“From 5 p.m. on July 3 (in Manchester), Ai will enter a replica of his 25.92 square-meter cell, recreated by international architecture firm Hawkins\Brown. Inside, (over 24 hours,) he’ll sleep, eat, exercise, write, wash, and face interrogation on personal, political, and philosophical matters by four famed journalists.” – Artnet

Analysts expect the fifth installment of Disney/Pixar’s “Toy Story” franchise will pull in at least $150 million in the U.S. and Canada, with some predicting as much as $175 million — either of which would set a franchise record, topping the nearly $121-million opening of 2019’s “Toy Story 4.” – Los Angeles Times

“Most plays about prejudice comfort the audience with clarity. They reassure us that we would have recognized it immediately. Giant offers no such reassurance.” – Observer

The Reflecting Pool now evokes the joy of a Green Bay Packers victory. Or a high-school prank. Or St. Patrick’s Day in Chicago.It most certainly is not the gleaming American-flag blue that Trump’s repainting of the pool was supposed to produce. – The Atlantic

Through policies and schemes, previously unheard-of opportunities for people of his background began to open up, without which he would not have become the success he is considered today. The situation today for aspiring artists from a similar background is much starker. – The Conversation

Far from being a modern phenomenon, neurodivergence has a long history. In other words, people whose ways of thinking, sensing or behaving differed from social expectations have always existed. Members of my research project have described discovering these historical figures as like finding neurodivergent ancestors. – The Conversation

It isn’t a presidential library if it isn’t run by the National Archives and Records Administration, and the Obama Foundation had two big reasons for deciding not having NARA involved. So President Obama’s papers and archives will be made available to the public digitally while the Obama Center serves other functions. – Chicago Sun-Times

The foundation collected six donations of $50 million-plus, including one anonymous contributor. – Chicago Sun-Times

Oakland currently allots its entire arts community only $300,000 in grants — in contrast to the combined $29 million that Grants for the Arts and the San Francisco Arts Commission apportioned across the bay last fiscal year. – San Francisco Chronicle

The Bible warns that “all craftsmen who make idols will be humiliated.” American culture, perhaps in an effort to stave off potential embarrassment, often creates idols only to later destroy them. – Liberties Journal

Since its rebrand as Book of the Month (no more club) a decade ago, the subscription service has grown every year and now has over 400,000 members. Its strength, says chairman John Lippman, is human curation: “We don’t depend on algorithms to determine your next book.” – Publishers Weekly

About the Department:

The College of Visual and Performing Arts (CVPA) is dedicated to advancing the study, creation, performance, and exhibition of the arts, acting on the strong belief in their transformative influence on individuals and societies. The College honors the values of great traditions in the arts while actively engaging in the creation of new works and ideas. This distinctive fusion of the academic and the professional, the campus and the community, the past and the present, defines the college as it engages new art forms, communities, and ways of working to meet the needs of a rapidly changing world.

The Hylton Performing Arts Center (HPAC) stimulates and transforms the cultural and economic vitality of our region by presenting diverse performances and programs of high quality and artistic excellence to inspire, educate, enrich, and enhance the community. The Hylton Center’s vision is to nurture artistic excellence and engagement, as we strive to be the creative commons of this dynamic region, inspiring the community to express its voice by participating in the Center’s work as artists, audiences, and lifelong learners.

About the Position:

As a member of the Hylton Performing Arts Center’s senior leadership team, the Director of Production provides executive-level strategic leadership, operational direction, and organizational oversight for all production and technical services across a complex, multi-venue performing arts center.

This position is responsible for aligning production systems, staffing structures, and technical capabilities with institutional priorities, artistic excellence, and revenue-generating activities, serving as the Center’s primary authority on production strategy, infrastructure planning, and operational performance.

The Director of Production plays a critical role in:

• Driving institutional excellence in production delivery;
• Advancing revenue growth through rentals and partnerships;
• Leading capital planning and lifecycle management of technical systems; and
• Ensuring HPAC remains a competitive, innovative, and nationally recognized performing arts venue.

