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- What Literature Teaches Us About Neurodivergence
Far from being a modern phenomenon, neurodivergence has a long history. In other words, people whose ways of thinking, sensing or behaving differed from social expectations have always existed. Members of my research project have described discovering these historical figures as like finding neurodivergent ancestors. – The Conversation
- Why The New Obama Presidential Center Is Not Officially A Library
It isn’t a presidential library if it isn’t run by the National Archives and Records Administration, and the Obama Foundation had two big reasons for deciding not having NARA involved. So President Obama’s papers and archives will be made available to the public digitally while the Obama Center serves other functions. – Chicago Sun-Times
- Ballmer And Bezos And Benioff: Mega-donors To The Obama Library
The foundation collected six donations of $50 million-plus, including one anonymous contributor. – Chicago Sun-Times
- The Woman Trying To Rebuild Oakland’s Arts Program
Oakland currently allots its entire arts community only $300,000 in grants — in contrast to the combined $29 million that Grants for the Arts and the San Francisco Arts Commission apportioned across the bay last fiscal year. – San Francisco Chronicle
- The Meanings Of David Foster Wallace
The Bible warns that “all craftsmen who make idols will be humiliated.” American culture, perhaps in an effort to stave off potential embarrassment, often creates idols only to later destroy them. – Liberties Journal
- In Its Centennial Year, The Book Of The Month Club Has Become Kind Of Cool
Since its rebrand as Book of the Month (no more club) a decade ago, the subscription service has grown every year and now has over 400,000 members. Its strength, says chairman John Lippman, is human curation: “We don’t depend on algorithms to determine your next book.” – Publishers Weekly
- Director of Production, The College of Visual and Performing Arts (CVPA)
Req # 10004174
About the Department:
The College of Visual and Performing Arts (CVPA) is dedicated to advancing the study, creation, performance, and exhibition of the arts, acting on the strong belief in their transformative influence on individuals and societies. The College honors the values of great traditions in the arts while actively engaging in the creation of new works and ideas. This distinctive fusion of the academic and the professional, the campus and the community, the past and the present, defines the college as it engages new art forms, communities, and ways of working to meet the needs of a rapidly changing world.
The Hylton Performing Arts Center (HPAC) stimulates and transforms the cultural and economic vitality of our region by presenting diverse performances and programs of high quality and artistic excellence to inspire, educate, enrich, and enhance the community. The Hylton Center’s vision is to nurture artistic excellence and engagement, as we strive to be the creative commons of this dynamic region, inspiring the community to express its voice by participating in the Center’s work as artists, audiences, and lifelong learners.
About the Position:
As a member of the Hylton Performing Arts Center’s senior leadership team, the Director of Production provides executive-level strategic leadership, operational direction, and organizational oversight for all production and technical services across a complex, multi-venue performing arts center.
This position is responsible for aligning production systems, staffing structures, and technical capabilities with institutional priorities, artistic excellence, and revenue-generating activities, serving as the Center’s primary authority on production strategy, infrastructure planning, and operational performance.
The Director of Production plays a critical role in:
- Driving institutional excellence in production delivery;
- Advancing revenue growth through rentals and partnerships;
- Leading capital planning and lifecycle management of technical systems; and
- Ensuring HPAC remains a competitive, innovative, and nationally recognized performing arts venue.
Responsibilities:
Strategic Leadership, Fiscal Administration & Organizational Management:
- Directs, develops, and mentors a complex, multidisciplinary production team (lighting, audio, carpentry, stage management, video) supervising 6 FTE, 4 indirect reports, and a 20+ wage workforce;
- Establishes, evaluates, and optimizes organizational structures, staffing models, and workflows aligned with institutional strategy;
- Develops, tracks, and manages comprehensive production budgets, including permanent labor, operating expenses, equipment rentals, and capital improvements;
- Ensures full fiscal accountability and return on investment;
- Oversees overhire workforce strategy, contract execution, and payroll administration in compliance with institutional and labor standards;
- Manages vendor relationships, procurement strategy, and technical purchasing processes;
- Serves as the senior production leader, aligning facility capabilities with university, artistic, and community priorities; and
- Fosters a collaborative, inclusive, service-driven, and safety-focused culture.
Production Excellence & Stakeholder Engagement:
- Provides executive-level oversight for all technical production activity across multiple venues and event types;
- Leads all production advancement strategy, including interpretation and execution of complex technical riders;
- Translates artistic and technical requirements into fully executable, resource-efficient production plans;
- Ensures seamless delivery in venues with advanced production systems, including large-scale rigging and theatrical infrastructure;
- Maintains proactive communication and alignment across production staff, administrative leadership, academic departments, and external clients and partners;
- Serves as the final escalation point for high-risk or complex production and personnel issues; and
- Conducts contract and rider review (“redlining”) to ensure compliance with university and Commonwealth requirements.
