertory, Arizona Theatre Company, South Street Theatre on Theatre Row, Pan Asian Repertory. He also spent many years as director-in-residence at The Sundance Playwrights Laboratory. He is the recipient of numerous awards including Theatre Communications Group's Alan Schneider Director's Award and honors from the Los Angeles Drama Critics Circle Award and Dramalogue. He holds a B.A. from Hampshire College and a M.F.A from New York University. Brosius is married to playwright Rosanna Staffa and is the father of fourteen-year-old daughter Daria and nine-year-old son Gabriel.

Carlyle Brown  is a writer/performer and artistic director of Carlyle Brown & Company based in Minneapolis, which has produced The Masks of Othello: A Theatrical Essay, The Fula From America: An African Journey, and Talking Masks. His plays include The African Company Presents Richard III, The Little Tommy Parker Celebrated Colored Minstrel Show, Buffalo Hair, The Beggars' Strike, The Negro of Peter the Great, Pure Confidence, A Big Blue Nail and others. He has received commissions from Arena Stage, the Houston Grand Opera, the Children's Theatre Company, Alabama Shakespeare Festival, Actors Theatre of Louisville, The Goodman Theater, Miami University of Ohio and the University of Louisville. He is the recipient of playwriting fellowships from the New York Foundation for the Arts, National Endowment for the Arts, McKnight Foundation, the Minnesota State Arts Board, Jerome Foundation, Theatre Communications Group and the Pew Charitable Trust. Mr. Brown has been artist-in-residence at New York University School of the Arts Graduate Acting Program, the James Thurber House in Columbus, and Ohio State University Theater Department where he directed his music drama, Yellow Moon Rising. He has been a teacher of expository writing at New York University; African-American literature at the University of Minnesota; playwriting at Ohio State University and Antioch College; African American theater and dramatic literature at Carlton College as the Benedict Distinguished Visiting Artist, and "Creation and Collaboration" at the University of Minnesota Theater Department. He has worked as a museum exhibit writer and story consultant for the Charles Wright Museum of African American History in Detroit and the Kentucky Center for African American Heritage in Louisville. Mr. Brown is a core member at The Playwrights' Center in Minneapolis and he is an alumnus of New Dramatists in New York and a member of the Dramatists Guild. He is on the board of directors of The Playwrights’ Center and Theatre Communications Group, the national organization for the non-profit professional theater, and the Jerome Foundation. He is a member of the Charleston Jazz Initiative Circle at the Avery Research Center for African American History and Culture at the College of Charleston, where his works and papers are archived. He is the 2006 recipient of The Black Theatre Network’s Winona Lee Fletcher Award for outstanding achievement and artistic excellence and a 2008 Guggenheim Fellow.

Douglas R. Brown graduated Phi Beta Kappa from Northwestern University in 1972.  Mr. Brown then joined the Midwest subsidiary of Leisure Technology, Inc., a large public homebuilder.  After graduating from Loyola University Law School in 1978, Brown began practicing law with a focus on corporate and real estate matters, ultimately opening his own law firm.   Doug joined Cambridge Homes, Inc. in 1983 as vice president and general counsel.  He was later named senior vice president and, in the early 1990's, president and chief operating officer.   Since the acquisition of Cambridge by D.R. Horton, Inc., the nation's largest homebuilder, he has served as the president of Horton's Chicago based Cambridge Homes division.  He is a member of the Home Builders Association of Illinois and the Home Builders Association of Greater Chicago.  He also serves as chairman of Steppenwolf Theatre Company's Board of Trustees, chairman of the Board of Directors of the Harris Bank Libertyville group of banks, as a member of the Economic Club of Chicago, and director of the Western Golf Association. 

James Bundy is in his seventh year as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre. In his first six seasons, Yale Rep has produced more than twenty world, American, and regional premieres, three of which have been honored by the Connecticut Critics Circle with the award for Best Production of the year, and two of which have been Pulitzer Prize finalists. During this time, Yale Rep has also commissioned nearly twenty playwrights, and provided low-cost theatre tickets and classroom visits to thousands of middle and high school students from Greater New Haven through WILL POWER!, an educational program initiated in 2004. Mr. Bundy's directing credits include The Psychic Life of Savages, A Woman of No Importance, and All's Well That Ends Well at Yale Rep, as well as productions at Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and the Juilliard School Drama Division. A recipient of the Connecticut Critics Circle's Tom Killen Award for extraordinary contributions to Connecticut professional theater in 2007, Mr. Bundy currently serves on the board of directors of Theatre Communications Group, the national service organization for nonprofit theatre. Previously, he worked as Associate Producing Director of The Acting Company, Managing Director of Cornerstone Theater Company, and Artistic Director of Great Lakes Theater Festival; as an actor, he appeared at Berkeley Rep, Magic Theatre, Oregon Shakespeare Festival and San Jose Repertory, among others. He is an alumnus of Harvard College, LAMDA, and Yale School of Drama.

Dawn Chiang has designed the lighting at numerous regional theatres including Denver Center Theatre Company, Oregon Shakespeare Festival, Milwaukee Repertory Theater, Arizona Theatre Company, Alliance Theatre, Mark Taper Forum, Guthrie Theater, Syracuse Stage, San Jose Repertory Theatre and Portland Center Stage.  On Broadway, Ms. Chiang designed the lighting for Zoot Suit, was co-designer for Tango Pasion, and associate lighting designer for Show Boat, The Life and the original production of La Cage Aux Folles.  Off-Broadway, she has designed for the Roundabout Theater, Manhattan Theatre Club, and co-designed the first two seasons of the Encores! concert musical series at City Center.  Chiang was resident lighting designer for New York City Opera, where her designs included A Little Night Music and Fanciulla del West.  She is the lighting designer for the award winning FDNY Fire Zone at Rockefeller Center in New York, which teaches visitors about fire prevention through an immersive environment using video, lighting, sound, show control and special effects.  At the Whitney Museum of American Art, she created a lighting performance piece, delights: Art on 5 Outlets.  She has worked on the concert tours of Paul Anka, The Carpenters, Diana Ross and Loggins and Messina; and authored the operation manual for one of the first major computer lighting control consoles, the Strand Light Palette 1.  Awards include two Dramalogue awards, an American Theatre Wing nomination, a Los Angeles Drama Critics' nomination and a THEA Award (Themed Entertainment Association).  She is a member of United Scenic Artists, an Eastern Division board member of the Themed Entertainment Association and an associate consultant with Theatre Projects Consultants.

