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- Ted Lasso Found The Audience Broadway Couldn’t
Good Morning,
The most useful stories today aren’t about who’s failing to draw a crowd. They’re about where crowds actually come from now — and it’s almost never through the front door.
A fictional English football club made Americans care about the real sport, and the writers say the trick was smuggling the game inside a comedy (Los Angeles Times). Poetry is having its biggest moment in decades, built by performance poets on TikTok and Instagram rather than by publishers (The Guardian). And Broadway is studying movie theaters after the Hadestown pro-shot hit, on the theory that a camera close enough to read an actor’s eyes offers something the eighth row can’t (NPR).
Set that against today’s harder math. Jellicle Ball filled every seat it had and still had to close, because a Broadway show is a start-up carrying fixed rent (The New York Times). And developmental programs — where new work figures out who it’s for — are disappearing from American theatre at an alarming rate (American Theatre). Demand isn’t the constraint. The path from demand to a sustainable institution is.
Meanwhile, Britain’s Ministry of Justice has spent £50,000 scrubbing a Banksy off a heritage listed wall (BBC).
All of our stories below.
- Movies Have Also Turned Completely Gray
Where the heck is all of the color? – El País English
- Was An All-Night Art Heist In Italy Some Kind Of Revenge?
“About 30 artworks belonging to Lilli Petroli owner Mauro Lilli were stolen in the unusual heist, including bas-reliefs attributed to Pablo Picasso, a bronze ballerina sculpture by Giacomo Manzù, paintings by Bruno d’Arcevia of the Italian Manner movement, and pieces by sculptor Mario Moretto.” – ARTnews
- Elizabeth Smith, Founding Faculty Member Of Juilliard Drama And Vocal Coach To The Stars, Has Died At 91
“The actress Laura Linney, who graduated from Juilliard in 1990, was confused when Ms. Smith stared at the floor during her entire audition. ‘She wasn’t looking, she was listening,’ to Ms. Linney’s voice, the actress said.” – The New York Times
- How ‘Ted Lasso’ Might Deserve Some Credit For A Soccer Boom In The United States
“We tricked them by putting soccer in a comedy show. … The first thing you’ve got to do to get somebody to become a soccer fan is just make them care about one team, to find one team.” Even if it’s fictional. – Los Angeles Times (MSN)
- Demystifying The Art Of Conducting
No, not by watching Tár. “The very act of conducting—waving a wand to summon ravishing or ethereal or earsplitting sounds—can look like either inexplicable magic or embarrassing nonsense, a kind of tuxedoed air guitar.” – The Atlantic
- What In The World Is The Met Museum Doing?
Why platform John Galliano, known for antisemitic tirades and more? “The fashion business has long been known to tolerate bad behavior; addiction, provocation and eccentricity are seen as normal, and at times necessary, elements of the creative process. Mr. Galliano’s comportment went way beyond all that.” – The New York Times
- How Many Broadway Shows Can Follow Hamilton And Hadestown To Success At The Movie Theatre?