Facilities, Equipment & Safety Management:
- Leads long-term capital planning and lifecycle management of technical systems and production infrastructure;
- Partners with facilities and campus leadership on preventative maintenance strategy and execution;
- Ensures compliance with OSHA, ESTA/ANSI, and industry safety standards; and
- Mitigates institutional risk through rigorous safety oversight and compliance practices.
Required Qualifications:
- Bachelor’s degree in related field, or equivalent combination of education and experience;
- Generally, ten (10) years of progressively responsible professional experience in technical production or live event management within a major performing arts center, academic presenting organization, or comparable multi-venue environment;
- Demonstrated experience operating within a multi-venue facility, including spaces exceeding 1,000+ seats and concurrent event management;
- Proven experience managing large-scale productions across multiple technical disciplines (lighting, audio, video, rigging, carpentry, and stage operations);
- Generally, a minimum of five (5) years of experience managing full-time staff, indirect reports, and part-time/hourly workforce;
- Direct responsibility for departmental budgets, including labor, overhire payroll, and operational expenditures;
- Demonstrated expertise in production advancement, contract interpretation, and execution of complex technical riders and negotiation;
- Knowledge of advanced theatrical production systems across multiple disciplines;
- Advanced operational knowledge of counterweight and motorized fly systems (75+ line sets), digital audio networks (Dante/AVB), and advanced theatrical lighting systems and protocols;
- Skill in leading large, multidisciplinary production teams in complex environments;
- Skill in financial management, budgeting, and resource planning;
- Exceptional interpersonal and diplomatic communication skills with ability to work effectively across diverse stakeholder groups;
- Ability to align production operations with strategic, financial, and institutional goals;
- Ability to manage high-pressure, multi-event environments, and resolve complex issues;
- Ability to communicate effectively with technical and non-technical stakeholders; and
- Proven ability to serve as the final escalation authority in high-risk, time-sensitive environments.
Preferred Qualifications:
- Master’s degree in related field;
- Experience with large-scale counterweight rigging systems and fly systems in proscenium theaters;
- Experience integrating production with academic programs, including student engagement and experiential learning;
- Experience with venue management software, scheduling systems, and production databases;
- Knowledge of university policies and procedures, including HR, procurement, and compliance requirements;
- Advanced knowledge of concert hall acoustics, orchestral production, and touring production standards;
- Advanced knowledge of strategic planning and operational alignment within complex performing arts or multi-unit environments;
- Knowledge of cost recovery, procurement practices, and revenue-generating venue operations;
- Knowledge of multi-venue operations and varied event types across presenting, academic, and rental activity;
- Advanced knowledge of safety standards and regulatory practices (e.g., OSHA, rigging, electrical systems);
- Knowledge of production management systems, scheduling tools, and technical databases;
- Skill in long-range planning, including capital planning, equipment lifecycle management, and long-term infrastructure strategy;
- Skill in leading and developing multidisciplinary teams, including full-time and part-time workforce models;
- Skill in supporting interdisciplinary collaboration and integration with academic programs;
- Skill in communicating complex technical concepts clearly to diverse audiences;
- Ability to evaluate and implement emerging production technologies, including hybrid and streaming systems;
- Ability to make data-informed decisions regarding resource allocation and investment priorities;
- Ability to represent the organization as a senior production authority in high-level artist and client engagements;
- Ability to develop staffing strategies and foster a collaborative, inclusive, high-performance culture;
- Ability to implement and maintain comprehensive safety and risk mitigation programs;
- Ability to lead adoption of technology-driven workflows and operational innovation;
- Ability to build consensus, resolve conflict, and influence decision-making at senior levels; and
- Demonstrated ability working with a diverse population of artists, students, faculty, staff, and community members.
Instructions to Applicants:
For full consideration, applicants must apply for the Director of Production at https://jobs.gmu.edu/. Complete and submit the online application to include three professional references with contact information, and provide a cover letter and resume.
Mason Ad Statement
George Mason University is a nationally ranked R1 research university committed to creating a more just, free, and prosperous world. With 40,000 enrolled students, George Mason is the largest and most diverse public research university in Virginia, offering degree programs at the master’s, doctoral, and professional level, along with certificates and credentials.
George Mason fosters an All Together Different environment for students, faculty, and staff, driven by our core beliefs. We believe in inclusivity over exclusivity; we believe in advancing our mission by being willing to take risks, not avoiding them; and we believe our best work is possible when we apply our diversity of origin, identity, circumstance, and thought.
