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- Why Are Scammers Targeting Book Authors?
I’m not the only author to have found myself stuck in a Zoom book club with fake readers. Countless writers with published books have been receiving invitations from reading communities that start to unravel after a basic Google search. – The Dial
- Louvre Robbery Was A Preview For A Year Of The Art Heists
Police are still looking for the Louvre’s stolen trove of 19th-century jewelry, though French authorities arrested eight people in connection with the crime last October. But the subsequent heists across Europe suggest the Louvre heist wasn’t a one-off and might have emboldened copycats. – The Wall Street Journal
- A Broadway Theater Is Replacing “The Full Monty” With … Ionesco?
Roundabout Theater Company had planned for next spring a large-scale Broadway revival of The Full Monty. That has been postponed, and Roundabout has scheduled a star-studded production of the Romanian-French absurdist playwright’s Rhinoceros, about a town whose inhabitants are turning into half-blind, ill-tempered horned pachyderms. – The New York Times
- This Fund Was Launched To Save Public Radio Stations From Closing. Now It’s Helping Them Figure Out How To Stay Open.
“The Public Media Bridge Fund has raised about $87 million and stabilized 186 public radio stations that serve about 30 million people in the United States. (Now begins) PMC’s new $38 million fundraising effort to help stations become more financially sustainable without federal funding.” – AP
- San Francisco Looks To Start New Arts District Along Market Street
“The Market Street Arts & Theater District will initially focus on the 900 block of Market Street between Fifth and Sixth streets, with plans to activate one to two vacant or underused spaces; add lighting, banners and public art as part of beautification efforts; fund pop-up performances and other arts programming.” – San Francisco Chronicle (Yahoo!)
- Netflix Is Profitable, So Why’s It Laying Off So Many People?
You mean it’s not just to pump up the stock price? Well, … – Variety
- Berlin Philharmonic’s Concert Hall Renovation Will Take At Least Eight Years
We already knew that the cost would be huge — €1.15 billion for the overhaul and a temporary venue at the former Tempelhof Airport — but Philharmonie management announced that the project is expected to last from 2032 to 2040. (And that’s before overruns.) – AP
- Public Housing Project Wins Stirling Prize For Britain’s Best New Building
Lion Green Road, designed by Mary Duggan Architects with Ruff Architects in the outer London borough of Croydon, “demonstrates how more homes than you might imagine can be constructed on the most unpromising of sites in a sympathetic way, without sacrificing greenery, views and public access – and keeping plenty of parking, too.” – The Guardian
- Tom Di Nardo, Longtime Philadelphia Classical Music And Jazz Critic, Has Died At 89
For 43 years, he wrote hundreds of reviews, profiles and features, first for the Philadelphia Evening Bulletin, then the Philadelphia Daily News and Inquirer. Music criticism was his second career: he worked for more than three decades as an electrical engineer for PECO, the region’s electricity and gas utility. – The Philadelphia Inquirer
- Director of Operations
The Clarice Smith Performing Arts Center (“The Clarice”) at the University of Maryland is the nationally recognized, innovative, collaborative and supportive home for UMD’s School of Music (SOM); the School of Theatre, Dance, and Performance Studies (TDPS); and The Clarice’s own artistic platform, Clarice Presents; as well as The Michelle Smith Performing Arts Library (MSPAL). Together they create a welcoming, collaborative, and socially-conscious community for students, artists, and patrons. The Clarice leverages creativity, innovation, research, and engagement to entertain, inspire, and support artists, audiences, and students while driving positive change in its community. The Clarice cultivates artistic excellence and cultural citizenship while preserving creative and individual freedoms, acting as a leading cultural change agent, and contributing to the future of the arts on campus, locally, and nationally. In doing so, The Clarice strengthens the performing arts as a force for learning, research, community, and civic engagement, advancing the public good both on the UMD campus and beyond.
As part of The Clarice’s senior team, The Director of Operations directs The Clarice’s production, facilities, and operational activities to advance The Clarice’s mission. This includes overseeing performances and events presented by Clarice Presents, SOM, TDPS, and MSPAL, as well as related institutional priorities that include local and national collaborations. The Director of Operations is also responsible for overseeing facilities, production equipment and its maintenance, and a departmental budget to ensure adequate support for The Clarice’s activities and financial goals, including venue use by external or on-campus rentals. The Director of Operations, in collaboration with other Clarice senior staff and the Executive Director (ED), has a responsibility for building strong relationships with building residents, on-campus partners, and off-campus partners to help ensure The Clarice’s mission is realized and its production management, technical shops, landscape services, and facilities management activities adequately supports their performance, educational, and operational needs. The Director of Operations is expected to work in a highly collaborative way that recognizes the unique requirements of performing arts operations in both academic and non-academic environments.
