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- Hey Kennedy Center, I want my art back!
Good Morning,
Computer analysis of Edward III, published anonymously in 1596, assigns 23 segments to Shakespeare and nine to Christopher Marlowe, the first serious case that the two rivals wrote a play together (The Guardian).
Missy Mazzoli’s Lincoln in the Bardo opens at the Met this week; no opera won a Pulitzer or reached the finals between 1962 and 2000, so this one’s a milestone (SF Classical Voice). The Met also commissioned The Mothers of Kherson, an opera about Russia’s war on Ukraine. It had its first full performance Friday in Warsaw (The New York Times).
The Bayeux Tapestry hung vertically at home and lies flat at the British Museum; it will return next summer on a slanted table, after conservators found two breaks a few millimeters long (ARTnews).
Donors to the Kennedy Center are trying to reclaim their gifts after learning of a plan that listed “destruction” among the options for its art; one said, “I want to get that sculpture out of there” (ARTnews).
Lawrence Lessig, the Harvard copyright scholar, marks fifty years of the 1976 Copyright Act, which made protection automatic: a law written for publishers now covers every photo you email a friend (Lawrence Lessig).
Ann Hornaday, Washington Post film critic for more than 20 years and a 2008 Pulitzer finalist, has died at 66; she wrote, the Post says, from the viewpoint of a popcorn-eating moviegoer (The Washington Post).
All of our stories below.
- The Washington Ballet At 50
“Go-Go 50,” the upcoming mixed-bill program assembled to celebrate the anniversary, “exemplifies some of the company’s hallmarks: a willingness to gamble on new work, an embrace of diverse repertoire, and an ability to capitalize on the culture and cachet of its hometown.” – The Washington Post (MSN)
- Donors Are Trying To Save Artworks At The Kennedy Center
Donors who have given artwork to the institution are trying to reclaim their gifts, fearing for their safety amid a renovation and in the wake of layoffs. They are not convinced that the leadership, largely appointed by Trump, values the artworks as part of the institution’s holdings. – ARTnews
- What Got The Hollywood Establishment To Join The Vertical Microdrama Boom? SAG-AFTRA
“SAG-AFTRA’s independent Verticals Agreement helped open the door for producers to hire union performers for the format’s notoriously small-scale productions. They’ve also brought some structure and legitimacy to the medium. … Bigger-name talent is now more open to verticals thanks to the protections the agreement brings.” – TheWrap (MSN)
- How Intuition Works
The key is to see that intuition works in much the same way as perception, in that both can directly present something to us as actual. Once we understand what gives perception this feature, we can see why intuitions might involve exercising the same basic kind of cognitive capacity. – Aeon
- Shakespeare And The Work Of Black Women
In the Folger’s newest exhibition To Hear Her Speak: Black Women and Shakespeare, curated by Akhimie, more than 400 years of Black women’s engagement with Shakespeare is collectively explored for the first time, illuminating the ways in which Black women have claimed and reimagined the works of Shakespeare through scholarship and craft. – The Guardian
- Scholars Conclude That Shakespeare Was Primary (But Not Sole) Author Of “Edward III”
The history play was published without a named author in 1596, and it was long believed that Shakespeare had written a few scenes. New analysis shows “beyond doubt” that he wrote “the lion’s share,” 23 segments of the script, while Christopher Marlowe wrote nine. – The Guardian
- Why Has Netflix Hit A Wall?