“I want to see the eyes of the actors, I want to get closer to the emotion – which is what theatre can’t give you. It’s a different thing,” says the Hadestown pro-shot director. – NPR
- Britain Claims That Banksy Is Expensive For The British Public
“The Ministry of Justice (MoJ) says it has spent £50,000 trying to remove paint from the wall of the Grade II-listed building in Carey Street.” Er … a solution presents itself. – BBC
- The Young Artist Making The Last Of The Dummies
“To some people, these are just puppets. … To me, there’s so much to them. It’s sculpture, casting, painting, sewing, mechanics, history, research, performance design — all at once. They are like kinetic art objects.” – The New York Times
- The Music Of New York’s Subway Trains
No, not the clanking of the wheels or that metallic screech, but the jazz of the interplay of 400+ trains running at the same time. – NPR
- Let’s Talk More About How Jellicle Ball Could Fill Every Seat And Still Have To Close
“There are countless reasons behind the demise of any Broadway show, each of which is essentially a start-up business taking its chances in a volatile market.” – The New York Times
- Abbe Lane, Broadway Dancer Turned Star Vocalist, Has Died At 94
Lane, who didn’t speak Spanish when this part of her career began, “exuded a sultry Latin air as the star vocalist for the bandleader Xavier Cugat in the 1950s and ’60s, and in a successful solo career afterward.” – The New York Times
- We’re In For A Beige, Gray, White Time Of It
Can paint with, you know, color in it ever recover? “Color trends used to come and go. But the color recession that began early this century has dragged on.” – The Atlantic
- Not Only Is Poetry Still Alive, But It’s Having A Hell Of A Moment
No, not just The Odyssey. “A new audience is finding poetry, particularly (though not exclusively) through social media: a new generation of poets, particularly but not exclusively performance poets, have come to prominence through Instagram, TikTok, and other short-form video formats.” – The Guardian (UK)
- For Actors, The Weird Calculus Of Choosing Which Series Episode To Submit To The Emmys
“The fact that acting nominees only submit one episode per performance feels very high stakes: One episode must make the best possible case that you deserve to win.” – Vulture
- New Theatrical Work Desperately Needs New Audiences
“It’s a distinct privilege to witness something being born. It’s exciting.” But developmental opportunities are disappearing from the United States theatre scene at an alarming rate. – American Theatre
- When Did It Become OK To Stop Reading A Book In The Middle?
Wasn’t there a compact, for a while, that if you started a book, you’d damn well finish it? “Even lifelong DNFers often feel bad about closing the book — that it’s a sign of a quitter, or that they’re too stupid.” – The New York Times
- The Los Angeles Jazz Festival Was Going To Be Huge, With Stars Like John Legend And Janelle Monae
And then … it was canceled just before the 16-day fest was set to begin. “By Friday, the LA Jazz Fest website had been scrubbed, with only a cryptic message that said, ‘August 22-23. Updated event info coming soon.’” – Variety
- Why the West End is Thriving while Broadway can’t make it
This Week’s Highlights:
For a generation the ambition was the building. This week it read more like the liability. London’s Royal Ballet and Opera says it needs £60 million just to keep Covent Garden’s stage from failing (The Times). Raleigh’s contemporary art museum is selling its building and hopes to keep operating without one (The News and Observer). And Justin Davidson’s verdict on the hyperflexible palaces of the last decade — the Shed, the Perelman, walls that move at the touch of a button — is that the revolution “feels anticlimactic and overpriced” (Curbed).
Against that, a movie palace outside Los Angeles that hadn’t shown a first-run film in 35 years became the top-grossing theatre in the country for Christopher Nolan’s Odyssey (The Hollywood Reporter) — on the strength of one thing almost nobody else can do. Specificity is beating flexibility. So is affordability: the West End is booming on production costs a fifth to a third of Broadway’s (The Wall Street Journal), and San Diego is launching an arts pass covering more than 40 organizations (The San Diego Union-Tribune).
Elsewhere the authentication problem has deepened. A Cambridge study found readers rated AI-written stories highest — when they believed a human had written them (The Bookseller). Days later a $2 million novel deal collapsed because the agents could “no longer authenticate how the manuscript fully evolved from origin to completion” (The Guardian).
All this week’s stories below, organized by topic.
- Jova Lynne shares the benefits of a co-directorship model in cultural organizations
Jova Lynne, Co-Director of the Museum of Contemporary Art Detroit, shares the benefits of the co-directorship model and immersion in the artist creative process.
- Executive Director – Gallo Center for the Arts via TOC Arts Partners
About the Opportunity
The Gallo Center for the Arts (GCA) seeks a dynamic, mission-driven executive to serve as its next Executive Director. This is an exceptional opportunity for an accomplished arts leader to guide a thriving, community-rooted performing arts center into its next era — building on a strong artistic and civic legacy while strengthening the organization’s financial foundation, programming, and community partnerships.
About the Gallo Center for the Arts
The Gallo Center for the Arts is a state-of-the-art performing arts complex located in the heart of vibrant downtown Modesto, California. The Center features two indoor performance venues — the 1,248-seat Mary Stuart Rogers Theater and the 440-seat Foster Family Theater, connected by a grand shared lobby — as well as year-round outdoor community programming in the Modesto Rotary Music Garden.
