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New Victory Blog

The New Victory Blog is a place to learn more about New York's theater for families and the shows we produce. Find out what we do and what we're passionate about—exploring the arts as a family.

Previously, we've highlighted the fantastic companies of Victory Dance's Program A and illuminated just why we LOVE this program. Now it's time for another batch of phenomenal NYC dance companies. Límon Dance Company, Lar Lubovitch Dance Company and Jiva Dance are bound to amaze you when they take the stage on July 21st in Program B. Discover the history, mission and #LoveOfDance behind each of them! 
 
Limón Dance Company

Who Are They?
Limón Dance Company has been at the forefront of American modern dance since José Limón and Doris Humphrey founded the company in 1946. After 70 years, the company welcomed its fifth artistic director, Colin Connor, in 2016. Their technical mastery and dramatic expression show the enduring timelessness of José Limón's works. The company has achieved many important milestones: it was the first group to tour under the American Cultural Exchange Program in 1954, the first dance company to grace the stage at Lincoln Center in 1963 and it performed twice at the White House first in 1967 and again in 1995. In 2008, the José Limón Dance Foundation earned a National Medal of Arts, the nation’s highest honor for artistic excellence.
 
The Límon Dance Company
Photo: Beatriz Schiller
What Will You See?
Don't expect to see birds flying about the stage in Límon Dance Company's The Winged. Instead, prepare yourself for an exploration of how mankind dreams of taking to the skies.
 
Lar Lubovitch Dance Company

Who Are They?
The Lar Lubovitch Dance Company was created in 1968 to realize the artistic vision of Lar Lubovitch, one of this country's foremost choreographers. Over the past 48 years, the company has gained a reputation as one of the world's top-ranked modern dance companies, performing in virtually every state of the U.S., as well more than 30 other countries. Lar Lubovitch was named by The New York Times as "one of the ten best choreographers in the world," and the company has been called a "national treasure" by Variety.

The company exists: to create new works by Lubovitch; to perform those works, in their home base of New York City and around the world; and to teach people of all ages, ethnicities and socio-economic backgrounds, in order to increase awareness and appreciation of dance.
Lar Lubovitch
Photo: Nan Melville
What Will You See?
Lar Lubovitch Dance Company will perform Little Rhapsodies for Victory Dance. 

When Did Lar Lubovitch's and Company Member Dean Biosca's #LoveOfDance Start?
"My #LoveOfDance never had a beginning, nor did it rise from an 'a-ha' moment. It was my nature and expressed itself without prompting from cradle and will likely do so until the grave." — Lar Lubovitch

"My #LoveOfDance began when I was just a little kid. At my house, my parents used to play music in the family room. Whenever it would come on, I would dance around without a care. My #LoveOfDance continues as an outlet to express myself." — Dean Biosca
 
Jiva Dance 

Who Are They?
Formed in 2007 in New York City, Jiva Dance promotes and preserves the classical music and dance of India. Through innovative performances, classes, workshops, lecture demonstrations and a strong arts-in-education base, they encourage the growth of the classical arts of India in the U.S. Their rich and engaging performances employ modern media, film, photography and spoken word in dialogue with other world music and dance genres, in order to increase the appreciation and accessibility of the timeless art forms they celebrate.
Jiva Dance
Photo: Mariliana Arvelo
What Will You See?
Jiva Dance will perform excerpts from Mayura: Blue Peacock, including Mayil VirruthamAndal, and RainMayura examines the use of peacocks in classical Indian literature, poetry and myth. 

When Did Jiva Dance's Sonali Skandan's #LoveOfDance Start?
"My #LoveOfDance began at a very young age watching Indian cinema with my parents. The movements and the costuming, though not classical, were so expressive and graceful. I later saw an Indian classical dance performance by a renowned dancer and was mesmerized, not only by her dance, but by her costume. Of course the colors are what's vibrant to a five-year-old! It was an elegant green silk sari with a pleated fan in the center. It was a typical Bharatanatyam costume. At that time, I was studying ballet and other Western dance forms, and did not have the fortune to find an Indian classical dance teacher until years later. But my passion for learning it was fueled by my memory of that performance."
 
 

 
New Victory Thumb Interested in inspiring a #LoveofDance in your family? Make sure to check out Victory Dance this summer!
 
Posted by Beth Henderson


In New York, the state mandates that twenty percent of lower elementary school needs to be spent in arts education. Twenty percent, if you do the math, is one full day a week. In New York City, few schools are compliant with the state's mandate. This means that cultural institutions in New York City have never been more important.