The ousters of two of the company’s top creative executives are a sign that the streaming giant’s leaders feel the service needs to overhaul its content offerings. – The Wall Street Journal
- Brewster Kahle: Why The Internet Needs A Memory
Many people assume that once something is published online, it will remain forever retrievable. The saying that “the internet never forgets” has produced a dangerously false sense of permanence. In reality, the internet forgets continuously. Websites are constantly revised, deleted, and abandoned altogether. – The Atlantic
- The Harms Of Zombie Copyright
Fifty years ago today, copyright law in America changed fundamentally. That change was an accidental disaster for both creators and the culture they create. – Lawrence Lessig
- What’s Behind The Current Wave Of Theater, Film, Literature, And Other Art About AIDS
Much of the new work being done has a sense of mission — a feeling that, 45 years after the epidemic first broke out, something many gay people today are too young to remember — a struggle that changed our world cannot be permitted to recede into mere abstraction. – T — The New York Times Style Magazine
- Did Drought Really Cause The Collapse Of Ancient Maya? New Studies Cast Doubt
Taken together, the research is part of a shift in how researchers have come to consider one of antiquity’s great mysteries, awakening yet another fierce debate in academia over the effects of climate on civilizations, and why they fray. – Washington Post
- Auction House Phillips Appears To Be Reinventing Its Business
In conversations with several people with intimate knowledge of Phillips, past and present, it appears Phillips has decided it doesn’t want to be the same company it spent the last decade trying to become. – ARTnews
- WBUR Chief To Step Down
Margaret Low joined NPR at age 23 as an overnight production assistant and rose to senior vice president for news, the network’s top editorial job. She then spent five years running The Atlantic’s live events division before becoming WBUR’s first CEO in January 2020 – “just in time for a global pandemic,” she said. – WBUR
- Global Executive Arts Management Fellowship – Apply by Dec. 3
The DeVos Institute Global Executive Fellowship is a three-year, fully-subsidized program for arts and culture executives. The Institute invites applications for the 2027-2029 cohort from leaders of arts and culture non-profits worldwide by December 3, 2026.
Led by DeVos Institute Chairman Michael M. Kaiser and President Brett Egan, the high-intensity program provides training and guidance in strategic planning, leadership, fundraising, marketing, board governance, human resources, and financial planning coupled with peer learning, networking, and time for personal reflection. It is designed as both a catalyst for leaders at critical points in their careers, as well as a high-touch, long-term investment in a generation of leaders who will support one another, and their fields of service, for a lifetime.
Founded in 2001, the Fellowship network has over 250 alumni across the United States and in over 50 countries. Fellows attend a four-week residency in July in Washington, D.C. for three consecutive years and apply the strategies developed during the Fellowship within their organizations between residencies.
Individuals engage in the Fellowship at a point of career inflection when they are well-positioned to make a significant investment in their work. It serves CEOs, Executive Directors, General Managers, and other organizational leaders who have strategic responsibilities across all core functions of their organization.
Apply by Dec. 3, 2026, here: https://tinyurl.com/Fellows27
- Artistic Director – The Apollo via TOC Arts Partners
About the Opportunity
For more than ninety years, The Apollo has stood as a living symbol of Black excellence, artistic innovation, and cultural leadership. From legendary performances that reshaped American culture to new works that challenge, inspire, and unite, The Apollo has never been simply a theater; it has been a proving ground for brilliance, a gathering place for a Harlem and international community, and a home for Black artists.
As The Apollo completes The Apollo Rising 2.0 campaign, the organization prepares for a transformation. Upon reopening in early 2027 (after an extended 21-month renovation and reconstruction period), The Apollo will operate a full campus for the first time in its history, encompassing six distinct venues, including multiple performance spaces, new streaming capabilities, an expanded publicly accessible lobby, and a café. Once the historic theater reopens, The Apollo anticipates welcoming upwards of 25,000 visitors each week, whether attending events in the Historic Theater (capacity: 1,500), participating in programs within the two new black-box theaters at The Apollo Stages at The Victoria — Theater 1 (199-seat) and the Jonelle Procope Theater (99-seat) — or engaging with its public spaces. Further, The Apollo will stand as the artistic home this era demands—a place where historically marginalized voices don’t just survive, but flourish; where artists create work that bridges divisions; where the next generation discovers what’s possible when given a stage.
To meet this moment, The Apollo will hire a new Artistic Director. This leader will lead the curatorial process that fuels The Apollo’s year-round artistic programming. Reporting directly to the President & Chief Executive Officer and managing a team charged with curating a wide range of events, new work development and artist residencies, and The Apollo’s Learning and Engagement programs, this executive will shape the planning for all of The Apollo’s venues, communicate those plans and programs to all stakeholders, and oversee the planning and producing process.