The mission of the Gallo Center is to enrich the quality of life in the San Joaquin Valley by providing an inspirational civic gathering place where regional, national, and international cultural activities illuminate, educate, and entertain. The Gallo Center celebrates the diversity of its community by offering an array of cultural opportunities designed to appeal to, and be accessible for, all.
For more information about the Gallo Center for the Arts, please visit GalloArts.org.
About Modesto, California
Halfway between San Francisco and Yosemite National Park and surrounded by some of the state’s richest farmland, the growing city of Modesto sits at the very heart of California and is the region’s cultural and agriculture center. Modesto is located in the center of the Central Valley surrounded by the Coastal Ranges and the Sierra Nevada, and close by, the numerous farmlands that produce a majority of several crops for the United States. Modesto has a Mediterranean climate, with cool to mild winters with moderate rainfall and warm, dry summers.
Cultural life in Modesto is as varied as its diverse population. In the heart of downtown you can see many of the 100 colorful street murals painted by international artists invited to Modesto as part of the annual DoMo Walls festival. Nationally known musicians and touring Broadway musicals come to town for performances at the Gallo Center for the Arts, sharing the spaces with established and valued resident companies presenting music, dance and theatre. Downtown Modesto hosts a monthly Art Walk, with local artists displaying art for sale, artist demos, local gallery shows, in a multi-venue map self-guided tour. And of course, the exciting food and wine scene of Modesto and the region is fueled by the central role Modesto holds in viticulture and agriculture that impacts the entire nation.
For more information about Modesto:
https://visitmodesto.com/
https://www.modestogov.com/Job Description
The Executive Director provides strategic leadership and operational oversight for the Gallo Center for the Arts. This role is responsible for overseeing programming, financial stewardship, development, marketing, and community engagement. The ED will also work in collaboration with the current Chief Operating Officer on a division of duties and responsibilities relating to the operation of the Gallo Center for the Arts. The Executive Director ensures that GCA presents high-quality performing arts and community events while maintaining sustainable business practices, and serves as the organization’s primary ambassador to donors, civic leaders, artists, and the broader Modesto community.
Key Responsibilities
Leadership & Strategic Direction
- Provide overall leadership, vision, and strategic direction for the Center, in alignment with the mission and goals established by the Board of Directors.
- In collaboration with senior staff and the Board, articulate the organization’s strategic opportunities and craft the roadmap for the Gallo Center’s next era, with particular attention to the priorities identified in the organization’s new strategic plan.
- Ensure that the Center’s stated values guide daily operations, with a keen focus on the care and well-being of staff, artists, volunteers and community members.
- Model and lead a culture of teamwork and shared responsibilities and accountability.
- Maintain productive communication among staff, leadership, volunteers and the Board to foster a culture of transparency and collaboration on issues ranging from finance to artistic philosophy.
- Formulate and recommend policies, procedures, and programs for Board consideration, and ensure accurate recordkeeping for all organizational activities.
- Provide leadership and direction to staff, fostering a culture of excellence, collaboration, and continuous improvement.
Programming & Artistic Curation
- Lead Gallo Center programming in keeping with the organization’s mission, vision, and values, and oversee development, scheduling, and execution of the annual calendar of performances, events, and programs.
- Deepen the Center’s understanding of its audience and community, applying a responsive approach to programming and community events.
- Nurture productive and supportive relationships with the Gallo Center resident companies and their patrons.
- Ensure the quality and viability of ongoing and new artistic programs and services.
- Engage the Board of Directors around the reach and impact of Gallo Center programs to strengthen their effectiveness as ambassadors for the organization.
Financial & Operational Management
- Develop and implement strategies to maximize revenue generation through event programming, venue rentals, sponsorships, and partnerships, and identify new revenue streams to strengthen long-term financial sustainability.
- In collaboration with the COO, analyze and evaluate the Center’s financial performance, identifying areas for improvement and implementing solutions to enhance efficiency and profitability. Invest in the Center’s financial performance, including budget development, forecasting, monitoring, and revision, ensuring that budgets, revenue targets, and operational goals are met.