Physical Demands: Work is performed in an office environment and requires the ability to operate standard office equipment and keyboards. Worker is required to have close visual acuity to perform an activity such as preparing and analyzing data and figures, transcribing, and viewing a computer terminal. Must have the ability to lift and carry small parcels, packages and other items, to walk short distances, and travel to deliver and pick up materials.
Minimum Qualifications
- Education: Bachelor’s degree from an accredited college or university.
- Experience: Ten (10) years of professional program management experience. Five (5) years of experience supervising or managing professional staff.
- Knowledge of business acumen to understand key business drivers, organizational communications, and data.
- Knowledge of organizational and unit performances measures.
- Knowledge of the impact and implications of decisions on leadership objectives.
- Skill in oral and written communication.
- Skill in data analytics and negotiation.
- Skill in the use of Microsoft Office products.
- Ability to research information and analyze/synthesize complex data and information to create reports and presentations with valid conclusions derived from various sources.
- Ability to exercise independent judgment and discretion.
- Ability to develop and administer new policies and procedures.
- Ability to interpret and apply policies, procedures, regulations, and laws.
Preferences
- Thorough knowledge of current practices and procedures in a professional performing arts technical or production management
- Strong familiarity with current performing arts facilities, equipment and technologies
- Professional experience in performing arts management in a University setting
- Manager, Artistic Administration
The primary responsibility of the Manager, Artistic Administration is to support the activities of The Clarice Smith Performing Arts Center’s presenting program, Clarice Presents, which is dedicated to building the future of the arts through innovative performances and meaningful engagement of The Clarice’s community. Clarice Presents’ four programs includes Performance, Community, Civic, and Digital areas, as well as the NextNow Fest and National Orchestral Institute + Festival.
The Manager, Artistic Administration focuses specifically on the operational and administrative aspects of Clarice Presents, facilitating the contracting, budgeting, communications and scheduling of daily operations, planning, and administration of the department. The Manager, Artistic Administration also plays a key role as liaison between Clarice Presents, Marketing/Communications, Guest Experience, Production, and Finance/Administration departments of the Center, ensuring timely and accurate exchange of detailed information and schedules to ensure effective operations.
Physical Demands: Work is performed in an office environment and requires the ability to operate standard office equipment and keyboards. Must have the ability to lift and carry small parcels, packages and other items, to walk short distances, and travel to deliver and pick up materials.
Minimum Qualifications
- Education: Bachelor’s degree from an accredited college or university.
- Experience: Three (3) years or more years of professional experience and one (1) year of experience in a supervisory or lead role.
- Other: Additional work experience as defined above may be substituted on a year-for-year basis for up to four (4) years of the required education.
- Knowledge of principles and techniques of written and oral communication, including methods for adapting communication style to different audiences.
- Knowledge of documentation standards, procedures, and best practices for ensuring consistent and accurate team deliverables.
- Knowledge of office productivity software such as Microsoft Office 365 and Google Workspace.
- Skill in leading presentations and conducting training sessions for large groups.
- Skill in collaborating effectively with Managers, Assistant Directors, and Directors to identify and resolve problems, implement improvements, and address ongoing issues.
- Skill in coaching and mentoring team members to enhance performance, provide constructive feedback, and support professional development.
- Ability to define deadlines, manage workloads, and maintain quality standards for deliverables.
- Ability to comprehend and navigate complex interpersonal situations, applying empathy and discretion when addressing conflicts or sensitive matters.
- Ability to implement and uphold documentation standards and procedures across all team functions.
Preferences
- Bachelor’s degree from an accredited college or university
- 3-5 years of progressive professional experience in a performing arts or entertainment presenting or producing organization, or 3-5 years of progressive professional experience in any field in a position with project or event management responsibilities.