Mark Cuddy is in his 12th season as Artistic Director of Geva Theatre Center, where he directed Our Town, Tuesdays with Morrie earlier this season, Splitting Infinity and Vigil last season and A Chorus Line, Hamlet and the American premiere of That Was Then in the 2004-2005 season. Mr. Cuddy is well known for his staging of premieres, contemporary comedies and musical theatre. Among his Geva Theatre Center productions have been the Mainstage and Nextstage productions of Convenience (world premiere musical); 1776; Proof; the world premier of Thornton Wilder’s Theophilus North which was also seen at Arena Stage in Washington, D.C.; The Miser; the East Coast premieres of both House and Garden; Quilters; Art; Famous Orpheus (world premiere musical) with Garth Fagan Dance; Every Good Boy Deserves Favor with the RPO; Golf with Alan Shepard; Picasso at the Lapin Agile and State of the Union. Prior to his tenure at Geva Theatre Center, Mr. Cuddy directed a number of world and American classics while Artistic Director of the Idaho Shakespeare Festival and Sacramento Theatre Company.

Lydia Diamond is a Huntington Playwriting Fellow and a Resident Playwright at Chicago Dramatists. Her plays include Stage Black (Premiered at Arts Consortium of Cincinnati, 3rd Place Theadore Ward Prize), The Gift Horse (Premiered at Goodman Theatre, 2nd place Kesselring Prize, 1st Place Theadore Ward Prize); Stick Fly (Premiered at Congo Square Theatre Company, Joseph Jefferson Award recommended, BTAA Nominated); and The Inside (premiered at MPAACT Theatre Company), and recently published in TriQuarterly, where she is a contributing editor; Voyeurs de Venus (premiered at Chicago Dramatists, Joseph Jefferson Award recommended, BTAA Nominated, commissioned by Steppenwolf Theatre Co.) Ms. Diamond's adaptation of Toni Morrison’s The Bluest Eye premiered at Steppenwolf Theatre, won the Black Arts Alliance Image Award for Best New Play, and will be remounted at the Steppenwolf and moved to a co-production with New Victory in NY next season. Theatre Alliance, D.C., Playmakers Rep, N.C., and Plowshares, MI, will also mount productions The Bluest Eye this coming season. The Gift Horse is anthologized in 7 Black Plays, edited by Chuck Smith, Northwestern University Press. Ms. Diamond is currently working on her third Steppenwolf Theatre commission, a play based on Harriet Jacob's "Incidents in the Life of a Slave Girl", recently workshopped and presented at The Kennedy Center's New Visions New Voices festival. Ms. Diamond holds a B.S. in Theatre and Performance Studies from Northwestern University. She has taught playwriting at Columbia College Chicago, DePaul University, Loyola University, and Boston University.

Teresa Eyring joined TCG as executive director in March 2007. Ms. Eyring has been an executive in theatres around the U.S. for over twenty years. Prior to joining TCG, she served as managing director of the Children’s Theatre Company (CTC) in Minneapolis since 1999. Eyring began her theatre career as director of development for the Woolly Mammoth Theater Company in Washington, D.C. in 1983. She completed an MFA in theater administration at the Yale School of Drama between 1986 and 1989. From 1989-1993, she was assistant executive director of the Guthrie Theater in Minneapolis, where she handled artist contracts, play commissions, and oversaw a $5 million theater renovation project . From 1994-99, she was managing director of the Wilma Theater in Philadelphia, where she spearheaded completion of an $8 million capital campaign and oversaw the construction and transition to a new 24,000 square foot theater facility on Philadelphia’s Avenue of the Arts. She was named a ‘Woman to Watch” by the Twin Cities Business Journal in July 2005. Eyring’s past affiliations include service as chairwoman of the Theatre Alliance of Greater Philadelphia, board member of WYBE-TV, executive committee member of the League of Resident Theaters; board member and Treasurer of Minnesota Citizens for the Arts; and board member of Intermedia Arts. Eyring holds a BA from Stanford University and an MFA from Yale School of Drama.

Andrew Hamingson is the Executive Director of The Public Theater. Before joining The Public in September 2008 Andrew served as the Atlantic Theater Company’s Managing Director beginning in August 2004.  While there, Andrew oversaw all administrative and fiscal matters at Atlantic, including institutional development, Board recruitment, budgeting, marketing and fundraising.  In addition, he oversaw the negotiations, planning and construction of Atlantic’s new state of the art $6 million theater complex on West 16th Street, and is currently leading the team to renovate Atlantic’s 20th St. main stage theater. In 2006 Atlantic Theater Company transferred Spring Awakening and The Lieutenant of Inishmore to Broadway—the first time in over 20 years that a not for profit had transferred back to back shows to Broadway.  On both occasions, ATC was a full Producer for the Broadway productions.  Andrew represented ATC as part of that management/producing partnerships. Since Andrew began at Atlantic, the operating budget has increased 70% and contributed income has grown by over 100%.  Prior to Atlantic, he was Manhattan Theatre Club’s Director of Development for 5 years.  While there he managed all aspects of the annual fundraising campaign, including Board development and strategic planning. In addition to the $8 million annual fund, he was responsible for raising $35 million for the Capital Campaign for the renovation of the historic Biltmore Theater.  Beyond his fundraising responsibilities, Andrew helped to redesign the new facility and led the team to create operational policies at the Biltmore. Prior to being named Director, he was Deputy Director of Development, and Associate Director of Development at MTC for 7 years.  Andrew has a B.S. in Accounting from the John Wiley Jones School of Business, State University of New York at Geneseo, and an M.A. in Performing Arts Administration from New York University. He has been a Visiting Professor at the Yale School of Drama for 8 years, and an Adjunct Professor at New York University’s Steinhardt School for Education and Arts Professions for two years. 