- Partner with the COO in preparation and review of financial reports and budget forecasts for the Board and other stakeholders.
- Support the COO and teams to ensure efficient facility operations and maintenance, preventive safety measures, and safe equipment, and lead capital planning initiatives for facility improvements, working with stakeholders to prioritize projects and secure funding.
Development & External Affairs
- Lead a strategic and expansive fundraising program in collaboration with the Board and senior staff, including identification, cultivation, solicitation, and stewardship of individual and institutional donors.
- Lead capital campaign, donor cultivation, and grant solicitation efforts as needed.
- Cultivate and maintain meaningful relationships with local businesses, community organizations, donors, and funding agencies to expand support for the Center’s mission and goals.
- Represent the Gallo Center in negotiations with artists, promoters, and other stakeholders to secure high-profile performances and events.
- Champion the Gallo Center’s vision and mission at public events and industry gatherings, locally and nationally.
- Participate actively in the Modesto-area arts and business community as a key artistic leader of the region.
Marketing & Community Engagement
- Collaborate with marketing and sales teams to develop innovative promotional campaigns that drive ticket sales and attendance.
- Serve as the primary liaison between the Center and its resident companies, community partners, and the public, and act as a liaison between the Gallo Center and government entities, local businesses and arts organizations, and community groups.
- Lead outreach and educational initiatives to broaden access to the performing arts, and support and promote the reach and impact of these programs.
People & Organizational Culture
- Ensure efficient and professional management of all Center operations, including staff, budgets, and facilities.
- Set the tone for the supervision and evaluation of staff; ensure appropriate training is provided; handle sensitive personnel matters with discretion and in accordance with organizational policy.
- Actively support and respect diversity in the workplace.
Perform other duties as assigned. This list of responsibilities is representative, not exhaustive.
Qualifications
Education & Experience
- Bachelor’s degree in Arts Administration, Business Administration, Nonprofit Management, or a related field required; Master’s degree in Arts Management, Business Administration (MBA), or a related discipline preferred. Additional professional development or certification in nonprofit leadership, fundraising, or performing arts management is a plus.
- Minimum of ten years of senior management experience, preferably in arts, cultural, or nonprofit organizations, including experience overseeing complex budgets and achieving revenue-generation goals.
- Experience managing staff, volunteers, and contractors within a multi-departmental organization, and a track record of developing and implementing innovative programming that drives audience engagement and organizational growth.
- Experience in a non-profit performing arts center or organization, bringing strong management skills with a human-centered focus and a track record of effective collaboration with staff, boards, and community members — leading while sharing authority and responsibility.
Knowledge, Skills & Abilities
- Comprehensive understanding of and experience in the performing arts industry, including programming, production, audience engagement, and community outreach, along with revenue-generation strategies and best practices in the field.
- In-depth knowledge of nonprofit management, governance, reporting requirements, and fundraising strategies, and financial management understanding spanning budgeting, forecasting, and financial analysis and reporting.
- Strategic thinking, planning, and visioning skills, with the ability to analyze complex issues, develop effective solutions, and guide organizational mission, long-term goals, and operational efficiency.
- Strong leadership and management skills, with demonstrated ability to inspire, mentor, supervise, and motivate staff, volunteers, and resident companies.
- Excellent oral, written, and presentation skills, with the ability to prepare and deliver effective reports and communications on complex information to staff, boards, donors, and community stakeholders.
- Marketing, public relations, and audience-development skills to enhance visibility, engagement, and ticket sales.
- Problem-solving, decision-making, and analytical skills in fast-paced, high-pressure environments, with the ability to lead a complex organization while balancing financial sustainability, operational efficiency, and artistic excellence.
- Capacity to build and maintain collaborative relationships across departments, boards, donors, partners, and artists, including comfort and enthusiasm for engaging prospective donors and board members.
- Creativity and innovation, with a demonstrated ability to advance the mission and goals of the Gallo Center, and experience with or knowledge of innovative ways to use performance spaces to better serve artists and community.