- Experience in creating and implementing operational systems within a complex organization
- Experience supervising staff
- Experience with proofing and copy – editing publications
- Experience with scheduling and workflow management software
- Knowledge of current practices and procedures in professional performing arts management
- Experience in contract administration
- Demonstrated experience in working and tracking budgets
- Experience with G-Suite, Microsoft Office Suite, especially Excel, and other office productivity software
- Superior organizational and communication skills, with an emphasis on accuracy of detail
- Valid US driver’s license
- Available to work weekends and evenings as needed
- The Granada Theatre seeks Vice President of Stage Production & Operations
Position Summary
The Vice President of Stage Production & Operations (VP) will serve as the senior functional leader for Stage Production, Front of House, Hospitality, and Building Operations at The Granada Theatre (Granada), ensuring performances, events, rentals, resident company engagements, and touring productions are delivered safely, efficiently, and to high standards of service, technical excellence, readiness, and financial stewardship.
The VP will guide labor administration, estimating and settlements, budgets, asset planning, emergency readiness, venue systems, and operational improvement.
The VP will partner closely with the Chief Operating Officer on workforce planning, union relations, safety, risk, systems, and major operational issues, while supporting the CEO’s strategic, artistic, capital, and external responsibilities by providing the technical, financial, scheduling, and feasibility information needed for decision making and leading implementation following approval.
The ideal candidate is a strategic, people-centered executive who develops strong managers, builds an accountable and collaborative team, and improves how the theatre operates. This leader combines sound judgment, financial and technical expertise, responsiveness to resident companies and other partners, and a willingness to support operational needs at every level—from resolving urgent issues to presenting recommendations to the Board.
The VP of Stage Production & Operations will report to the Chief Operating Officer, with a dotted-line relationship to the Chief Executive Officer.
Organization
The Santa Barbara Center for the Performing Arts (SBCPA), dba The Granada Theatre, is a privately funded 501(c)(3) organization established in 1983 that provides production, sales, and administrative support to arts organizations throughout the Santa Barbara region. Its most visible service is the operation of The Granada Theatre, a historic performing arts venue in downtown Santa Barbara. The Granada’s mission is to provide a vibrant, state of-the-art venue where world-class artistic performances are available to the widest possible audience, promoting appreciation for the performing arts and enhancing quality of life in the community.
Built in 1924, The Granada Theatre has been part of Santa Barbara’s arts and entertainment landscape for more than a century. The approximately 1,500-seat venue underwent a major renovation before reopening in 2008, with improvements designed around the technical and artistic needs of its resident companies. Today, the theatre features a 50-foot proscenium, flexible stage and orchestra pit configurations, modern lighting and sound systems, digital cinema capabilities, dressing rooms, rehearsal and production spaces, and other backstage amenities supporting a wide range of performances and events.
The Granada is home to eight resident companies: American Theatre Guild, CAMA, Santa Barbara Choral Society, Music Academy of the West, Opera Santa Barbara, State Street Ballet, The Santa Barbara Symphony, and UCSB Arts & Lectures. Together with regional and national touring productions, these partnerships bring Broadway, classical music, opera, ballet, choral performance, lectures, film, and other live arts experiences to the theatre throughout the year.
The Granada Theatre is governed by a Board of Directors chaired by Palmer G. Jackson, Jr., who also serves as Chief Executive Officer. The current board includes 18 directors, supported by life trustee and emeritus director designations. For the fiscal year ending June 30, 2025, SBCPA reported a total revenue of $11.9 million, with 34% from contributions, 27% from program services, 14% from investments, and 25% from other revenue sources. As of June 30, 2025, SBCPA held an endowment valued at approximately $77.6 million.
Sources: edited from granadasb.org; propublica.org
Community
Santa Barbara, California, is a coastal city situated between the Pacific Ocean and the Santa Ynez Mountains. The
U.S. Census Bureau estimates Santa Barbara’s 2025 population at 86,422, and 51.9% of residents age 25 and older hold a bachelor’s degree or higher. Downtown Santa Barbara and State Street are hubs of cultural and civic life, with restaurants, shops, galleries, museums, historic architecture, and performing arts venues, including The Granada Theatre.Sources: edited from Santabarbaraca.com; santabarbaraca.gov; census.gov
Role and Responsibilities
Executive Leadership & Labor Relations
- Build a high-performing, collaborative management team through coaching, delegation, regular performance feedback, effective hiring, and leadership development; empower managers to solve problems and deliver results through their teams.
- Strengthen operational continuity through cross-training, backup coverage, and clearly defined decision authority for nights, weekends, emergencies, and other critical operating periods.