As a leader, this individual will have a firm commitment to partnership. They will be a welcoming host and partner to artists, a responsive and strategic collaborator to the board and leadership, and a thoughtful colleague to staff around the organization. Further, they will embrace stewarding The Apollo’s legacy and envisioning what The Apollo will continue to be, in terms of artistic exploration and presentation.
As part of this moment of transformation, the Artistic Director will work closely with the President & CEO and the Chief Growth Officer to align artistic programming with The Apollo’s broader institutional strategy. Together, this leadership model ensures that artistic vision, institutional strategy, and audience growth operate in alignment.
The Apollo is also working with TOC Arts Partners to hire a new General Manager, Campus and Event Operations, who will be a key collaborator on Production, and which represents another important step in the organization’s evolution. These leaders will work closely with President & CEO Michelle Ebanks and complete the senior leadership team, elevating programming initiatives, establishing sound management practices, and contributing to the forward momentum currently underway for this iconic organization.
About The Apollo
Since 1934, The Apollo has celebrated, created, and presented work that centers Black artists and voices from across the African Diaspora. In December 2024, The Apollo Theater became the first organization honored by the Kennedy Center Awards, underscoring its enduring impact on American culture and the performing arts. Today, The Apollo is the nation’s largest performing arts institution dedicated to Black culture and creativity.
From the Historic Apollo Theater to the Apollo Stages at The Victoria, The Apollo produces and presents artists at every stage of their career, tells stories of communities too often overlooked, and celebrates Black excellence in all its forms. Encompassing Arts and Ideas, Music and Comedy, Theater and Dance, Film, and the legendary Amateur Night, The Apollo’s programming re-envisions the organization’s legacy in forward-looking and contemporary ways, creates forums for emerging artists and curators, supports mid-career and established artists, develops and presents new and cutting-edge multi-disciplinary work, uplifts culturally diverse artists and audiences, and creates an intimate and engaged experience for audiences.
The recent Apollo Rising 2.0 $100 million capital campaign affirms the organization’s commitment to honor what The Apollo has always been, while ensuring what it must become. At the heart of this campaign is the renovation and restoration of the Historic Theater. However, these investments do more than preserve a landmark and light a marquee; they position The Apollo to lead with purpose, relevance, and impact for the next ninety years and beyond.
Job Description
The Apollo seeks an accomplished and visionary executive to serve as Artistic Director, a critical member of the executive leadership team responsible for overseeing the institution’s artistic programming. This is a rare and important opportunity to shape the artistic future of one of the world’s most iconic cultural institutions. The Artistic Director will cultivate artist relationships, commission new work, and create signature cultural experiences uniquely possible at the Apollo.
Working across multiple stages and performance environments, the role will help build a programming ecosystem that supports artistic experimentation, talent discovery, and landmark cultural moments that make a season at The Apollo both a series of unmissable events and reflect cohesive and brand-forward curation. They will do this with a full embrace of the ways 21st century audiences engage with content, and extend the Apollo programming strategy to meet new and existing audiences beyond the physical stages and spaces.
At The Apollo, Harlem’s living culture meets artists from Harlem and around the world who take creative risks and invite discovery—revealing new ways of seeing the world, each other, and ourselves. The Apollo stage has long been a place where artists test ideas, audiences respond with honesty, and culture evolves in real time. The Artistic Director will help shape how the Apollo continues this tradition by supporting artists who lead cultural conversation and creating experiences uniquely possible on the Apollo stages.
Working in partnership with the Chief Growth Officer, the Artistic Director will extend the impact of Apollo programming through partnerships, campus activation, and integrated storytelling. Together they will activate the Historic Theater and the Victoria Theaters through live experiences, digital platforms, and omnichannel engagement that connect artists, audiences, and communities locally and globally.