Philip Himberg (vice-president) is the producing artistic director of the Sundance Institute Theatre Program. Since 1997, Mr. Himberg has overseen all aspects of the Sundance Institute Theatre Program including the Sundance Theatre Laboratory, an annual summer workshop in Sundance, Utah which supports the development of new work for the stage. Under his aegis, the Sundance Theatre Program has grown to include two new laboratories: The Sundance Theatre Lab at White Oak and The Sundance Playwrights Retreat at Ucross. In addition, Himberg has created the Sundance Theatre "international initiative" which is currently cultivating East African theatrical voices both in the region, as well as at the theatre labs. In 2008 he directed Flora the Red Menace for Reprise! in Los Angeles. Most recently he has directed the world premiere of Terrence McNally's Some Men at the Philadelphia Theatre Company, and a concert of William Finn's Songs of Innocence and Experience in Williamstown, MA. For Sundance, he directed revivals of Fiddler on the Roof, Funny Girl, and a new version of Jerry Herman's musical, Dear World. He also conceived and directed the world premiere of War Letters in Los Angeles.  His essay, "Family Albums" is published in the Dutton anthology "GIRLS WHO LIKE BOYS WHO LIKE BOYS" and he is in the process of re-mounting A LONG AND WINDING ROAD, a solo piece he co-authored and directed starring Maureen McGovern. He received his B.A. in Theatre Arts at Oberlin College studying under Herbert Blau. He was co-artistic director of Playwrights Horizons in New York, where he produced over sixty plays in the theatre's most formative years. He is a recipient of the TCG/National Endowment for the Arts Artistic Fellowship, which brought him to the Mark Taper Forum in Los Angeles. Subsequently he was staff producer for the Mark Taper Forum's Improvisational Theatre Project (I.T.P.), a resident touring ensemble that created and performed new work for young audiences, and for whom he conceived and directed new work.

Robert Hupp is in his ninth season as producing artistic director of the Arkansas Repertory Theatre. Robert’s directing credits for The Rep include Of Mice and Men, Steel Magnolias, Much Ado About Nothing, Romeo & Juliet, God’s Man in Texas, The Spitfire Grill , Proof, The Tempest, You Can’t Take It With You and The Grapes of Wrath. He also recently directed the premiere of Glyn Maxwell’s drama, The Lifeblood for the Phoenix Theatre Ensemble in New York City. Prior to assuming his position at The Rep, Robert spent nine seasons as artistic director, and four seasons as managing director, of Jean Cocteau Repertory theatre in New York City. Robert directed several works for the Obie Award-winning Cocteau Rep, including premieres of the Bentley/Milhaud version of Brecht’s Mother Courage and Her Children, Seamus Heaney’s The Cure at Troy and Eduardo de Filippo’s Napoli Millionaria. He has served on funding panels for Arts Midwest (Shakespeare for a New Generation) the National Endowment for the Arts, the Theatre Communications Group (New Generations), the New Jersey State Council of the Arts and the New York City Department of Cultural Affairs. Robert has been a finalist for Arkansas Business’ Non Profit Executive of the Year and is a recipient of IABC/Arkansas Communicator of the Year Award. In addition to his duties at The Rep, Robert is a site evaluator for the NEA and a visiting associate professor in the department of theatre arts and dance at the University of Arkansas at Little Rock.

Melanie Joseph is the founder and producing artistic director of The Foundry Theatre in New York City. Ms. Joseph has produced and/or directed twelve new works for The Foundry, which have been awarded 8 Obie Awards and 3 Drama Desk Nominations. The Foundry itself was honored with a special Obie Award in 2001 for “its overall contribution to Off-Broadway theatre and creating cutting edge works.”  In the spring of '07 the company received TCG's Peter Zeisler Award in recognition of “innovative practice and dedication to freedom of expression.”  Joseph has commissioned and developed new works with such artists as Kirk Lynn, Alice Tuan, Carl Hancock Rux, Rinde Eckert, W. David Hancock and is currently developing new works with David Greenspan and Brazil's Teatro da Vertigem. She is also the curator of The Foundry’s public dialogues which bring artists together with thinkers from other fields to investigate the workings of a changing polis.  Notable events include A Conversation on Hope; Never Again: A Town Meeting on War Crimes and Genocide and the ongoing FOODWATERSHELTER NYC series for which the company was cited by The Village Voice for “engaging artists in some of the thorniest issues of the world we inhabit.”  Joseph is the recipient of the Skirball Kennis’ national T.I.M.E. Individual Artist prize and the League of Professional Theatre Women’s Lucille Lortel Award for Artistic Producing.  She holds a B.A. in Literature and Political Science from the University of Western Ontario and in '94 received a post-baccalaureate degree in pre-medicine from City University of New York. She serves on the Board of Trustees for Theatre Communications Group (TCG) and is the U.S. President of the International Theatre Institute (ITI).