George Mason University is an equal opportunity/affirmative action employer, committed to promoting inclusion and equity in its community. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability or veteran status, or any characteristic protected by law.
- The Philosophical Consequences Of Simulations
Students tend to have a low tolerance for fanciful hypotheses and abstruse thought experiments. All but the most philosophically inclined roll their eyes at Descartes’s famed “evil demon” scenario in which the reader is meant to reflect on whether any of her beliefs couldn’t have been presented as a deception of a malevolent spirit. – Hedgehog Review
- New Brain Study Reveals How Bilingual People Process Language
When deciding how to make a word singular or plural, for instance, bilingual people exhibit strikingly similar brain activity regardless of whether they are speaking in their first or second language. – The New York Times
- Some Dance Forms Are Deeply Culturally Coded. How Can They Be Reinterpreted In Contemporary Choreography?
Choreographic researcher and artist Nazira Yerbolkyzy is among a new generation of practitioners working to reframe this relationship by exploring how traditional movement philosophies can be reinterpreted through contemporary choreography and movement analysis. – BroadwayWorld
- £1 Billion Film/TV Production Complex Approved For Brownfield Site In London
“A £1 billion regeneration project to transform an industrial site in North London into a ‘landmark’ film and television studio site has been given the green light” — by a one-vote margin — “from Camden Council.” – The Standard (London)
- Louvre Is “Running On Fumes,” Its Director Tells French Senate
Christophe Leribault: “To put it bluntly: despite its imposing majesty and the daily dedication of its staff, the Louvre is running on fumes. Its facilities and infrastructure are reaching the end of their lifespan.” – ARTnews
- Longtime ABT Principal Cory Stearns, Not Entirely By Choice, Retires From Performing
The 40-year-old wasn’t happy when artistic director Susan Jaffe told him to make room for someone younger, but he’s philosophical: “I’ve been with ABT my entire life, and I feel very grateful. … The idea of continuing to dance for the sake of dancing, that’s not what I (want) right now.” – The New York Times
- Houston’s Menil Collection To Reopen Long-Closed Fresco Building And Fill It With Site-Specific Commission
The annex, opened in 1997 to house two Byzantine frescoes and closed since those works were returned to Cyprus in 2017, will reopen late next year to house long-term, site-specific, immersive installations — the first will be by Teresita Fernández — which will remain in place for roughly five years each. – Houston Chronicle (MSN)
- U.S. House Committee Advances Measure To Axe Department Of Education’s Only Arts Grant Program
“The Republican-chaired House Appropriations Committee … advanced a proposal that could defund the Department’s Assistance for Arts Education program, … which was established in 2015 to fund primary and secondary arts education with an emphasis on ‘disadvantaged students’ and children with disabilities.” – Hyperallergic
- Troubled San Antonio Philharmonic Appoints Interim Music Director
Facing more than one court case and no scheduled concerts, the struggling Texas orchestra has promoted its associate conductor, Felipe Tristán, to the music director’s podium on an interim basis. – San Antonio Express-News (MSN)
- BBC To Cut Hundreds Of Jobs And Cut $107 Million From Budget
“The U.K. public service broadcaster, will cut around 550 jobs, slash content spending by £80 million ($107 million) over two years and ‘review’ broadcast TV channels as part of a big cost savings push. … (The network is) also eyeing further job reductions in corporate and other areas (totaling) around 700.” – The Hollywood Reporter
- Who Owns The Stage Now?
Good Afternoon,
Byron Allen built a media empire on one insight: the money is in owning the content, not performing it (Los Angeles Times). Several of today’s stories read like institutions taking that lesson to heart. Cincinnati Opera is committing $6 million to three new works by Black creators (Cincinnati Business Courier). Roxane Gay and Debbie Millman bought The Rumpus rather than launch something new, wagering an established name is worth more than a clean slate (Publishers Weekly). And Lincoln Center is making its biggest commitment to dance in decades (The New York Times).
The counter-move came from Fox, which spent $22 billion not on shows but on Roku — buying the pipe instead of what flows through it (Vulture). Underneath all of it, the stakes: Sydney’s Song Company, 40 years old and one of the world’s finest vocal ensembles, filed for liquidation (Limelight).
On a lighter note, London’s Shaftesbury Theatre will become the Judi Dench Theatre (The Guardian).
