When did you know you wanted a career in the theater?
My uncle gave me a copy of Marat/Sade as a high school student, and this opened my eyes to the possibility that theater could be a vehicle for visual art, poetry, and sound. It could be immersive and wild. That led me to Peter Brook, Artaud, Grotowski, and onto Shepard, Robert Wilson, and The Performance Group. A world of theater intersected with my political awakening and social views, and I wanted to be part of that revolution.
How did you first become involved with ERS?
I was the Executive Artistic Director at PS122 from 1983 to 2004. ERS came to my attention around 2000, and they performed some of their first pieces at PS122. I was intrigued by a company that often used sound as a basis for its dramaturgy. Also, who could say no to John Collins or Steve Bodow?
What is the last play you saw that stuck with you?
Lucy Prebble’s The Effect, directed by Jamie Lloyd, at the Shed and James Harrison Monaco’s Travels, directed by Andrew Scoville, at Ars Nova.
Favorite place to spend time in NYC?
In a seat at the Brick Theater, ready for a surprise.
What are you working on now?
I am working on the Under the Radar Festival 2025, which will run from January 4—19. We are currently putting together our partners and considering some fantastic performances. I am also teaching a class at Columbia (subbing for Anne Bogart), inviting some of today’s leading theater minds to talk with the coming generation of MFA directors.
Currently reading?
Alexis Soloski’s Here in the Dark, a mystery with a theater critic as the main character.
Most recent binge watch?
Apples Never Fall with Annette Bening.
All-time favorite album?
Joni Mitchell’s Blue.