Rachel Kraft joined the Lookingglass Theatre Company as executive director in September 2005, bringing almost 20 years experience in the arts. For 12 seasons she served as director of development at the Goodman Theatre, in addition to past key roles at the Arts and Business Council, Northlight Theatre and the Chicago Dance Coalition. Rachel is a new trustee of the Jewish Women's Foundation in Chicago, an active member of the Alumnae Council of the Chicago Foundation for Women, and a charter board member of the Kindling Group, a not-for-profit organization that creates documentary programming about important social, civic and historical issues. Kraft was elected to the TCG board of Directors in June 2006 and currently serves on the Executive Committee.

Martha Lavey is an ensemble member and the artistic director of Steppenwolf Theatre and has appeared at Steppenwolf in Good Boys and True, Love-Lies-Bleeding, Lost Land, I Never Sang for My Father, The House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Supple in Combat, Time of My Life, A Clockwork Orange, Talking Heads, SLAVS!, Picasso at the Lapine Agile, Ghost in the Machine, A Summer Remembered, Love Letters, Aunt Dan and Lemon and Savages.  Elsewhere in Chicago she has performed at the Goodman, Victory Gardens, Northlight and Remains theaters and in New York at the Women’s Project and Productions.  She has served on grants panels for the National Endowment for the Arts, The Theatre Communications Group (TCG) and the City Arts panel of Chicago.  Lavey holds a doctorate in Performance Studies from Northwestern University and is a member of the National Advisory Council for the School of Communication at Northwestern and a board member of TCG.  She is a recipient of the Sarah Siddons Award and an Alumni Merit Award from Northwestern University.

Todd London is in his thirteenth season as artistic director of New Dramatists, a 60-year-old center for the support and development of playwrights. In that role he has worked closely with more than a hundred of America’s leading playwrights and advocated nationally and internationally for hundreds more. A former Managing Editor of American Theatre magazine and the author of "The Artistic Home," published by the Theatre Communications Group (TCG), he has written, edited, and/or contributed to eleven books. His magazine essays and articles on the theatre have been translated for publication in Russia, North and South Africa, Scandinavia, Serbia, and Roumania. Todd won the prestigious George Jean Nathan Award for Dramatic Criticism for his essays in American Theatre and a Milestone Award in for his first novel, The World’s Room, published by Steerforth Press.  In 2001 he accepted a special Tony® Honor on behalf of New Dramatists. In 2005 he represented New Dramatists at the Obie Awards, where the organization was honored with the Ross Wetzsteon Award for excellence. Todd serves on the faculty of Yale School of Drama and as project director of Theatre Development Fund’s (TDF) Playwrights Project. Before coming to New Dramatists, he was guest literary director of the American Repertory Theatre and visiting lecturer of dramatic arts at Harvard.  A former chair of the New York State Council on the Arts theatre panel and National Endowment for the Arts panelist, he serves on the boards of Theatre Communications Group (TCG), The John Golden Fund, and The Talking Band. He holds an M.F.A. in directing from Boston University and a Ph.D in Literary Studies from the American University.  He has two sons, Guthrie and Grisha, and lives in Brooklyn with playwright Karen Hartman.

Marc Mastersonis the artistic director of Actors Theatre of Louisville, KY.  Mr. Masterson is an award-winning director specializing in new work and innovative productions of the classics. Recent Humana Festival directing credits include the premieres of The Unseen, Natural Selection, The Shaker Chair, After Ashley, and plays by Melanie Marnich, Russell Davis, Charles Mee, and Richard Dresser. Other credits include Mary’s Wedding, The Crucible, Betrayal, As You Like It, and MacBeth. As a producer, Masterson has strengthened Actors' ties with Louisville through innovative educational and community based programs. Previously, he served as producing director of City Theatre for 20 years with distinguished experience as a leader in the cultural community of Pittsburgh, Pennsylvania.

Benjamin Moore is the managing director of Seattle Repertory Theatre. Mr. Moore came to Seattle Rep in December 1985 following a 15-year association with the American Conservatory Theater in San Francisco where he held the positions of production director, general manager, and managing director. Moore has led Seattle Rep through compliance for a National Arts Stabilization grant, construction of the Leo K. Theatre, Seattle Rep's second stage, and 23 operating cycles with no accumulated deficit. Mr. Moore was the chairman of the Seattle Arts Commission in 1989, and served on the Washington State Arts Commission from 2001 to 2007. He has been the chair of the I.A.T.S.E. Local 15 Health and Welfare Trust since 1994 and is currently serving terms on the boards of the Tessitura Network, Inc. and the Seattle Chamber of Commerce. He has served as a peer panelist and evaluator for the National Endowment for the Arts and as a consultant for The Bush Foundation in Minneapolis. He received a Senior Fellowship and a B.A. from Dartmouth College and an M.F.A. in Arts Administration from Yale University School of Drama.

Jennifer Nelson is the former producing artistic director of the African Continuum Theatre, which she led for eleven years. She has worked in professional theatre for thirty-six years as an actress, administrator, educator, playwright, producer and director. She served two terms as President of the League of Washington Theatres and is currently a board member of Theatre Communications Group (TCG), the national association of not-for-profit theatres. For African Continuum Ms. Nelson produced twenty-six plays, including several world premieres. In addition to extensive directing for African Continuum, she has directed at many theatres throughout the Washington DC area, including Ford’s, Round House, Woolly Mammoth, Everyman (Baltimore), Rep Stage, Theatre of the First Amendment, Source, Imagination Stage, Young Playwrights and Tsunami.  Ms. Nelson has also directed at Manhattan Class Company in New York City, the Mark Taper Forum and LATC in Los Angeles, Penumbra in Minnesota, Oregon Shakespeare and the Fulton in Pennsylvania. She has also directed at University of Maryland at College Park, University of Maryland Baltimore County and University of South Carolina. Prior to her directing career Ms. Nelson was for twenty years an actress then associate artistic director of the Living Stage Theatre, the community outreach arm of Arena Stage.  Living Stage was devoted to working with underserved audiences including children, the incarcerated, the disabled and the elderly. Ms. Nelson is a past recipient of an Early Career Director Fellowship from the National Endowment for the Arts and TCG.  She is a published poet and playwright.  Her play, Torn from the Headlines was awarded the 1997 Helen Hayes Award for Most Outstanding New Play.  She is a three-time winner of the Larry Neal Writers Award, a three-time grantee of the DC Commission on the Arts Individual Artist program, and a recipient of the Mayor’s Arts Awards for Excellence in an Artistic Discipline. Ms. Nelson has taught in the theatre departments of George Washington University, American University, George Mason University and UCLA.  She is a graduate of the University of California at Davis.

