ColorTheHours048 said: "I do think LCT3 meritsits own AD. They program very differently than the downstairs housesand cater to a younger, more diverse audience. Sure, ideally, all three LCT spaces would offer the same kind of cohesive artistic vision, but they don’t. I’d prefer LCT3 continue to program challenging, ambitious, new works independently with the financial support of the institution it’s owned by.
But who knows. Maybe the AD responsibilities for LCT3 will be folded into the new LCT AD’s purview after Cabnet steps down and we’ll be looking at a whole new LCT by next season. Either way, I just don’t want to see LCT3 start playing it safe."
I doubt LCT3 would start playing it safe, but in an ideal world the programming on the other two LCT stages will be more ambitious, more edgy, more interesting (whether by new writers or more established people). If a weird play by a new writer would be a better fit for the 299-seat-thrust Newhouse and the next John Guare play would be better for the 112-seat-proscenium Tow, then go for it.
Last year's LET'S CALL HER PATTY (w Leslie Kritzer & Rhea Pearlman) played the Tow and was hardly ambitious, edgy, or even good. It felt like a classic Newhouse play.
I can think of no other New York nonprofits with a separate AD for their smaller space. An Associate AD or 'new works director' may do the yeoman's share of the developing/producing work for the space (such as Jill Rafson's involvement with Roundabout Underground and the Pels), but it's still all funneling through the AD.