-American Theatre: Kean University Premiere Stages
Who founded Premiere stages, when, and why?
In 2004, I was hired to create a professional Equity theater company (LOA referenced to LORT) at Kean University, modeled after TheatreFest, the Equity theatre I was then the artistic director of, which was in residence at Montclair State University. Kean University had just added a BFA in Theatre and was looking to develop a built-in program that could afford students opportunities to work with and learn from professionals in the industry, giving them a leg up when graduating. I launched the first season in 2005.
Tell us a little more about yourself and your background.
Before becoming the producing artistic director of Premiere Stages, I was the artistic director of two other companies and was the resident director of two developmental projects for the Academy of Television Arts & Sciences, while also working as a freelance professional director and playwright. My focus as a director and producer has been predominantly on developing and producing new work. I was born in New Mexico and moved around a lot before landing in the New York area, which gave me a chance to interact with and learn from people with differing perspectives.
What sets your theatre apart from others in your region?
Premiere Stages is one of the few theatres left in the nation that guarantees the winner of a festival a fully produced Equity production the following season. We also don’t demand “world premiere” branding, which has afforded numerous playwrights we’ve produced the chance to secure an elusive second production. Plays we have developed, commissioned, and produced have gone on to have rolling world premieres through NNPN, something that wouldn’t have been possible had we insisted on calling our production a world premiere.
Tell us about your favorite theatre institution other than your own, and why you admire it.
I have always admired the mission of New Dramatists and the work they do to develop playwrights. For years I would plan a day in December to sit in the ND library as Emily Morse lowered a towering stack of plays in front of me. Some of these writers would go on to become finalists at Premiere.
How do you pick the plays you put on your stage?
Our focus is on topical plays, affording us the opportunity to partner with organizations or groups to offer Q&As about the issues we are exploring, create interactive lobby displays, tap into new communities, etc. Our patrons have come to love plays which they can leave talking and thinking about. Aligning with groups who have a similar focus or mission helps us to both reach and build new audiences.
Theatre and the Future of Live Performance
Table of Contents
The provided text features a theatre professional reflecting on a memorable stage moment and offering predictions about the future of theatre. As of january 14, 2026, the core predictions regarding the resilience of live theatre and the rapid evolution of film/TV remain largely consistent with industry observations since the COVID-19 pandemic.
The incident and the Performer’s Life
The performer recounts an instance of unexpectedly disrupting a performance by walking across the stage, causing a noticeable reaction from the actors. This anecdote highlights the unpredictable nature of live performance and the importance of stage presence. Beyond theatre, the individual dedicates time to family, writing, teaching, and travel. This is a common pattern for performing artists who often diversify their skills and income streams.
The Future of Theatre in 20 years
Theatre, as a live art form, is predicted to maintain its fundamental structure despite technological advancements. The core experience – actors performing on a stage for a live audience – is expected to remain consistent.
The prediction that theatre will look “very much the same” in 20 years is supported by current trends. While technology is integrated into staging (lighting, sound, projections), the basic premise of live interaction hasn’t fundamentally shifted. The pandemic, while forcing a temporary shift to digital formats, ultimately reinforced the public’s desire for in-person theatrical experiences. American Theatre Wings reports that theatre attendance is recovering, though not yet at pre-pandemic levels, demonstrating continued demand.
The assertion that film and television will be “unrecognizable” in 20 years is also aligning with current projections. The rapid development of AI, virtual production, and streaming technologies are dramatically reshaping the film and television industries.The hollywood Reporter extensively covers the impact of AI on the entertainment industry, including potential job displacement and new creative possibilities.
The prediction that theatre might become more competitive as a haven for human actors is also plausible. As AI-generated content becomes more prevalent in film and television,live performance may offer a unique space for showcasing human artistry and skill. SAG-AFTRA’s recent agreement regarding AI demonstrates the industry’s concern about protecting actors’ work in the face of these technologies.
* American Theatre Wings: https://www.americantheatrewings.org/ – A non-profit institution dedicated to supporting professional theatre.
* SAG-AFTRA: https://www.sagaftra.org/ – The union representing screen actors, including stage actors.
* The Hollywood Reporter: https://www.hollywoodreporter.com/ – A leading entertainment industry news source.