Paul Nicholson(treasurer) has been executive director of the Oregon Shakespeare Festival since 1995, having spent the prior 16 years as the Festival's general manager. A native New Zealander, Mr. Nicholson served for six years as the administrative director of Downstage Theatre, New Zealand's largest and longest-established professional theatre. Prior to becoming involved in professional theatre, Nicholson worked for ten years in the corporate world. He has a B.C.A. Honors degree (the New Zealand equivalent of an MBA) from Victoria University, Wellington, New Zealand. He has been a guest lecturer at Stanford University, Victoria University of Wellington and other education institutions, and has acted as a management consultant for many not-for-profit organizations. He is actively involved in arts advocacy efforts for the state of Oregon, and served for many years as the president of the Oregon Cultural Advocacy Coalition. He was a founding faculty member of the Western Arts Management Institute and since 1984 has been an adjunct professor at Southern Oregon University. He has also served on a number of panels for TCG and the National Endowment for the Arts. He is a past-chair of the Ashland Community Hospital Board of Directors, a member of the Southern Oregon University Advisory Board, a member and prior director of Rotary, has served on the board of directors of the Ashland Chamber of Commerce and has participated on many local committees and boards.

Diane Rodriguez is an OBIE winning theatre artist who directs, writes and performs.  Currently she has a new play running at the Fountain Theater in Los Angeles, titled And Her Hair Went With Her written by Zina Camblin and performed by Tonya Pinkins and Tracie Thoms. For Mattel/Theme Star Productions, she wrote and is supervising director for the international tour of Barbie Live/The Adventures of a Princess premiering in Argentina in July of 2008. Regionally she has directed at South Coast Repertory, Victory Gardens-Chicago, Phoenix Theatre, Actors' Theatre of Phoenix, Borderlands Theatre-Arizona, Hartford Stage-Connecticut, San Jose Repertory, Mixed Blood-Minneapolis, City Theatre- Pittsburgh, and in Los Angeles for Cornerstone Theater Company, The Group at Strasberg, Playwrights Arena and the Mark Taper Forum. She won an OBIE for Performance in 2007 for playing multiply characters in Heather Woodbury's Tale of Two Cities. She received the TCG/NEA Early Career Award for Directing in 1998 and was nominated for the TCG Alan Schneider Director Award by David Emmes/South Coast Repertory for her work on Octavio Solis' Posada Majica. She has developed and directed the works of numerous writers including Nilo Cruz's Hortensia and the Museum of Dreams and Lynn Nottage's Fabulation at Sundance Theatre Lab. In 2005 she became Associate Producer/Director of New Play Production at Center Theatre Group which includes the Ahmanson/Mark Taper and Kirk Douglas Theatres. For ten seasons she was director of the Latino Theatre Initiative and resident artist at the Mark Taper Forum.  

Rosalba Rolón (vice president) is a performer, director and dramaturg who worked extensively with Latino theaters in New York City prior to founding Pregones Theater in 1979, where she now serves as the Artistic Director. Born and reared in Puerto Rico, Ms. Rolón's artistic leadership fostered the development of an original Pregones' music theater repertory grounded in Puerto Rican/Latino traditions and contemporary artistic expressions. As a dramaturg and director, Rolón favors the art of literary stage adaptation, working from short stories, novels, and periodicals by Latino, Spanish, Caribbean, and Latin American writers. Her credits include The Beep (2007) and The Red Rose (2006) for which she won various ACE and HOLA Awards.  Her adapted works include The Wedding March, The Blackout, Translated Woman and Promise of a Love Song in collaboration with Roadside Theater and Junebug Productions, and which was recently published by TCG in an anthology of ensemble theaters. Her commitment to the development of Latino theater has earned her national recognition. Under her leadership, Pregones Theater recently conducted a capital campaign that enabled Pregones Theater to acquire two properties and build a new theater with an adjacent garden. She is currently involved in an international collaboration involving eight countries working to create an international virtual theater school. She is a Faculty at the Emerging Leadership Program of the annual Arts Presenters Conference in New York City and of the Leadership Institute of NALAC in San Antonio, TX, of which she is also the Immediate Past Chair of the Board.  She is a site reporter for the National Endowment for the Arts and a theater panelist for the NYS Council for the Arts.

Michael Ross is an arts management consultant specializing in strategic planning, board development and fundraising. As a consultant he has worked with SITI Company, Eugene O'Neill Theater Center, Guthrie Theater, Chicago Shakespeare Theater, Crossroads Theatre Company, Puerto Rican Traveling Theatre, and Trinity Repertory Theatre.  Ross served as the managing director of Center Stage and Long Wharf Theater. Prior to this he held various positions at National Arts Stabilization, Hartford Stage, Baltimore Opera Company, and the Alley Theatre. Additionally, he has served as a panelist for the NEA, Theatre Communications Group, Massachusetts Cultural Council, and New England Foundation for the Arts, and has been an adjunct professor at Yale School of Drama. He currently serves on the boards of Greater Baltimore Cultural Alliance, Baltimore Festival of the Arts (Artscape), and National Women's Hall of Fame.