Cultural institutions are filling the gap where, in fact, certified teachers are supposed to be. In many cases they are providing the only theater that these students will be introduced to. While cultural institutions are doing an admirable job introducing kids to the arts, nothing replaces regular, regimented classes in schools. 

Arts programming in schools is an ongoing challenge. However. the arts are not a privilege, but a right. Sadly, arts education doesn't rank high on many people's priority list. My goal has been making the arts a priority in our schools. Having said that, one of the things we have to think about is just how we judge the quality of a school's arts education program. One of the things I have talked about is a report called the "The Qualities of Quality" by lead researcher Steve Seidel. The focus of the report is on quality teaching and learning in the arts. Basically, the report has told us that there are four indicators of quality in arts education.

One: The Environment
Is the environment appropriate for the art form being taught? If students are taking dance, is the floor appropriate? For theater, is the space flexible with movable furniture? For visual arts, does the room have a sink?

Additionally, where do the arts live in the building? Are they a priority, or are they marginalized? Are they considered a core subject or simply an enrichment?

Two: Engagement
Are the students engaged? Are they participating in art making? Are the teachers engaging? The report states that students decide to engage in the first 3–5 minutes of a lesson. If you lose them in the first 3–5 minutes, you've lost them for the entire class period.

 

Victory Dance
New Victory Teaching Artist Shelah Marie leads a classroom workshop for Mother Africa
Three (the one I find particularly important): Relationships
Not just the relationship the teachers have with their students, but the relationships that the students have with one another. The teacher's job is not done if they do a good job building relationships with their students, but the students have not developed healthy relationships among themselves. The teachers must understand the importance of all relationships: relationships with parents, administrators, among and between students, and between faculty.

Four (makes people nervous): Knowledge
Do practitioners actually know what they are teaching? In some cases, we have the English teacher teaching Shakespeare. This might be the only theater class in the building! That doesn't mean the English teacher doesn't know and understand theater, but he or she is not a certified theater teacher. In some cases you have the physical education teacher introducing students to dance. Again, we might have a great physical education teacher who's good at dance, but chances are they don't have formal dance training. Knowledge is important in making sure that our teachers actually know what it is they're teaching.

The same four principles apply to the work of teaching artists. Seidel came to New York a few years back to report out some of his earlier findings. He said when teachers really knew their subject, when the students were actively engaged and when strong relationships were built–he said there was LOVE in the room. Not something that can be included in a research report, but you could feel it in the room. It's interesting to me that people frown upon using the word "love" when talking about teaching and learning. What does that say about the current state of education?

Photos: Alexis Buatti-Ramos | This post was originally seen on the New Vic blog in 2010. 
 
 
Russell Granet Russell Granet, Executive Vice President, Lincoln Center (LC), is internationally known for his work in arts and education. He oversees education, community engagement, and international at LC. An enthusiastic, respected advocate for arts education for more than 25 years, Mr. Granet joined Lincoln Center after running his own international consulting group, Arts Education Resource (AER). Since his appointment in September 2012, he has spearheaded Lincoln Center Education’s highly successful fundraising efforts, its renovation, and the rebranding initiative that simultaneously confirms Lincoln Center’s educational mission and its message of dedication to bringing quality arts to the widest possible audience. 

Prior to founding AER, Mr. Granet held leadership positions at The Center for Arts Education—The NYC Annenberg Challenge; The American Place Theatre; and was a senior teaching artist in the NYC public schools. He served on faculty of the Steinhardt School of Education at New York University for twenty years.

Mr. Granet has worked on projects in Argentina, Australia, Egypt, England, India, Kenya, Mexico, South Korea, Tanzania, Turkey, and throughout the United States. Mr. Granet’s leadership was cited as “visionary” in the 2013 Proclamation by the City of New York and currently serves as an advisor to the NYC Mayor’s Cabinet for Children.  

 
Posted by Beth Henderson

We're at the last stop on our spotlight series of Victory Dance's nine talented companies. The final three groups to perform on the New Victory stage this summer are an exciting combination of New York City dancers. Get ready for everything from tap to New Orleans jazz and...to soccer? They are the American Tap Foundation, Camille A. Brown and Dancers and the Nadine Bommer Dance Company. Check out the history, mission and #LoveOfDance of Program C below!
 