Doug
- How Byron Allen Went From Standup Comic To Media Mogul To Stephen Colbert’s Time Slot
“He was one of the first entertainers to recognize that there was more money to be made in owning your content, rather than just performing it. Over the last three decades, he has built a multibillion-dollar business, Allen Media Group, which now has 2,000 employees across various media properties.” – Los Angeles Times (MSN)
- Rex Reed Hated Everything
In my ongoing conversations with him, along with the despairingly pungent emails he regularly sent from his AOL address Rex seemed to interpret the glut of mediocre films he was forced to endure as a highly personal affront to strict standards of taste, decency and class. – The Hollywood Reporter
- New from MolokoA. Robert Lee’s Omnibus Edition Is Here to Go<a href="https://www.artsjournal.com/herman/2026/06/new-from-molokoa-robert-lees-omnibus-edition-is-here-to-go.html" title="New from Moloko
A. Robert Lee’s Omnibus Edition Is - The Song Company, Australia’s Leading Vocal Chamber Ensemble, Is Closing Permanently
Founded in 1984 in Sydney, The Song Company, which consisted of six to eight singers, regularly performed music ranging from the Middle Ages and Renaissance through the Romantic era up to newly-commissioned works. The ensemble went into receivership in 2019 due to financial difficulties; now it has filed for liquidation. – Limelight (Australia)
- Cincinnati Opera Launches Major New Opera Initiative
“Lalovavi” launches Cincinnati Opera’s Black Opera Project, a $6 million three-opera endeavor. The first of its kind, the project aims to tell Black American stories of resilience and joy, written and composed by Black creators. Three new works – one each season – will provide increased opportunities for cast members and artistic teams of color. – Cincinnati Business Journal
- Misty Copeland On Drive and Motivation
What people do not always see is the aspect of drive that is perhaps the hardest to name — the will to keep going in those moments when the path is unclear, when recognition may never come. You stay focused on the work while navigating a life on the public stage. – The New York Times
- Highmark Mann Center Opens On A Roll
The Highmark Mann opened five decades ago as the Robin Hood Dell West, the local summer retreat for the Philadelphia Orchestra, and it has evolved into a bona fide arts center that feels both sylvan and city. – Philadelphia Inquirer (MSN)
- Sydney Dance Company Artistic Director Rafael Bonachela: The Exit Interview
“The amount of things that I didn’t get! … We will never get to fulfil the potential of what we want to achieve. There are so many versions of our life.” – The Saturday Paper (Australia)
- Why Older People Are Happier, And What We Can Learn From Them
- Generational Change In Australia’s First Nations Dance
Australian dance is undergoing a generational transfer of leadership. At the same time, First Nations choreography has never been more visible. Yet visibility and authority are not the same thing. – ArtsHub
- Publishers Sue Website For Pirating
Fresh off of last month’s victory against pirate web site Anna’s Archive, 13 publishers across all segments of the industry have allied to sue yet another pirate site, WeLib, for copyright infringement. – Publishers Weekly
- Theatre In London’s West End To Be Renamed For Judi Dench
“The Shaftesbury Theatre will be known as the Judi Dench Theatre from February 2027. … Dench has a long association with the Shaftesbury, which is one of the largest independent theatres in London.” – The Guardian
- Why Movie Production Is Leaving Hollywood
Everything costs more in L.A., starting with labor, due to the high cost of living and elaborate union agreements. Other states and countries have developed crew bases of their own, are more solicitous of producers’ needs and offer more generous incentives. Producers are also under pressure from the audience to deliver ever more spectacular experiences. – Variety
- Dance Jumps Into Lincoln Center In A Big Way
In the years since American Dance Theater, the descendants of modern dance have performed at Lincoln Center with varying frequency. But the new festival counts as the center’s biggest commitment since the early years and part of the reason this year’s Summer for the City series is being called Summer of Dance. – The New York Times
- New Owners Roxane Gay And Debbie Millman Relaunch Online Lit Magazine The Rumpus
“We’ll still be covering, with the same rigor and integrity, fiction, essays, poetry, book reviews, author interviews, and so forth,” said Millman. “But we’re also going to include more design criticism, art criticism, and overall cultural coverage. The soul of the writing … will be very similar; topically, it will be different.” – Publishers Weekly
- Have New Books Gotten More Expensive? Yes, But …
Hardcovers which for years cost around $20 are now routinely marked at $30 or more. However, both publishing executives and booksellers maintain that the price of new books has not kept up with post-2020 inflation in the economy as a whole (including their own supply chains). – USA Today
- Why Fox Bought Roku
Ever since the old Fox sold off most of its entertainment assets to Disney, Lachlan Murdoch — son of Rupert and CEO of Fox Corp. — has been using the money from that deal to rebuild his father’s TV empire for the streaming era. – Vulture (MSN)