Olga Sanchez serves as artistic director for the Miracle Theatre Group’s Miracle MainStage and Bellas Artes companies. Olga is an actor, director, writer and artist-educator, originally from New York City, where received her BA in Theatre from Hunter College and served as a co-artistic director of the People's Playhouse. In Seattle, she served as a founder and the artistic director of Seattle Teatro Latino, for which she wrote and directed several pieces celebrating the beauty of Latino cultural heritage. Olga is a member of Los Norteños and Los Porteños writers groups. Her original plays include Reuñión, a ritual play for Día de los Muertos, and Retratos Lindos, bilingual Latin American folktales for children, which toured Western Washington. Her screenplays include Yesler Way, an eight-episode telenovela, and Santiago, a Cuban love story. For Miracle Theatre Group, she has directed some of her favorite projects, including Nilo Cruz' Lorca in a Green Dress, for which she received a Portland Drama Critics’ DRAMMY award for Excellence in Direction. She most recently directed Federico García Lorca’s Bodas de sangre (Blood Wedding, in Spanish). World premiere productions she has directed for Miracle include Quiara Alegría Hudes’ The Adventures of Barrio Grrrl!, Joann Farías’ The Road to Xibalbá, and Rubén Sierra’s When the Blues Chase Up a Rabbit. She co-wrote and directed Miracle’s adaptation of Spirits of the Ordinary with novelist Kathleen Alcalá.  Upcoming projects include Dos Pueblos, a collaboration with Hand2Mouth Theatre and La Comedia Humana (Mexico City), and The Shrunken Head of Pancho Villa by Luis Valdez.  Olga is a member of the Lincoln Center Theatre Director’s Lab; her directorial work has been seen in Seattle, Portland, NYC, Martha's Vineyard, Peru, Venezuela and Cuba. As an actor, Olga has performed in NYC, Martha's Vineyard, Seattle, Portland, Los Angeles, London and Jerusalem. She is a co-founder of La Casa de Artes, a Seattle-based Latino arts and cultural organization. She is the creator of Miracle’s Pluma Nueva bilingual literary and performing arts workshops, Posada Milagro, Miracle’s community-based holiday program, and Cuentos y Teatro, Miracle’s Spanish-language summer acting camp for children. Olga holds a M.A. in Human Development from Pacific Oaks College NW, with specialization in Bicultural Development.

Bartlett Sher is Artistic Director of Seattle’s Intiman Theatre. He received the 2008 Tony Award, Drama Desk Award and Outer Critics Circle Award for his direction of the acclaimed Broadway revival of Rodgers and Hammerstein’s South Pacific at Lincoln Center Theater. He was also recently honored with the Julia Hansen Award for Excellence in Directing by the Drama League of New York. For Lincoln Center Theater, he also directed Awake and Sing! by Clifford Odets and The Light in the Piazza by Craig Lucas and Adam Guettel, receiving Tony Award nominations for both productions. His Intiman credits include the world premieres of Prayer for My Enemy and Singing Forest by Craig Lucas (both also for Long Wharf Theatre) and Nickel and Dimed, Joan Holden’s adaptation of the book by Barbara Ehrenreich, as well as plays by Chekhov, Wilder, Shakespeare, Goldoni and Tony Kushner. His opera credits include Roméo et Juliette for the 2008 Salzburg Festival, The Barber of Seville at the Metropolitan Opera in 2006, and Mourning Becomes Electra for Seattle Opera and New York City Opera in 2003-2004. Other New York credits include Cymbeline (2001 Callaway Award for Best Director; first American Shakespeare at the Royal Shakespeare Company), Waste (2000 Best Play Obie) and Don Juan (all Theatre for a New Audience). Mr. Sher was associate artistic director at Hartford Stage and company director at The Guthrie Theater under his mentor, Garland Wright. His upcoming directing projects include the New York premieres of two plays by Craig Lucas, Prayer for My Enemy at Playwrights Horizons in 2008 and The Singing Forest at The Public Theater in 2009.

Tim Shields is pleased to return to Princeton in January 2009 to join McCarter Theatre Center as managing director, after having been employed there in administrative staff positions from 1983 through 1992. He’s spent the past ten years as Milwaukee Repertory Theater’s managing director and is currently vice president of the League of Resident Theatres and is serving as a board member of Theatre Communications Group. He’s been a board member of Milwaukee’s Latino Arts Board and of the Cultural Alliance of Greater Milwaukee. He’s a multiple-time panelist, a panel chair and an on-site reporter for the National Endowment for the Arts. His professional experience spans nearly 30 years and includes serving as managing director of Milwaukee Rep and at Geva Theatre Center in Rochester, NY; and administrative staff positions at The Children’s Theatre Company in Minneapolis and at the Denver Center Theatre Company. He holds a Bachelor of Fine Arts (Drama/Production) degree from Carnegie-Mellon University.