American Tap Foundation

Who Are They?
The American Tap Dance Foundation (ATDF) is a nonprofit organization committed to establishing and legitimizing tap dance as a vital component of American dance through creation, presentation, education and preservation.

From 1986 to 1999 the American Tap Dance Foundation was known as the American Tap Dance Orchestra. It was created, choreographed and directed by master tap dancer Brenda Bufalino and founded by Ms. Bufalino along with Tony Waag, and the late Charles ‘Honi’ Coles in 1986. During that time the Orchestra performed in hundreds of concert, stage and film projects and thrilled audiences around the world. From 1989 to 1995, the company also operated Woodpeckers Tap Dance Center in New York City and presented on-going classes, performances and related activities. In 2001, with a new generation of tap dancers and enthusiasts, the Orchestra was renamed under the artistic direction and leadership of Tony Waag.
American Tap Foundation
Photo: Lois Greenfield
What Will You See?
Prepare yourself for Tap Treasures, a contemporary musical review of classic and contemporary tap dance created by tap master Tony Waag. It will feature some of the brightest and boldest tap soloists working in the field today. 

When did your #LoveOfDance start?
“My #LoveOfDance began when I met the incredible dancer and choreographer Brenda Bufalino and the late tap masters Charles "Cookie" Cook and Leslie "Bubba" Gaines in 1977 at a tap dance workshop in my home town of Fort Collins, Colorado. They taught and performed with such generosity, humor and artistry that I simply fell in love with the art form, moved to New York City, became a professional tap dancer myself and the rest is history. To this day I enjoy sharing everything I've learned about tap dance with anyone who will listen, and I continue to be fascinated by its amazing history and its current evolution.”— Tony Waag
 
Camille A. Brown and Dancers

Who Are They?
Looking at history through the lens of a modern Black female perspective, Camille A. Brown leads her dancers through excavations of ancestral stories, both timeless and traditional. The work is strongly character-based, expressing each choreographic topic by building from little moments to model a cinematic sensibility. Theater, poetry, visual art and music of all genres merge to inject each performance with energy and urgency.

The Company has performed in venues both nationally and internationally, including The Joyce Theater, Jacob’s Pillow Dance Festival, Lincoln Center Out of Doors, The Yard, American Dance Festival, Bates Dance Festival, New York City Center’s Fall for Dance Festival, The Egg, The Kravis Center, White Bird and Belfast Festival at Queen’s (Belfast, Ireland).
Camille A. Brown and Dancers
Photo: Christopher Duggan
What Will You See?
Camille A. Brown and Dancers will present New Second Line. This work, inspired by the events of Hurricane Katrina, is a celebration of the spirit and culture of the people of New Orleans. The title comes from the second line, a traditional brass band parade for weddings, social events and, most notably, funerals.

When did your #LoveOfDance start?
"My mother loved and still loves musicals. She would share her favorites with me and I would learn all the dance breaks. I also watched Michael Jackson and Janet Jackson videos on repeat to get all the steps. I loved the theatricality and vision of musicals and their videos. I had a small voice, so speaking wasn't the easiest way for me to express myself. I always felt safe moving my body to communicate my feelings." — Camille A. Brown
 
Nadine Bommer Dance Company

Who Are They?
They are the U.S.-based company of Israeli choreographer Nadine Bommer, founder of the Nadine Animato Dance Company in Tel Aviv, Israel. Born in New York City, but raised in both NYC and Israel, Bommer established the Nadine Bommer Dance Company in 2015, allowing her to expand her company while returning to the city of her birth. Both companies perform locally and abroad. 
Nadine Bommer Dance Company
Photo: Oren Mentzura
What Will You See?
Soccer like you've never seen it before! You will see ten female dancers embody super-macho male soccer players and dance a match in Invisi'BALL.

When did you #LoveOfDance start?
"My #LoveOfDance began when I was very young. I was always pushed to dance by my parents, and my teachers told me from an early age that I was talented. Although I appreciated the attention, it wasn't until I was in the Israeli army (as all young men and women in Israel must do) that I realized I really needed to dance. I needed to dance like I needed to sleep, eat and breathe. Looking back, I suppose my parents saw this love for dance I possessed, and I'm grateful they chose it for me."— Nadine Bommer
 
 

 
New Victory Thumb Interested in inspiring a #LoveofDance in your family? Make sure to check out Victory Dance this summer!
 