The Apollo programming spans multiple platforms and artistic experiences and current key programming includes:
- Amateur Night at The Apollo
- Music Café and Comedy programming
- New Works and artist commissions
- Festivals and multidisciplinary performances
- Marquee cultural events unique to the Apollo stage
The Artistic Director will evolve these platforms, while developing new opportunities for artist collaboration and audience engagement.
The successful candidate may have a background as a cultural producer, festival curator, or artistic director, senior producer in music, theater, comedy, or multidisciplinary performance, or cultural entrepreneur building platforms for artists and audiences. Regardless of background, they will understand the creative and business ecosystem that must be cultivated to embody the range of programming that The Apollo seeks to present.
Key Responsibilities
The ideal candidate will uphold the following key responsibilities.
Curation and Artistic Direction
- Articulate the artistic vision for The Apollo, assembling an overall season with a cohesive message each year, and identifying performers and other creative artists who take risks and shape culture to be included as prominent figures on The Apollo’s stages and within its community.
- Produce signature cultural experiences and multidisciplinary programming, which enlivens The Apollo campus and moves beyond Harlem, when opportunities arise.
- Oversee a multi-faceted learning and engagement program, which includes opportunities for K-12 students, young professionals, and the wider community to experience and appreciate the legacy and future of The Apollo.
- Hold a firm understanding of how audiences engage with cultural experiences across live and digital platforms, planning and shifting programming initiatives around that ongoing examination.
- Maintain a strong collaborative attitude and relationship-building ethos within a mission-driven cultural institution to successfully partner with The Apollo’s leadership team and staff across the organization.
- Cultivate a deep respect for Harlem’s cultural significance and work to sustain the Apollo’s role within that ecosystem.
Departmental Leadership
- Lead the development of a thrilling, robust, and diverse programming schedule across six venues, which include the Historic Theater (capacity: 1,500) and the two new black-box theaters at The Apollo Stages at The Victoria — Theater 1 (199-seat) and the Jonelle Procope Theater (99-seat), inclusive of opportunities for further distribution via owned and partnership channels.
- Collaborate with senior programming and engagement staff to plan a wide range of events, build strong partnerships, and negotiate successful contractual terms with performing arts promoters, agents, artists, and other users of the facility.
- Collaborate with the General Manager, Campus and Event Operations to ensure programming costs are in line with budget projections; and then assess the P&L of all programming initiatives throughout the year.
- Communicate effectively with other staff members, board members, touring promoters/agents, local arts organizations, and other community members to ensure The Apollo’s programming goals are understood and initiatives are produced with the highest level of care.
- Establish and maintain effective working relationships with artists, staff, partner organizations and institutions, board members, and fellow leadership at The Apollo.
- Supervise and manage staff and resources in an effective and efficient manner.
- Oversee the implementation of programming team policies, including booking and scheduling procedures; vendor and contractor agreements; and staffing configuration around projects.
Strategic Organizational Leadership & Cross-Functional Collaboration
- Serve as a strategic advisor and operational partner to the President & Chief Executive Officer.
- Create a strong collaborative partnership with the General Manager, Director of Production, and other senior staff members.
- Collaborate closely with Development, Marketing, Finance, Advancement, and Partnerships teams.
- Contribute to organizational strategic planning and long-term growth initiatives.
- Represent The Apollo with clients, donors, community leaders, industry partners, government agencies, and other external stakeholders as needed.
Qualifications
- 10+ years of progressive leadership experience in live events, entertainment, performing arts, producing, experiential performances, or related industries.
- Significant hands-on experience curating complex programming initiatives with a passion for all forms of performance, including but not limited to music, dance, theater, and the spoken word.
- Familiarity with the arts and entertainment venues and producers in New York City and other major markets.
- Relationships with performers, creators and their teams that allow the Apollo to navigate the entertainment and arts community nimbly and credibly.
- Demonstrated success managing large-scale operational teams and multiple venues.
- Ability to balance creative ambition with operational discipline and financial stewardship.
