My journey to The New Main Street Theater–and to starting my own stage company–was inevitable, a result of a variety of experiences that taught me over the years about the art of the possible.
As a student at Denison University, I loved the black and white photos of past productions that hung on the theater lobby's wall. I understood the valuable role theater played in many lives -- not just for actors, but audiences. The professors included students in the collaborative process, so everyone involved was motivated and passionate. This prepared me for my experiences with one of the seminal figures of the American stage. I worked at the American Repertory Theater in Cambridge, MA, under Robert Brustein's direction. He’s the Artistic Director, and also was founder of Yale Rep, and ran Yale School of Drama where Meryl Streep, Kevin Kline, and many more who went on to become remarkable actors were his students. I was amazed at the seasons he put together -- he has his pulse on what's coming around the corner, not just in American theater but on Europe’s stages. There was Karen Finley (the performing artist who smeared chocolate, peanuts and tinsel on her naked body), Robert Wilson (the dynamic director/choreographer/set designer whom Europeans love and Americans don't quite get),

Derek Walcott premiering a musical about the beginnings of the steel drums in the Caribbean, Anne Bogart directing a Kaufman and Hart play, F. Murray Abraham performing a dynamic Lear with Alvin Epstein and Cherry Jones – what a year for me! I understudied Anne Bogart's production, ran lines with F. Murray, and assisted Derek Walcott and Galt McDermott. Robert Brustein was responsible -- he had the vision to bring such a talented and committed group together. The play choices he made were stunning and yet he still at time got flack from the press or sturdy New England types -- but continued on. Soon thereafter, everyone in American theater was doing what he did, and flocking to his productions.
Working at the Shakespeare Theater in Washington, D.C., as Michael Kahn's assistant was a lesson in how to keep Shakespeare alive and well for those who make it a part of their everyday lives. Michael is a leader in outreach—the theater had a strong presence in the inner-city schools, and gives classes that offer scholarships. He is a leader in “color blind casting,” which is the way I believe we should all think.
In New York I was a company member of the exciting Blue Light Theater group founded by Greg Naughton, son of James Naughton -- the Tony Award winner. I was very impressed by Greg’s vision of recognizing that seasoned professionals should be working with and passing on the knowledge and techniques to the younger actors. He created artistic value and weight – and was not consumed by commercialism. I think there’s a real difference in such shows. You know it when the actors and all involved are respectful and into the process of creating and collaboration -- or when everything is kind of a job each person is just doing. My own off-Broadway producing experience in New York – (including Miss Julie and a revival of The Kathy and Mo Show) – came about because my friends and I decided we could create theater on our own – and work. Why wait for someone to “tap” us with their wand. We do it ourselves....And so, as a result of all this – The New Main Street Theater!