Mark Shugoll is Chairman of the Arena Stage Board of Trustees. Dr. Shugoll serves on the boards of the Mason Arts Partnership at George Mason University, which includes the Theater of the First Amendment, and the Business Committee for the Arts (BCA). Professionally, Shugoll is CEO of Shugoll Research, a nationally known marketing research company and a leader in arts and entertainment research. Its clients include a prestigious roster of nonprofit theaters, symphony orchestras, opera companies, dance companies, performing arts centers, and choral groups. The company has worked for over 20 TCG member theaters. Under his leadership, Shugoll Research has been an active supporter of the arts. It has created a series of nationally known arts education programs including TheaterTrips! which underwrites theater tickets for students, and ArtSpeak! which brings great artists such as Brian Stokes Mitchell, Kristin Chenoweth, Audra McDonald, Marvin Hamlisch, and Stephen Schwartz into schools. Shugoll Research was twice named one of the "10 Best Companies Supporting the Arts in America" by the Business Committee for the Arts and Forbes magazine. The company and Dr. Shugoll has also been honored with the Business in the Arts Commitment Award (1998), the Business in the Arts Innovation Award (2000) the 2002 Washington Post Award for Innovative Leadership in the Theatre Community, the 2002 Council of American Survey Research Organizations Community Leadership Award for Promoting the Arts Through Research and School Outreach, and the 2003 Founders Award from the Cultural Alliance of Greater Washington. He is in great demand as a speaker and has delivered presentations at the TCG Fall Forum and the annual meetings of LORT, Dance USA, American Association of Museums, Association of Performing Arts Presenters, Opera America and Chorus America. He received his Ph. D. in Policy Analysis from American University (Washington, DC) and lives with his wife, a Signature Theatre trustee, in suburban Washington, DC.

Molly Smith has been a passionate leader in new play development for the past 30 years while at Arena Stage as well as Perseverance Theatre in Alaska, the theater she founded and led for 19 years. During ten seasons as Arena's Artistic Director, she has focused the repertory on American voices, making Arena the largest theater in North America focusing on American writers. She founded Arena's downstairs series, which has read and workshopped some sixty plays, half of which have gone on to full productions. Ms. Smith has commissioned or championed numerous world premieres including Paula Vogel's Pulitzer Prize-winning How I Learned to Drive and Mineola Twins, Tim Acito’s The Women of Brewster Place, Moises Kaufman’s 33 Variations, Charles Randolph-Wright's Blue, Zora Neale Hurston's lost American play Polk County and Passion Play, a cycle by Sarah Ruhl. Her directorial work has also been seen at the Shaw Festival in Canada, Berkeley Repertory Theatre, Trinity Repertory Company, Tarragon Theatre in Toronto, and Centaur Theatre in Montreal, and includes classics such as South Pacific, Mack and Mabel, Anna Christie and Cat on a Hot Tin Roof. Smith has served as Literary Advisor to the Sundance Theatre Lab and formed the Arena Stage Writers Council, comprised of leading American playwrights. An avid traveler, Ms. Smith brings artists of international renown to work at Arena Stage and serves as a member of the Board of the Theatre Communications Group as well as the Center for International Theatre Development. She directed two feature films, Raven's Blood and Making Contact, and received Honorary Doctorates from both Towson and American Universities.

Susan Trapnell retired from ACT Theatre in April 2008, after 21 years as Managing Director and 1 year as head of endowment planning. Susan also spent two years as Executive Director of the Seattle Arts Commission (now the Office of Arts & Cultural Affairs), one year as Managing Director of the Guthrie Theater in Minneapolis and 4 years as Managing Director of the Bill Evans Dance Company. She currently serves of the Board of Town Hall, Seattle; the Medieval Women’s Chorus, the Kreielsheimer Remainder Trust and TCG. She joined the Arts Consulting Group in June 2008. She is on the advisory board of ArtSpace and the University of Washington Drama School. She has served as President of the Washington State Arts Alliance, Vice Chair of the King County Arts Commission and on the Boards of the Downtown Seattle Association, Seattle Preparatory Academy, and the UMO Ensemble advisory council. Susan moved to Seattle in 1976 to work with the Bill Evans Dance Company where she became Managing Director in 1979. She holds a Bachelor of Arts degree in French from the University of North Carolina and has lived in Vienna, Austria; Lyons and Paris, France; and Guelma, Algeria. Susan is recipient of the Safeco Corporation Rudy Award and the Corporate Council of the Arts Unsung Hero Award.

Shay Wafer, recently appointed the Vice President of Programs for The August Wilson Center for African American Culture, served as the Managing Director of Cornerstone Theater Company for 7 years. She has held management positions with a number of nonprofit arts organizations with a focus on culturally specific programming, community engagement and arts-in-education programming. Formerly the managing director of LA Theatre Works, she also served as the Managing Director of the St. Louis Black Repertory Company and was a founding partner of Crossroads Arts Academy and Theater in Los Angeles. Shay worked as a marketing and development consultant for Center Theatre Group and in the marketing department at Yale Repertory Theatre. Other non-profit sector work includes, Program Director for the West Coast division of the Black Filmmaker Foundation and working as a consultant for numerous performing arts groups. A graduate of Howard University and Yale University, School of Drama, her current community activities are serving on the Board of Directors of Theatre Communications Group (TCG), Advisory Committee for the Pittsburgh Arts Education Collaborative and the Culturally Responsive Arts Education Advisory Committee. She has served as a grant panelist for the National Endowment for the Arts, TCG’s New Generation Program, The MAP Fund, New England Foundation for the Arts, Los Angeles Cultural Affairs Department, Culver City and the Long Beach City Arts Councils. Wafer is a Founding, Producing Director for Colored Girl Productions, a project driven non-profit based in Philadelphia that is developing plays for urban families. Prior to her work in non-profit management she taught pre-school and kindergarten in Washington DC, Compton and Los Angeles.