- Partner closely with the COO on event readiness, workforce planning, financial performance, safety and risk labor matters, facilities, capital needs, and emerging operational priorities.
- Provide operational, technical, financial, capital, performance, and risk information to support CEO-led fundraising, donor engagement, Board reporting, and other executive priorities.
- Oversee day-to-day administration of applicable collective bargaining agreements and labor requirements, including staffing practices, scheduling, work rules, and documentation; partner with the COO and Human
- Resources on labor strategy, significant grievances, collective bargaining negotiations, and sensitive employee relations matters.
- Foster effective coordination with Finance, Human Resources, Contracts & Administration, Marketing/Programming, Development, Technology, and other departments.
Financial Management, Systems & Continuous Improvement
- Develop operational improvement plans aligned with organizational priorities, including staffing efficiency, financial performance, systems adoption, and sustainable resource allocation; report progress and recommendations to the COO.
- Develop and manage annual and multi-year operating budgets and forecasts across Stage Production, Front of House, Hospitality, and Building Operations.
- Monitor labor costs, vendor spending, rentals, maintenance expenses, and budget variances, implementing corrective action as needed.
- Establish consistent standards for production estimating, rate structures, cost recovery, approvals, documentation, and event settlement.
- Partner with Finance and Contracts & Administration to maintain efficient workflows from booking and contract handoff through advance, execution, settlement, invoicing, and close-out.
- Lead the development and continuous improvement of Standard Operating Procedures across production, Front of House, Hospitality, building operations, safety, and related workflows.
Stage Production & Technical Operations
- Supervise the full production lifecycle, including advancing, technical review, estimating, staffing, load-in, rehearsal, performance, load-out, settlement documentation, and post-event follow-up.
- Establish clear production-management responsibilities based on each engagement’s scope, technical complexity, staffing needs, and operational requirements.
- Maintain department-wide accountability for cross-functional coordination, resource-capacity decisions, issue resolution, and an integrated operational calendar.
- Ensure production schedules, technical riders, labor, equipment, accessibility, hospitality, building impacts, and safety requirements are reviewed early and aligned with venue capabilities and resources.
- Maintain high technical and operational standards across lighting, audio, rigging, stage systems, theatrical equipment, backstage operations, and production support.
- Oversee theatrical equipment maintenance, repairs, rentals, lifecycle planning, and capital replacement needs.
- Build and sustain collaborative relationships with resident companies and touring productions; anticipate production and service needs, ensure timely and responsive communication, resolve operational concerns, and strengthen the overall partner experience.
Building Operations, Safety & Capital Planning
- Oversee The Granada Theatre’s building and operational spaces to ensure the venue remains safe, secure, accessible, functional, and show-ready.
- Manage preventive maintenance, repairs, building systems, custodial services, vendors, contractors, access control, security, deliveries, inspections, and emergency response.
- Ensure fire and life-safety systems, evacuation procedures, emergency protocols, incident documentation, and corrective actions are maintained and regularly reviewed.
- Partner with the COO, Human Resources, and external resources to strengthen safety policies, training, hazard identification, emergency preparedness, and risk management.
- Develop an integrated, multi-year asset and capital plan addressing theatrical equipment and building infrastructure, including priorities, costs, risks, and timing.
- Create and recommend capital project proposals for executive review and lead operational implementation following approval.
Front of House, Hospitality & Event Operations
- Provide executive oversight of Front of House and Hospitality to ensure safe, accessible, welcoming, and consistent experiences for patrons, artists, volunteers, resident companies, renters, and guests.
- Establish standards for event preparation, staffing, house management, patron flow, accessibility, concessions and bar operations, hospitality, emergency response, and service recovery.
- Ensure Front of House, Hospitality, Stage Production, Facilities, Security, and other teams operate from coordinated event information and timelines.
- Review staffing models, training, certifications, timekeeping, payroll inputs, service levels, and operational readiness to ensure appropriate coverage and compliance.
- Promote a culture of service, professionalism, responsiveness, collaboration, and continuous improvement.