- Outstanding organizational leadership, communication, and relationship-building skills.
- Proven ability to lead through complexity, manage competing priorities, and drive organizational results.
- Strong executive presence with the ability to influence stakeholders at all levels.
- Ability to work various hours, including evening, weekends, and holidays.
Compensation
The salary for this position is $250,000-$285,000. The Apollo provides comprehensive benefits, including health, dental, vision, long and short-term disability, accident, critical illness, and company-paid life insurance. Employees have access to a 401k plan and match, employee assistance program, optional volunteer benefits, and generous paid time off.
The Apollo Theater Foundation, Inc. is an equal opportunity employer and does not discriminate on the basis of race, color, religion, sex, gender identity or expression, sexual orientation, national origin, citizenship or immigration status, pregnancy, disability, age, military or veteran status, marital status, genetic information, or any other characteristic protected under federal, New York State, or New York City law.
Application Instructions
The Artistic Director search is being conducted on behalf of The Apollo by TOC Arts Partners, a national consultancy aligning strategies, structures, and leadership toward a thriving cultural sector. The search is being led by Senior Strategist Brenna Thomas, in consultation with and support from the TOC Arts Partners search team.
To apply, visit the online application and submit your materials. Your cover letter should include any training or experience relevant to the job profile that you would like to highlight, why you consider yourself a good fit for this opportunity, and anything else you’d like us to know about your qualifications that may not be present in your resume.
For general questions or nominations of prospective candidates, please contact searchteam@tocartspartners.com. We kindly request no phone calls. Specific questions about the position may be directed to: Brenna Thomas, Senior Strategist, brenna@tocartspartners.com.
Applications will be accepted until this role is filled. We encourage you to apply by November 4, 2026, for priority consideration. Interviews may begin at any time, and we encourage you to apply as early as possible for best consideration. Please note that applying before the priority deadline does not guarantee an interview, and all applicants will receive a response regarding the consideration and status of their candidacy.
Not sure you meet 100% of our qualifications? Research shows that cis men apply for jobs when they fulfill an average of 60% of the criteria, while others tend only to apply if they meet every requirement. If you believe that you could excel in this role, we encourage you to apply. We are dedicated to considering a broad array of candidates, including those with diverse workplace experiences and backgrounds. So, whether you’re returning to work after a gap in employment, simply looking to transition, or taking the next step in your career path, we will be glad to have you on our radar.
- YouTube Intends To Start Offering Audiobooks
“YouTube has weighed bundling the product in its ad-free YouTube Premium service, which starts at $15.99 a month and includes access to music and videos, the people said. Like other streaming platforms vying for consumers’ attention, YouTube has packaged offerings together to make lucrative subscriptions more appealing.” – The Wall Street Journal (MSN)
- While Partly Closed For Construction, Broad Museum In L.A. Will Lend Scores Of Artworks To Paris
“The museum announced Tuesday that it’s shipping 164 works to the Frank Gehry-designed Fondation Louis Vuitton in Paris for its most extensive exhibition ever mounted outside Los Angeles. The show will open April 21 and run through Aug. 30,” as the Broad finishes major construction on a new extension. – Los Angeles Times (Yahoo!)