Kate Warner is thrilled to come to work every day as the Artistic Director of Dad's Garage Theatre Company. She serves as producer and motivational (read: ferocious) kitten-with-a-whip driving the theatre's ambitious and exciting artistic vision. She is dedicated to the creation of new theatre, attracting new audiences through innovative stage work and amazing comedy improv and genuinely entertaining anyone who walks through the door. Kate was Artistic Associate with Dad’s Garage from 2002 – 2004 before taking the reigns as Artistic Director in 2005. Her body of directorial work for Dad’s Garage includes: Debbie Does Dallas, The Rocky Horror Show, One Flew Over the Cuckoo’s Nest, Reefer Madness, Skin and The Jammer.  Kate has commissioned (and often directed) new work from playwrights such as Lisa Kron, Alice Tuan, Kyle Jarrow, Megan Gogerty, David J (Bauhaus), Caridad Svich, Ross Maxwell, John Pierson, Steve Yockey, Heather Woodbury, Chay Yew and Greg Kotis as well as spearheaded the development of the Top Shelf series which focuses on new work from the Dads Garage artistic family.  In the 2007-2008 season, Kate also directed regional premieres by Peter Sinn Nachtrieb and Chris Craddock and the world premieres of Octopus by Steve Yockey at Atlanta’s Actor’s Express and San Francisco’s Magic Theatre.  In 2008-2009 Kate will direct premieres of Class by Lauren Gunderson and The B Team by David Holstein. Kate has amassed an impressive history as both a director and producer as the previous Managing Director/Artistic Associate with Atlanta's Theatrical Outfit, which in December of 2004 moved into its new $5.4 million home, a renovated downtown Atlanta landmark, thus completing an award-winning strategic plan. Kate enjoys long walks on the beach and Jameson’s Irish Whiskey (no ice) when she is not serving as a board member of Theatre Communications Group, the national service organization for non-profit theatres. Kate is very excited to co-chair the 2009 TCG National conference with Arena’s Stage’s Molly Smith. Kate is also a member of the CHRIS Kids Rainbow Advisory board, a member of the Kennesaw State University Theatre Advisory board, a member and facilitator of the Lincoln Center Theatre Directors' Lab in New York, a member and panelist of the Directors Lab West in Los Angeles, and a member of the Society for Stage Directors and Choreographers. Summer 2004, Kate completed the Executive Program for Non-Profit Leaders in the Arts at Stanford Graduate School of Business and the New Artistic Leadership Institute with TCG/Dance USA at the McCarter Theatre. Recognition for Kate's recent local and national directing work includes a Sunday Paper Top 10 Director 2007, Suzi Bass Award for Best Director, Play 2006 and Best Director Readers’ Pick in Creative Loafing’s Best of Atlanta 2007 and 2006.  She is a graduate of Kalamazoo College, Kalamazoo, MI with degrees in Theatre and Anthropology.

Les Waters is entering his sixth year as associate artistic director of Berkeley Repertory Theatre. His shows ranked among the Top 10 Plays of 2007 in Time Magazine, 2006 in the New York Times and 2005 in TimeOut New York. Waters has a history of collaborating with prominent playwrights like Caryl Churchill and Charles Mee, and champions important new voices such as Will Eno, Jordan Harrison, Sarah Ruhl and Anne Washburn. His productions at Berkeley Rep include the world premieres of Fêtes de la Nuit, Finn in the Underworld and To the Lighthouse; the American premiere of TRAGEDY: a tragedy; the West Coast premiere of Eurydice; and extended runs of The Glass Menagerie, The Pillowman and Yellowman. He won an Obie Award for Big Love, staging its premiere at the Humana Festival and subsequent runs at Berkeley Rep, the Brooklyn Academy of Music, the Goodman Theatre and Long Wharf Theatre. His other New York credits include Classic Stage Company, the Connelly Theatre, Manhattan Theatre Club, Playwrights Horizons, The Public Theater/New York Shakespeare Festival, Second Stage Theatre and Signature Theatre Company. Elsewhere in America, he has directed for A Contemporary Theatre, American Conservatory Theater, American Repertory Theatre, Arena Stage, Guthrie Theatre, La Jolla Playhouse, the Mark Taper Forum, Steppenwolf Theatre Company and Yale Repertory Theatre. In his native England, Waters has worked with the Bristol Old Vic, Hampstead Theatre Club, Joint Stock Theatre Group, National Theatre, Royal Court Theatre and Traverse Theatre Club. Waters led the M.F.A. directing program at UC San Diego, serves on the board of Theatre Communications Group and is an associate artist of The Civilians, a theatre group based in New York. His many honors include a Drama-Logue Award, an Edinburgh Fringe First Award, a KPBS Patte and several awards from critics' circles in the Bay Area, Connecticut and Tokyo.

Jeffrey Woodward (secretary) has been the managing director of Syracuse Stage since April 2008.  Mr. Woodward has worked for McCarter Theatre Center, Hartford Stage, Northlight Theatre, the Mark Taper Forum and the Oregon Shakespeare Festival and served as a consultant to a number of organizations including the University of Chicago, Court Theatre and the Weston Playhouse.  In 2001, under the sponsorship of the U.S. State Department, Woodward traveled to South Africa to serve as a management consultant to the Baxter Theatre Centre and the Grahamstown Festival.  He is a trustee of Theatre Communications Group, ArtPride New Jersey (a statewide advocacy group for the arts), and is the Secretary for the League of Resident Theatres.  He has served as panel chairman, panelist, and on-site evaluator for the NEA and a panelist for the NEA/TCG Theatre Residency Program for Playwrights, the Leading National Theatre Program for the Duke and Mellon foundations, and the Massachusetts Cultural Council.

Angel Ysaguirre is the Director of Global Community Investing at The Boeing Company. He was a program officer at the McCormick Tribune Foundation from 1996 to 1999 and managed the Foundation’s grants in homelessness, youth development, and employment programs and co-authored “A Guide to Funding Youth Development.” He served as Director of Programs at the Illinois Humanities Council from 1999 to 2005. There he managed the grantmaking program and developed “Brown v. Board 50 Years Later: Conversations on Race, Integration, and the Courts,” “Einstein’s Revolutions,” and The Odyssey Project, a series of college-level courses in philosophy, literature, history, art history, and critical thinking and writing for the poor. He has served on the boards of the Donors Forum of Chicago, the Illinois Center for the Book, Horizons Community Services, Blair Thomas and Company, and the Next Theatre, where he served as board chair.