Posted by Beth Henderson

After the July 14th public performance of Victory Dance Program A, four members of the three companies took to the stage and answered questions from the audience. The three choreographers and one dancer were joined by New Victory Teaching Artist, Penelope McCourty, who facilitated the Talk-Back. The questions from the audience ranged from the artists' inspirations to how it feels to perform for young audiences. 

Most of the companies performing in Victory Dance don’t often have the chance to interact with young audiences, these dance professionals got feedback on their work that they never expected! Get to know the insights and stories behind behind Big Dance Theater, doug elkins choreography and the Advanced Beginner Group below.

 

Doug Elkins Choreography
Mark Gindick and company performing with doug elkins choreography, etc. Photo: Jamie Kraus
The Talk-Back panel included: 

Paul Lazar: Artistic Director and dancer from Big Dance Theater
Annie Parson: Artistic Director and choreographer of Big Dance Theater
Doug Elkins: Founder and choreographer of doug elkins choreography, etc.
David Neumann: Founder of the Advanced Beginner Group

What was the initial inspiration for these pieces?

David: I collaborated very closely with the writer Will Eno on the text. We were curious about helping an audience to connect to a puppet through dance. We wanted to comfort audiences if they felt a little lost or confused, since we’re all just people here, trying to get by. 

Annie: The first piece I choreographed that you just saw was inspired by a nocturne written by Stravinsky. The second piece was inspired by page 79 of Costume En Face, notations of work by Tatsumi Hijikata.

Paul, as a performer, how did you step into your inspiration space?

Paul: I didn’t bring my page 79 from Costume En Face to the stage with me, but there are a few examples I remember. One picture was "face flattened by fear," another was "peacock on fire." These are really vivid images. The thing about a picture is that it can suggest very strong movement even if it, itself, is still.  

Did you have a storyline in your head or did you leave it to the interpretation of the audience?

Doug: There are allusions towards stories, but you don’t have to explicitly follow them. The great thing about dance is that you can pay attention to the choreographer's stories or create your very own in your head!

For the last piece, were the dancers trained as puppeteers or puppeteers trained as dancers? What was the puppet made out of?

David: I would say they’re puppeteers trained as dancers, but to be a puppeteer you have to have a very good sense of movement. You have to be able to figure out how the figures walk and move from your own experience. 

The puppet's in the style of bunraku. Underneath the suit, it's made of wood, string and a little bit of elastic. The head was made out of paper mache.

 

advanced beginner group
The bunraku puppet, Steve, with the puppeteers from David Neumann/Advanced Beginner Group! Photo: Susan Cook.
Do you feel different when you're choreographing from when you're dancing?

Paul: It is definitely a different experience. As a dancer, I'm first learning the movement and then discovering how to translate the choreographer's voice into my own style. As a choreographer, I’m giving movement to a dancer to see how it fits. 

 

Big Dance Theater
Aaron Mattocks performing in Big Dance Theater's Short Ride Out (3), Photo: Liz Lynch
What inspires you to do your job?

Annie: A very strange curiosity about how people move in a space and how to arrange that movement.  I don't think of choreography as dance steps, it’s more like building a house. You take the wood and the windows, put them together, and see how the house looks at the end.

It's all about seeing how little things become more than the sum of their parts. Choreography is about turning small movements into something that has a metaphysical meaning.

Since all four of you usually only perform for adults, what have you learned performing these pieces for young audiences that you didn’t know before? 

Paul: I was hugely enthused about being able to do this. This joy and energy from the audience is unlike anything I’ve experienced before.

I love this flow of conversation with the Talk-Backs. All of your questions are so insightful and beautiful, it's like I'm learning about my work all over again. 

Doug: Well, I’m taller than everybody… There’s nothing more joyful than when working with young people. I really feel privileged to be here. 

David: I think that the one thing I’ve discovered is that there are moments where I was surprised how much it affected some of the younger ones. I will definitely revisit those moments to keep digging.

Looking back, showing our work to a younger audience has been a wonderfully chaotic experience. The innocence and the discovery–coupled with the energy from the audience–has been singular. 
 
 
New Victory Thumb Interested in inspiring a #LoveofDance in your family? Make sure to check out Victory Dance this summer!
 
Posted by Beth Henderson

Explore the World of Penguins 


Though penguins are often associated with an icy environment, many species of penguins reside in warmer climates in the Southern Hemisphere. The cooler the environment however, the larger the penguin! 