Traits and Characteristics
The Vice President of Stage Production & Operations will be a resourceful, analytical, and results-oriented leader who brings a practical approach to complex operational challenges and makes thoughtful use of time, talent, energy, and resources. They will be persistent and decisive, seeing priorities through despite obstacles while drawing on experience, intuition, and sound judgment to respond effectively in fast-moving production and venue environments. Intentional and highly collaborative, the Vice President will build strong relationships across departments, with resident companies, artists, union partners, vendors, and other stakeholders, contributing wherever needed to advance shared goals rather than seeking individual recognition. They will be comfortable operating in competitive and high-pressure situations, bringing appropriate assertiveness while maintaining professionalism and trust. Organized and people-oriented, they will gather, confirm, and synthesize information carefully, communicate clearly, and establish the structure and accountability needed for consistent execution. With a strong focus on practical results, collaboration, and continuous improvement, the Vice President will strengthen operational performance while supporting an exceptional experience for artists, audiences, partners, and colleagues.
Other key competencies include:
- People Management: A collaborative and encouraging leader who inspires, mentors, and develops talent by recognizing individual strengths, fostering professional growth, and empowering others to succeed. Leads through positive reinforcement, constructive feedback, and a genuine commitment to building confidence, accountability, and high-performing teams.
- Time and Priority Management: The aptitude to ascertain competing priorities, resolve difficulties, and overcome obstacles, while maximizing the use of time and resources to attain the desired outcomes.
- Goal Orientation and Decision Making: The ability to set and pursue goals while analyzing all aspects of each situation to consistently make sound decisions.
- Project Management: The proficiency to identify and manage concurrent tasks and systems while leveraging resources and people’s talents, to obtain results.
- Personal Accountability: The capability to take responsibility, be accountable, listen and use feedback, and analyze data to learn from mistakes, possessing a high degree of awareness of the impact of personal actions and decisions.
- Self-Starting and Leadership: The dexterity to demonstrate initiative to inspire, build trust, and create a sense of purpose and direction and ensure work is effectively completed and desired outcomes are reached.
Qualifications
A minimum of 10 years of progressively responsible experience in live performance, theatre production, venue operations, or a closely related environment is preferred, including significant leadership responsibility for multidisciplinary operational teams.
Demonstrated experience leading complex productions and events from advance through execution and closeout is essential, along with substantial experience working in union environments and administering collective bargaining agreements.
Strong financial and operational acumen, including budgeting, production estimating, labor costing, event settlement, vendor management, and capital and asset planning, is needed.
Experience overseeing or integrating Front of House, Hospitality, facilities, patron operations, safety, and emergency readiness is strongly preferred, particularly in a historic theatre, multi-use performing arts venue, resident-company model, or touring environment.
Extensive knowledge of theatrical production systems, building operations, labor practices, life-safety requirements, and venue-management technology is highly valued, along with exceptional judgment, communication, collaboration, and team leadership skills.
A bachelor’s degree in Theatre Production, Technical Theatre, Arts Administration, Facilities Management, Hospitality, Business, Engineering, or a related field is desirable, with an advanced degree, professional training, or equivalent experience preferred.
This is a primarily in-person leadership role, requiring the ability to move throughout a multi-level historic theatre and backstage environment; sit, stand, walk, bend, twist, climb stairs, push and pull; use standard office and communication equipment; and occasionally lift up to 30 pounds.
Compensation and Benefits
Granada offers a comprehensive compensation and benefits package, including an annual salary range of $150,000 to $200,000. Benefits include a medical plan with the base plan paid by Granada, with costs varying for upgraded plan options; a 403(b) retirement plan with a 20% employer match on individual contributions; paid holidays; paid time off based on years of service; and 40 hours of sick time.
Applications and Inquiries
To submit a cover letter and resume with a summary of demonstrable accomplishments (electronic submissions preferred), please visit https://artsconsulting.com/opensearches/the-granada-theatre-seeks-vice-president-of-stage-production-operations/. For questions or general inquiries about this job opportunity.
The Santa Barbara Center for the Performing Arts/The Granada Theatre is an equal opportunity employer and is committed to fostering an inclusive workplace. Employment decisions are made without regard to race, color, religion, sex, gender identity or expression, sexual orientation, national origin, age, disability, veteran status, or any other characteristic protected by applicable law.
- Executive Director – Guild Hall of East Hampton
Guild Hall seeks a visionary, collaborative, and operationally disciplined Executive Director to lead one of the country’s most distinctive multidisciplinary cultural institutions into its second century. This is a rare opportunity to build upon a period of extraordinary transformation while shaping Guild Hall’s next era of artistic excellence, civic leadership, financial sustainability, and national impact. Guild Hall’s historic galleries and theater have welcomed generations of influential artists, performers, writers, and thinkers, while its contemporary programs continue to support established and emerging voices.