- A long-term view of balancing artistic and programming goals with administrative capacity and financial feasibility, and an inquisitive, adaptable approach to tackling challenges in a rapidly changing environment.
- Commitment to diversity, equity, and inclusion throughout all organizational operations, and the ability to represent the organization publicly with professionalism, credibility, and enthusiasm.
- Ability and willingness to work irregular and flexible hours, including evenings, weekends, and holidays, in alignment with performance and programming schedules.
Compensation
Salary range: $190,000 to 220,000, commensurate with experience.
The Gallo Center for the Arts offers a competitive compensation package, including:
- Health, dental, and vision insurance
- Flexible spending and health savings accounts
- Accidental death and dismemberment and life insurance
- 529 college savings plan
- Long-term disability coverage
- 401(k) plan with employer match
- Vacation, holiday, and sick pay
Application Instructions
The search for the Executive Director of the Gallo Center for the Arts is being conducted with the support of Cynthia Fuhrman of TOC Arts Partners, a New York–based executive search and consulting firm specializing in the arts and culture industries, with an office in Portland, Oregon.
To apply, please visit the online application and submit your materials. Your cover letter should describe your relevant experience, including any direct experience with similar roles and institutions.
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: Cynthia Fuhrman, VP, Executive Search
cynthia@tocartspartners.comThe priority application deadline is August 25, 2026. Applications received by this date will be given priority consideration. Applications received after this date will still be accepted and considered; early application is encouraged for the best chance of consideration. Meeting the priority deadline does not guarantee an interview.
- The Indianapolis Symphony Orchestra seeks Chief Executive Officer.
ZRG Aspen Leadership Group is proud to partner with the Indianapolis Symphony Orchestra in the search for a Chief Executive Officer
Reporting to the Board of Directors, the Chief Executive Officer will lead one of Indianapolis’s most visible and respected cultural institutions from a position of strength. Supported by a talented leadership team, an engaged Board of Directors, and a community that values the orchestra’s contributions, the CEO will build on a strong foundation while guiding the ISO through its next phase of growth. This leader will provide the strategic vision to expand the orchestra’s impact, strengthen its role in the community, and advance its tradition of artistic excellence and innovation.
As Indiana’s largest nonprofit performing arts organization, the Indianapolis Symphony Orchestra welcomes more than 200,000 people each year to its concerts and educational programs. From its home on Monument Circle in the heart of downtown Indianapolis, the ISO serves a growing and vibrant community through more than 150 concerts and educational programs presented over a 12-month season. Its programming reflects a commitment to artistic excellence, offering audiences of all ages a broad range of musical experiences that inspire, engage, and connect.
Under the artistic leadership of Music Director Jun Märkl, the Indianapolis Symphony Orchestra’s 78 professional musicians offer a wide-ranging season of performances at the historic 1,660-seat Hilbert Circle Theatre, which is owned by the ISO Foundation, and at venues throughout Central Indiana. Its programming includes the Classical Series; Printing Partners Pops Series; Bank of America Film Series; Uncharted Series; Coffee Classical and Pops concerts; the annual AES Indiana Yuletide Celebration, under the leadership of Principal Pops Conductor Jack Everly; Kroger Symphony on the Prairie; and other special performances that engage audiences throughout the year.
As it approaches its second century in 2030, the Indianapolis Symphony Orchestra is guided by a vision to be a dynamic and unifying leader in the arts, serving the community through inspiring, innovative, and accessible musical and educational experiences. By investing in innovative programming, collaborative partnerships, and organizational capacity, the ISO is positioning itself for long-term artistic and financial sustainability.
The Indianapolis Symphony Orchestra is governed by a 37-member Board of Directors and has an annual operating budget of approximately $28 million. The ISO is supported by an endowment of $122.5 million.
At least ten years of senior leadership experience, including the management of a team of at least twenty members, is required for this position. The Indianapolis Symphony Orchestra will consider candidates with a broad range of backgrounds. If you are excited about this role and feel that you can contribute to the ISO, but your experience does not exactly align with every qualification listed above, we encourage you to apply. All applications must be accompanied by a cover letter and résumé. Cover letters should be responsive to the mission of the Indianapolis Symphony Orchestra and the responsibilities and qualifications specified in the position prospectus.