In October, we'll be welcoming Mr. Popper’s Penguins to The New Victory Theater where the very normal Mr. and Mrs. Popper suddenly find themselves with a house full of penguins... and chaos! In order to get ready for the show, you can read our selection of penguin-themed books or explore the different zoos of New York City with your family!

Read About Them!

Penguins have been book-stars for quite some time. Get to know Mr. Popper's co-stars a little better and make a visit to your local library to check out some of the following. 

And Tango Makes Three by Justin Richardson, Peter Parnell, Henry Cole
— Tacky the Penguin by Helen Lester, Lynn M. Munsinger
— Penguin by Polly Dunbar
— Penguin and Pinecone by Salina Yoon
— A Penguin Story by Antoinette Portis
— Penguin on Vacation by Salina Yoon 
— 365 Penguins by Jean-Luc Fromental, Joëlle Jolivet
— Mr. Popper's Penguins by Richard Atwater, Florence Atwater, Robert Lawson
 

Catch Them All!

Sadly, the zoos will not take kindly to you catching their penguins. Instead, print out this list and check off each bird you see this summer in the square next to their name! You can keep track of where each species lives by looking at the map above. 

 Little Penguins or Fairy Penguins

The most pint-sized penguins that exist, these little guys grow to be only one foot tall! Like many species of penguins, they live in warm climates. You can typically find them swimming in the waters of Australia and New Zealand, living up to their scientific name Eudyptula meaning "good little diver." The main difference between little penguins and other species is that they're nocturnal, meaning they only are awake at night!

Little Penguin

Where will you find them this summer? The Bronx Zoo
Fun Fact: The Bronx Zoo successfully hatched a little penguin chick for the first time in 120 years on May 10, 2016!


 Magellanic Penguins 

Contrary to what you'd expect, these birds also live nowhere near ice! They live along the coast of South America under bushes, unless they're able to burrow for their nests. Their unique name comes from Ferdinand Magellan, who first spotted these critters in 1520. 

Magellanic Penguin
 
Where will you find them? The Bronx Zoo


 African or Black Footed Penguins 

Known for their donkey-like bray, the African penguin lives off of the southern coast of Africa. In fact, it's the only penguin to breed in Africa! You can tell how closely it's related to the Magellanic Penguin due to its similar appearance and behavior. For instance, they both mate for life. Sadly, due to human behavior like oil spills and habitat disruption, the African penguin is listed as an endangered species. If nothing changes, experts believe they will be extinct in 15 years. 

African Penguin

Where will you find them? Staten Island Zoo and New York Aquarium 

 Gentoo Penguins 

These penguins are famous for a lot of reasons. They have the largest tail, they're the third largest of all penguin species and they're the fastest diving bird in existence! Even more impressive, these are the penguins that Mr. Popper receives in the mail! You might be wondering about their odd name. Unfortunately, no one is sure where it comes from, but theories range from Anglo-Indian to Portuguese origins. Though the gentoo penguins are native to the cold Antarctic waters, they prefer to live in areas without any snow or ice. 

Gentoo Penguin

Where will you find them? The Central Park Zoo

 Chinstrap Penguins

Most closely related to the gentoo penguin, these chinstrap penguins rock some serious facial feathers. They're one of the two penguin species with white faces, but theirs are separated from the body by a thin black strap. They make their homes on steep, rocky terrain in cold climates. They aren't found as far north as their relatives, and their breeding colonies can be found near the Antarctic Peninsula. 

Chinstrap Penguin

Where will you find them? The Central Park Zoo

 King Penguins 

Second in size only to emperor penguins (which, sadly, cannot be found in any NYC zoo), king penguins are seriously large birds. They grow up to three feet tall and weigh up to thirty-five pounds! King penguins have a long and healthy relationship with zoos and are even the Edinburgh Zoo's mascot. In the wild, you can find them in the sub-Antarctic belt in groups that can number in the tens of thousands. 

King Penguin


Where will you find them? The Central Park Zoo

Bonus point!
 

 Tufted Puffins 

These funny looking fellas are relatively common birds found throughout the northern Pacific Ocean, close to Alaska. They gather on islands or cliffs where predators can't easily access their nests, the steeper the better! Many people are quick to group puffins and penguins together, but in fact they are from completely different families. There's not even any geographical overlap between the two! 
 


Tufted Puffin


Where will you find them? The Central Park Zoo

 


 
Mr. Popper's Thumb Make it Social!