The Executive Director will champion multiple creative disciplines, cultivate philanthropy, strengthen institutional partnerships, and guide an organization known for ambitious programming, uncommon hospitality, civic engagement, and a deep commitment to community. They will serve as an active, visible leader onsite in East Hampton and throughout the East End.
Guild Hall has an operating budget of approximately $6 million (70% contributed revenue and 30% earned revenue). The anticipated hiring range is $225,000 – $275,000, plus a competitive benefits package. The anticipated start date is spring 2027. The priority deadline is November 20, 2026. Learn more and apply at https://tinyurl.com/GuildHallaj.
- Company Manager, Long Wharf
Reports to: General Manager (Finance & Operations)
Works closely with: Director of Artistic & Community Partnerships, Artistic Producer, Production Management, Stage Management, Audience Experience, and guest artists.
Location: Must reside in or near New Haven, CT, with regular on-site work at rehearsal, performance, and artist housing locations throughout the Greater New Haven area.
Employment: Full-Time (non-exempt)
Salary: $50,000–$60,000 annually, depending on experience, with benefits and applicable overtime.
Position Summary
The Company Manager coordinates day-to-day artist logistics and hospitality across Long Wharf Theatre’s itinerant productions, rehearsals, and residencies. Reporting to the General Manager (Finance & Operations), this role plans ahead, communicates proactively, and helps ensure artists have the information and support they need. Between production periods, the Company Manager provides additional administrative and operational support to the General Management office.
Primary Responsibilities- Coordinate artist logistics during rehearsals, performances, and residencies, including arranging transportation and driving artists and staff between train stations, housing, and theatre locations. Coordinate pre-performance company check-ins with Stage Management.
- Coordinate housing for visiting artists, including setup and stocking of units, move-in and move-out walkthroughs, and scheduling cleaning and turnover between residencies.
- Assist with travel details, schedules, and hospitality, including welcome packets with local information such as pharmacies, groceries, gyms, and emergency contacts.
- Coordinate company communications and distribute schedules prepared with the appropriate artistic, production, and Stage Management staff. Promptly communicate schedule changes, put-ins, and weather-related adjustments to company members and relevant departments.
- Provide on-site support during key production periods, including load-in and strike, by coordinating company related scheduling needs between the artistic, production, and management teams.
- Serve as the primary contact for routine artist needs, anticipate potential challenges, and resolve issues within established policies and available resources. Provide after-hours coverage during designated production periods, escalating emergencies or issues beyond the role’s authority to the General Manager or designated leadership contact. Coverage schedules and backup arrangements will be established with the General Manager.
- Track and process per diem, housing stipends, and travel reimbursements for visiting artists alongside the finance department.
- Support AEA compliance under the General Manager’s guidance and in coordination with Stage Management, including posting required notices, maintaining assigned records, and preparing and submitting required union reports. Coordinate with Stage Management regarding break requirements and half-hour calls.
- Manage comp ticket requests and house seat holds for artists and their guests.
- Support post show talkbacks and community engagement events, including greenroom logistics and scheduling artist appearances.
Secondary Responsibilities
- Provide administrative support to the General Manager, including scheduling, document preparation, and cross-department coordination.
- Assist with preparing, tracking, and organizing artist, creative team, and production contracts.
- Provide administrative support for operations and facilities in coordination with the General Manager and Managing Director.
- Assist with facilities requests, maintenance tracking, and vendor coordination.
- Support basic financial processes including invoice tracking, coding assistance, and documentation for review and approval in coordination with the General Manager and Managing Director.
Qualifications
- Approximately two years of relevant experience in company management, stage management, arts administration, or comparable work; equivalent experience will be considered.
- Strong organizational and communication skills, attention to detail, and the ability to balance shifting priorities across multiple locations.
- Ability to anticipate needs, propose practical solutions, and resolve routine issues independently while recognizing when to involve the General Manager.
- Sound judgment, discretion with confidential information, and a thoughtful, professional approach to working with artists and colleagues.
- Comfort with spreadsheets, shared calendars, and routine administrative and financial documentation.
- Familiarity with AEA requirements and professional theatre production processes a plus.