- Bayeux Tapestry Will Return Home Next Summer To A Completely Different Display Format
Before the 770-pound, 220-foot-long embroidery left its eponymous museum in France for London, it was hung vertically. At the British Museum, the enormous textile is lying flat in a display case in a darkened room, a format which the post-renovation Bayeux Museum will (mostly) adopt. – ARTnews
- After Decades On The Sidelines, American Contemporary Opera Is Now Thriving
After a few decades when most US companies (especially the Met) treated new opera like kryptonite, many are now presenting a contemporary work almost every season — and selling lots of tickets. Michael Zwiebach examines why this is happening now. – San Francisco Classical Voice
- The First Opera About Russia’s War On Ukraine Has Its Premiere
The Mothers of Kherson, with music by Ukrainian composer Maxim Kolomiiets and libretto by American playwright George Brant, was commissioned by the Metropolitan Opera three years ago and got its first full performance on Friday at the Polish National Opera in Warsaw. (The Met premiere is scheduled for April 2028.) – The New York Times
- Teenage Suspect Arrested In Case Where Actor Was Chased Through Streets Before Performance
The incident happened last week at England’s Chichester Festival Theatre: last Tuesday’s performance of A Midsummer Night’s Dream was cancelled after a cast member reported that he’d just been chased through the streets by people shouting abuse. One 16-year-old suspect has been arrested and charged. – The News (Portsmouth, UK)
- Ann Hornaday, Longtime Washington Post Film Critic, Is Dead At 66
“(She) brought a casual, if knowledgeable, approach to her reviews, writing more from the viewpoint of a popcorn-eating moviegoer than from the lofty perch of a scholar of cinema. She wrote hundreds of reviews … over more than 20 years and was a Pulitzer Prize finalist in criticism in 2008.” – The Washington Post (MSN)
- Louvre Temporarily Closes During French Protests
- Why Awards Shows Are Leaving Broadcast For Streaming
In recent years, the shows have become money losers and the network TV business — faced with a decline in viewers that is squeezing profits — are cutting them loose. – Los Angeles Times
- Pilot Draws Mona Lisa In The Sky
After four hours of these intricate aerobatics, he had sketched a version of the Mona Lisa instantly recognizable to anyone tracking his flight online. – The New York Times
- Writers Are Struggling To Prove They’re Human
As AI-generated writing floods the internet, more people are trying to detect which creators are using such tools to spin up copy. That means writers penning all their own work—and people who acknowledge using chatbots for help—are trying to master something they never worried about before: how to sound human. – The Wall Street Journal
- Shanghai’s Elegant New Opera House Is Completed
Shanghai Grand Opera House’s defining feature is its spiral staircase, which dramatically cantilevers at its peak and was intended to emulate everything from an unfolding fan to a dancer or a set of piano keys. – Dezeen
- Does AI Collapse The Need To Get Bigger?
AI is making enterprise-grade capabilities available to companies that are a fraction of the size and without all of the bureaucratic weight that historically came along with it. If Goldberg is right, the rules of competition are changing for good, and companies no longer need to be big to compete. – Wired
- Breaking Down What Theatre Gets Produced (And Produced Again)
A first-time playwright now has a one-in-five shot at a second production within two seasons. If mine gets one and keeps traveling, the money waits in a catalogue Bertelsmann owns. – Jared Harbour
- Ticket Broker Sued In $120M Ticket Bot Scheme
The DOJ and FTC allege that REPS & Co violated the Better Online Ticket Sales (BOTS) Act by opening thousands of accounts across Ticketmaster, AXS and other ticket services and circumventing the ticket platforms’ purchase limits. – The Hollywood Reporter
- An Idea To Spur More Indie Production In Hollywood?
This week, a new organization called the American Entertainment Alliance will begin publicly pushing for legislation to force the biggest entertainment and streaming companies — including Netflix, Disney, Amazon Prime Video and Skydance — to allocate half of their original content budgets to shows and movies from independent producers in the United States. – The New York Times
- After The Watts Rebellion, Two Brothers Opened The First Black-Owned Gallery In Los Angeles
“‘As soon as we opened we were aware of the lack of opportunity for the entire minority community,’ said Dale, 80, in a recent interview. ‘It was definitely the mission.’” – Los Angeles Times (MSN)
- For Now, Art Basel Miami Beach Won’t Move To Las Vegas
“The sticking point, as discussed by city officials at a public meeting last Wednesday before a vote on a revised contract, was Art Basel’s demand to essentially halve the nearly $1 million annual rent the fair had previously paid to Miami Beach.” – The New York Times
- What If Climate Fiction And Movies Have Been Hitting The Wrong Buttons?
Fear spreads its message more quickly – but it also paralyzes most people to inaction, exactly not what most writers of climate fiction would prefer. – The Guardian (UK)