![]() |
|||||||
| |
|
|
|
|
|
|
|
|
|
||
| |
James C. Nicola has been the artistic director of New York Theatre Workshop
(NYTW) since 1988. Under his guidance, NYTW has remained steadfast to
its founding commitment of nurturing both established and emerging theatre
artists, promoting collaboration and bold experimentation with theatrical
forms. Mr. Nicola initiated an extensive series of workshop opportunities
including summer residencies and minority theatre artist fellowships,
and has forged a unique community of theatre artists, The Usual Suspects,
a group of writers, directors, designers, and actors, who form the core
of NYTW’s artist development activities. As artistic director,
Mr. Nicola has been instrumental in the development of many NYTW world
premieres, including Claudia Shear’s “Blown Sideways Through
Life” and “Dirty Blonde,” Jonathan Larson’s
“Rent,” Ivo van Hove’s productions of “More
Stately Mansions” and “A Streetcar Named Desire,”
Doug Wright’s “Quills,” and Tony Kushner’s “Homebody/Kabul.”
Before joining NYTW, Mr. Nicola spent nine years at Arena Stage in Washington,
D.C., first as a National Endowment for the Arts Directing Fellow and
later as a Producing Associate where he directed productions including
Marsha Norman’s “’night Mother,” Christopher
Durang’s “The Marriage of Bette and Boo,” and Emily
Mann’s “Still Life.” From 1975 to 1980, Mr. Nicola
was a casting coordinator for the New York Shakespeare Festival where
he developed his continuing, passionate commitment to new voices in
the theatre. Mr. Nicola’s other directing credits include Leonard
Bernstein’s “Trouble in Tahiti” and Gilbert and Sullivan’s
“Trial by Jury” at the WPA Theatre, John Guare’s “Landscape
of the Body” at the Studio Theatre, and Ernest Joselovitz’s
“Flesh Eaters” and “Jessie’s Land” at
the New Playwrights Theatre. Mr. Nicola fueled his love of theater during
the early 1970’s when he was an assistant director at The Young
Vic/National Theatre of Great Britain and an assistant stage manager
at London’s Royal Court Theatre, where he worked on Athol Fugard’s
“Boesman and Lena,” the first time Fugard had been allowed
out of South Africa. Mr. Nicola is a graduate of Tufts University. |
|
| |
||