Equal Opportunity & Inclusion Statement
Long Wharf Theatre is an equal opportunity employer committed to creating a diverse, inclusive, and equitable workplace. We encourage applications from individuals of all backgrounds, particularly those historically underrepresented in the arts.
We do not discriminate on the basis of race, color, religion, national origin, age, disability, sex, sexual orientation, gender identity or expression, veteran status, or any other protected status under applicable law.
Long Wharf Theatre is dedicated to fostering a culture of respect, collaboration, and belonging where all team members can thrive.
Application Details
Please email resume and cover letter to jobs@longwharf.org. Please use CM-1026 in the Subject Line.
Applications will be accepted on a rolling basis.
Please Note:
- The schedule varies with production needs and includes evenings and weekends, average 45- 52 hours per week during productions. The General Manager will coordinate scheduling and after-hours coverage, with applicable overtime paid for this non-exempt position.
- Role requires a valid driver’s license, ability to meet the theatre’s vehicle insurance requirements, and a background check relevant to the position.
- Chinese Hospitals Warn About the Flash Step
Good Morning,
A teaching film from the Beijing Dance Academy, posted in 2018 by a graduate who only wanted to preserve the footage, went viral in China last month. Its moves come from the Flower Drum Lantern dance, a national intangible cultural heritage of Anhui province, and a hospital affiliated with Yangzhou University now warns that untrained imitators are tearing ligaments (South China Morning Post). On Saturday Night Live, Rosalía appeared to stand en pointe for nearly four minutes while singing “Reliquia.” Leo Sorribes, director of Ballet de Catalunya, says “it’s impossible not to sway,” then defends her anyway (Consequence).
Le Large, a new contemporary art center on Île Seguin outside Paris, occupies a former Renault factory site, and about 40 percent of its public-facing space is free to enter (ARTnews). The Louvre’s director, Christophe Leribault, says leaking pipes and collapsing ceilings could force the museum to close unless it gets an overhaul estimated at €700 to €800 million (Euronews).
All 46 musicians of the Minnesota Opera Orchestra voted to authorize a strike; their pay has been flat for four years, and the season opens October 31 with Kamala Sankaram’s world premiere The Many Deaths of Laila Starr (MPR News). At the Met, which premieres Lincoln in the Bardo on October 19, librettist Royce Vavrek says an opera about Lincoln grieving his son Willie is “quite hilarious at times” (AP).
All of our stories below.
- Writers Are Being Deluged With Scams, Even Though Most Don’t Have Much Money. How Come?
Because these scammers have hit on an M.O. to which writers are particularly susceptible, that’s why. And there are a lot of hopeful writers out there, so the scammers can ask for small amounts of money (making it look low-risk to the targets), and make bank on volume. – The Dial
- Yes, Reading Has Changed. Adapt.
“We have everything we need to be happy,” the hero of Fahrenheit 451 observes, “but we aren’t happy.” Maybe that’s the ultimate lever to pull: the growing awareness that our devices are exhausting and eroding us. – The American Scholar
- Minnesota Opera Orchestra Unanimously Votes To Strike
The musicians say that, in contract negotiations, management has rejected any cost-of-living increases in pay. (Their salaries have been flat for the past four years.) The company’s season begins on Halloween with the world premiere of The Many Deaths of Laila Starr by composer Kamala Sankaram and librettist Minita Gandhi. – Minnesota Public Radio
- ‘Ignorant, Bigoted, Self-Seeking, Blatant, and Dishonest’<a href="https://www.artsjournal.com/herman/2026/10/ignorant-bigoted-self-seeking-blatant-and-dishonest.html" title="‘Ignorant, Bigoted, Self-Seeking, Blatant, and Dishonest’” rel=”nofollow”>When William
- The Real Cause Of The BBC’s Funding Crisis
The biggest driver of the BBC crisis is the cut in real-terms funding for its national, regional and local UK services. These are the services that largely account for licence payers’ willingness to pay the fee. The reduction in the real-terms funding of these services has been building up since 2010. – The Conversation
- Karachi Biennale Abruptly Canceled
It is not yet clear what specific circumstances or events in the region contributed to the cancellation, which reportedly occurred without the input of the biennale’s curator, Noor Ahmed, according to the Pakistani newspaper Dawn’s cultural imprint, Images. – Hyperallergic