While you’re visiting all your penguin pals, make sure to take some snapshots! Post them on social and tag us on Instagram @NewVictoryTheater or Twitter @NewVictory. Use the hashtag #MrPoppersNewVic so we can see your photos! 

 

Posted by Beth Henderson
Written by Kali DiPippo, Assistant Director of Artistic Programming

"Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning." — Winston Churchill

 

LabWorks
Photo: Alexis Buatti-Ramos
I can't help but think of these words when a season of New Victory LabWorks comes to a close. It is a time to debrief and reflect, but also ask: what next? Each year, The New Victory has the pleasure of supporting a handful of New York City-based artists creating work for young audiences as part of our LabWorks program. Taking place primarily at the New 42nd Street Studios, these artists hunker down over the course of a year—some with just the seed of an idea, others with a script, and many somewhere in between—to write, plan and experiment. These eclectic artists test out ideas, keep some, scrap others, and by the end, make great strides toward creating work for young audiences and families.

Over the past year, I've watched these artists develop these works (some from just the glimmer of an idea) into presentations for a live audience. The residencies are a vital and inspiring stop on each company's path to a full production. In fact, one of the reasons we started LabWorks was to increase the presence of work for young audiences by American artists. The idea that we could (and indeed are beginning to) see pieces developed by LabWorks Artists at national and international festivals, showcases and venues is thrilling. To come back to Churchill's words, LabWorks is only the beginning.

But before we leave this particular beginning, let's take a look back at some reflections from a few of the 2015-16 LabWorks Artists, in their own words:

    

LabWorks
The Village of Vale in the midst of an open rehearsal. Photo: Alexis Buatti-Ramos
"There is an unfortunate irony that the theater we make for adults (or anyone, really) is called a 'play,' and yet play is often the very thing that it is lacking. Allowing myself the freedom to work in a world that was more fun, that was high-spirited, but that also had to retain a sense of structure and a kind of rationality resonated deeply with me and is something I will not soon forget."
— Jason Gray Platt, Bird Brain

    

"The chance to be part of LabWorks really made us think of ourselves as an 'us'—as a company that has its own aesthetic and process and, we hope, trajectory—and I'm grateful for that."
— Jonathan Karpinos, The Village of Vale

"Within the program there are a range of opportunities to build and expand your network, learn and grow business skills to ensure sustainability, and receive artistic mentorship and feedback from some of the most respected people involved with theater for young audiences."
— Rachel Sullivan & Liz Parker, Layer the Walls

"The open rehearsals were incredibly helpful to us, especially at the place we found ourselves in developmentally at the end of our residency. We needed to get these ideas up and in front of eyes and ears and we have had such valuable feedback from those showings that it's reinvigorated our writing and given us such useful intel that will help guide our process going forward."
— Joseph Varca, The Village of Vale

"Artistically, we learned where the audiences are connecting to our stories and characters, where more information is needed, what is confusing, what is working with form and content, what is lacking and what people are craving. We've never opened up a show to share with an audience at this phase of development, and that in itself was a learning experience. While it was vulnerable to open the doors at this point in the process, it was ultimately rewarding and will allow us to create a stronger piece."
— Rachel Sullivan & Liz Parker, Layer the Walls

 

LabWorks
Layer the Walls in their open rehearsal. Photo: Alexis Buatti-Ramos
"My first instinct would be to keep [LabWorks] a secret so that no one else would find out about it and I'd be able to be part of it again and again ad infinitum. :) But, if pressed, I'd describe it as a fantastic opportunity to develop a show for young audiences, learn more about making theater for young audiences and become part of a community of people who make theater for young audiences."
— Jonathan Karpinos, The Village of Vale

"I had a blast. I felt fully supported by the theater and the staff throughout the process. Considering the program is only a few years into its life it already feels very smoothly run and well-organized. I'll miss you guys!"
— Jason Gray Platt, Bird Brain
 
 
Kali DiPippo ​Kali DiPippo, Assistant Director of Artistic Programming, oversees New Victory LabWorks, a program designed to foster the creation of new works for family audiences and provide New York City-based artists with professional development opportunities. Formerly a stage manager, Kali turned her sights to family audiences after a serendipitous stint in Education at Hampstead Theatre in London and has worked in varying capacities with Roundabout Theatre Company, MCC Theater Youth Company, Muhlenberg Summer Music Theatre and the Kitchen Theatre Company. Kali received her BA in Drama from Ithaca College and her MA in Educational Theater from NYU. 

 
Posted by Beth Henderson