New York Theatre Workshop

Our 22/23 mainstage featured a wide selection of moving, poignant works. During the season, we produced: Victor I. Cazares' AMERICAN (TELE)VISIONS, George Furth and Stephen Sondheim's MERRILY WE ROLL ALONG, Liliana Padilla's HOW TO DEFEND YOURSELF, and Inua Ellams' THE HALF-GOD OF RAINFALL. Across these productions, we reached 34,479 audience members. Alongside our productions, NYTW's Artist Workshop Programs served 345 creators via: Dorothy Strelsin Mondays @ 3 Readings, Summer Residencies at Dartmouth College and Adelphi University, commissions, and the Larson Labs developmental workshops. We also saw our Companies-in-Residence program grow from four to five companies. Resident companies received rehearsal space, administrative resources, fiscal sponsorship, artistic feedback, professional mentorship, and performance space as needed and available. At the intersection of our programming is the 2050 Fellowship, named after the U.S. Census Bureau's projection that by the year 2050 there will be no single racial or ethnic majority in the United States. Guided by our Core Values and in line with this forecast, this Fellowship is geared toward people from underserved backgrounds, inclusive of race, ethnicity, sexual orientation, gender, physical ability, socio-economic status, and the intersections among them. The Artistic Fellowship served six early-career artists who received a stipend, a project development fund, artistic feedback, administrative support, and rehearsal space as they prepared to present 1-2 new works in progress. Similarly, the Administrative Fellowship engaged eight young individuals interested in arts administration. While actively participating in multiple projects that prepare them for professional roles in the creative industries, Administrative Fellows worked for 30 hours per week in our various departments and received training, mentorship, networking opportunities, $16.50 per hour, and a $500 monthly stipend. Moreover, NYTW's Education and Community Engagement initiatives continued serving NYC public school students, elders, youth, and historically underrepresented communities. Our in-school theatre residencies reached 966 students via partnerships with six public schools in NYC. Students engaged in pre- and post-show workshops, matinee performances, and school residencies centering topics such as improvisation, text analysis, August Wilson, and Shakespeare. Additionally, we served 14 elders (60+) and 12 teens (ages 14-19) through our intergenerational program Mind the Gap (MTG), and 17 high-school students via Youth Artistic Instigators (YAI). YAI is a free after-school program where participants work collaboratively to write and perform an original piece of theatre. NYTW's community engagement initiative, For the Culture (FTC), which is dedicated to building and strengthening relationships with underrepresented communities by harnessing the power of theatre to deepen human connection, reached 1,642 people across 31 events. We also distributed over 1,000 $25 tickets via CheapTix, a program with two dedicated performances per production and additional tickets throughout the run for people under 25, over 65, artists, and residents of the East Village or the Lower East Side.