- Met Opera’s New “Lincoln In The Bardo” Is “Quite Hilarious At Times”
Well, so says librettist Royce Vavrek. The subject matter — Abraham Lincoln grieving his young son Willie, who is stuck in the place between death and rebirth — would seem grim. So Vavrek and composer Missy Mazzoli took care to include humor and even joy. – AP
- Trump’s War Has Decimated Iran’s Visual Art Community
The sudden onset of war shuttered commercial galleries in central Tehran, cancelled scheduled solo exhibitions, severed shipping channels and destroyed the fragile domestic market that allows creators to pay rent and sustain studio practices. – The Guardian
- Shareholders Approve Fox Deal To Buy Roku
- Alan Mandell, The “Beating Heart Of LA Theatre”, Dies At 98
Actor Alan Mandell, who died at 98, helped shape Los Angeles theater as a performer, director, administrator and arts supporter whose influence stretched from experimental stages to the Mark Taper Forum. – Los Angeles Times
- Leading Regional Theatre In UK Cancels Performance After Cast Member Was Literally Chased Through The Streets
The management of Chichester Festival Theatre said in a statement, “We were deeply shocked that a member of the company of A Midsummer Night’s Dream was the victim of an appallingly abusive attack, aggressively hounded and physically pursued through the centre of Chichester, … prior to the performance on Tuesday 13 October.” – WhatsOnStage (UK)
- seriously? we’re writing in all lower case?
the stylistic choice to write in lowercase is a dead horse that’s been beaten, flogged, and beaten again—what my generation calls ran through. and yet, it’s having a moment. i had to investigate. – Wired
- Trump Insider Alleges Donations To Kennedy Center Went Missing Under Ric Grenell’s Watch
Former Trump attorney Alina Habba told the president that another one of his top advisers — former Kennedy Center leader Ric Grenell — failed to deposit a multimillion-dollar donation that her billionaire husband made to the center a year ago. – Axios
- Pop Star’s Performance En Pointe On Saturday Night Live: Was It Real?
Rosalía left audiences in awe with her Saturday Night Live performance of “Reliquia” over the weekend, appearing to stand en pointe for nearly four minutes while singing. But ballet professionals aren’t convinced she pulled off the feat without some theatrical assistance. And, surprisingly, they don’t seem to mind. – Consequence
- Public Radio Stations Licensed To Public Universities Are Wondering If They’d Be Better Off Separating
If a station’s broadcast license is owned by a public entity, including a state university, then government officials ultimately have power over the station. With the right having made public radio a political target, and with culture wars getting ever hotter, more officials have started using that power to interfere. – Columbia Journalism Review
- The Latest Viral Dance Moves In China Are Landing People In The Hospital
The steps, known in Chinese as the “flash step”, “prodigal kicking the ball” and “black bear shaking fur,” took off from videos by professional dance instructors, and some people who are picking them up online (rather than in a class) are injuring themselves. – South China Morning Post (Hong Kong)
- Broadway Box Office Revenue Soars As Hollywood Stars Take The Stage
Other Desert Cities starring Julia Louis-Dreyfus, Ed Harris, and Allison Janney grossed $2.1 million in its first week, behind only long-running juggernauts Hamilton, Harry Potter and Lion King. Other hits include Billy Crystal’s 360, A Few Good Men starring Bradley Whitford and Tom Blyth, and Bowen Yang’s turn in Oh, Mary! – The Hollywood Reporter
- The Newest Museum In Metro Paris Is In An Old Renault Factory On An Island In The Seine
Le Large is part of the Pointe des Arts, a €450 million cultural development (there are also a cinema, a hotel, and other amenities) on Île Seguin in the affluent inner suburb of Boulogne-Billancourt. – ARTnews
- “Disaster”: Director Of Louvre Warns That Building Would Have To Close If Not Renovated
Christophe Leribault says that improved security in the wake of the crown jewel robbery is not enough: leaking pipes, collapsing ceilings, and other problems with the deteriorating building could force the world’s most-visited museum to close to the public unless there’s an overhaul estimated to cost €700–800 million. – Euronews
- Philadelphia’s Jewish Museum Could Become Part Of The Smithsonian
“The Weitzman National Museum of American Jewish History in Philadelphia is being considered as a potential new member of the Smithsonian museum network, with members of a new congressional commission sworn in on Tuesday set to study the matter.” It would be the only Smithsonian museum outside metro DC or New York. – ARTnews