The salary range for this position is $275,000 to $325,000. The Indianapolis Symphony Orchestra offers a comprehensive benefits package that includes medical, dental, and vision insurance; a 403(b) retirement plan with an employer match of up to 3%; employer contributions to a Health Savings Account; flexible spending accounts; long-term disability, life, and AD&D insurance; an Employee Assistance Program; and pre-tax parking benefits.
The ISO is committed to the inclusion of all qualified candidates. If you require reasonable accommodation in completing this application, interviewing, or participating in the selection process, please contact Millie Taylor at millietaylor@aspenleadershipgroup.com.
To apply for this position, visit: https://apptrkr.com/9752668.
- The Painter Who Uses Medieval Style And Techniques To Address The 21st Century
“Today (Malo Chapuy) paints religious scenes, altarpieces, and early Renaissance-style portraits that look like museum artifacts save for the proliferation of wind turbines, water towers, astronauts, and spaceships.” – Art in America
- Prediction Markets Are Wrecking Civil Society
Monetizing the full gamut of reality, platforms have opened Pandora’s box. Basic tenets of liberal society—democratic integrity and respect for human life—are being corroded. Regulators need to step in. – The Walrus
- As AI Overwhelms The Web: What Was The Internet?
Despite valiant efforts by activists and reformers, it’s been the dystopians’ world—or at least the realists’—for some time now: an age of techno-feudalism, digital colonialism, the new Jim Code. – Boston Review
- Missy Mazzoli’s New Opera Is A Tragicomedy About The Opioid Crisis (And Singing Sheep)
Why the comedy part? “New opera is sometimes boring because we’ve forgotten that our job is to entertain people. … During all my time in the American development system, no one ever told me that my job as a composer was to be a dramatist.” – The Guardian
- London’s National Gallery Asked Citizens To Help Chart The Future. Some Are Angry They Asked
London’s National Gallery is facing backlash from conservative groups in the U.K. after convening a 50-citizen assembly to help shape its future planning. – Artnet
- Exploding Myths About The English Language
If languages had all been getting ever easier over all of that time, humans worldwide would just be yelling “ah,” pointing at things and gesturing frantically. Despite occasional appearances otherwise, we are doing better than that. – The New York Times
- Concern That IndyCar Race On The DC Streets Might Damage Museum Art
One of those institutions, the National Gallery of Art, has studied vibrations ahead of the race as it prepares for possible effects on its art — but it’s declining to say what it found. – Washington Post
- Amanda Knox Is Bringing A Solo Show To The Edinburgh Fringe (And Getting Some Pushback)
The comic monologue, titled Cartwheel, is billed as about a woman “approaching forty, juggling motherhood and finally getting around to being furious about the whole wrongful-imprisonment thing. Especially when half the world is telling her to get over it, while the other half still thinks she’s guilty.” – AP
- Study: Arts Orgs That Got More COVID Relief Funding Are Doing Better Than Those That Didn’t
From Sacramento and Seattle to New York City and Philadelphia, the study highlights diverging trends across cities — some rebounded from the pandemic and even exceeded their 2019 numbers, while others plummeted. – Hyperallergic
- What’s Behind Gen Z’s Dark Humor?
In my assessment, Gen Z’s dark and nonsensical humor does not show a lack of moral values, but it’s instead the product of its desire to engage in more authentic conversations about what they believe. – The Conversation
- When Today’s Slang Leaves You Behind
I knew the context. I knew who was using it. I knew when it should be used. I knew when it was already embarrassing to use it. I wasn’t speaking the language but I was fluent. Now, I’m joining the ranks of the bamboozled elderly and Googling “quiet on the creek”. – The Guardian
- San Francisco Ballet Performs At Jacob’s Pillow For First Time In 70 Years
“In 1956, under the direction of Lew Christensen, SFB went to the Pillow with three programs featuring eight ballets by George Balanchine and Christensen himself. The performances were a tremendous success, and … helped propel SFB from regional significance to international renown.” Now, under Tamara Rojo, the company is back. – Pointe Magazine