Responsibilities:

Strategic Leadership, Fiscal Administration & Organizational Management:

• Directs, develops, and mentors a complex, multidisciplinary production team (lighting, audio, carpentry, stage management, video) supervising 6 FTE, 4 indirect reports, and a 20+ wage workforce;
• Establishes, evaluates, and optimizes organizational structures, staffing models, and workflows aligned with institutional strategy;
• Develops, tracks, and manages comprehensive production budgets, including permanent labor, operating expenses, equipment rentals, and capital improvements;
• Ensures full fiscal accountability and return on investment;
• Oversees overhire workforce strategy, contract execution, and payroll administration in compliance with institutional and labor standards;
• Manages vendor relationships, procurement strategy, and technical purchasing processes;
• Serves as the senior production leader, aligning facility capabilities with university, artistic, and community priorities; and
• Fosters a collaborative, inclusive, service-driven, and safety-focused culture.

Production Excellence & Stakeholder Engagement:

• Provides executive-level oversight for all technical production activity across multiple venues and event types;
• Leads all production advancement strategy, including interpretation and execution of complex technical riders;
• Translates artistic and technical requirements into fully executable, resource-efficient production plans;
• Ensures seamless delivery in venues with advanced production systems, including large-scale rigging and theatrical infrastructure;
• Maintains proactive communication and alignment across production staff, administrative leadership, academic departments, and external clients and partners;
• Serves as the final escalation point for high-risk or complex production and personnel issues; and
• Conducts contract and rider review (“redlining”) to ensure compliance with university and Commonwealth requirements.

Facilities, Equipment & Safety Management:

• Leads long-term capital planning and lifecycle management of technical systems and production infrastructure;
• Partners with facilities and campus leadership on preventative maintenance strategy and execution;
• Ensures compliance with OSHA, ESTA/ANSI, and industry safety standards; and
• Mitigates institutional risk through rigorous safety oversight and compliance practices.

Required Qualifications:

• Bachelor’s degree in related field, or equivalent combination of education and experience;
• Generally, ten (10) years of progressively responsible professional experience in technical production or live event management within a major performing arts center, academic presenting organization, or comparable multi-venue environment;
• Demonstrated experience operating within a multi-venue facility, including spaces exceeding 1,000+ seats and concurrent event management;
• Proven experience managing large-scale productions across multiple technical disciplines (lighting, audio, video, rigging, carpentry, and stage operations);
• Generally, a minimum of five (5) years of experience managing full-time staff, indirect reports, and part-time/hourly workforce;
• Direct responsibility for departmental budgets, including labor, overhire payroll, and operational expenditures;
• Demonstrated expertise in production advancement, contract interpretation, and execution of complex technical riders and negotiation;
• Knowledge of advanced theatrical production systems across multiple disciplines;
• Advanced operational knowledge of counterweight and motorized fly systems (75+ line sets), digital audio networks (Dante/AVB), and advanced theatrical lighting systems and protocols;
• Skill in leading large, multidisciplinary production teams in complex environments;
• Skill in financial management, budgeting, and resource planning;
• Exceptional interpersonal and diplomatic communication skills with ability to work effectively across diverse stakeholder groups;
• Ability to align production operations with strategic, financial, and institutional goals;
• Ability to manage high-pressure, multi-event environments, and resolve complex issues;
• Ability to communicate effectively with technical and non-technical stakeholders; and
• Proven ability to serve as the final escalation authority in high-risk, time-sensitive environments.

Preferred Qualifications:

• Master’s degree in related field;
• Experience with large-scale counterweight rigging systems and fly systems in proscenium theaters;
• Experience integrating production with academic programs, including student engagement and experiential learning;
• Experience with venue management software, scheduling systems, and production databases;
• Knowledge of university policies and procedures, including HR, procurement, and compliance requirements;
• Advanced knowledge of concert hall acoustics, orchestral production, and touring production standards;
• Advanced knowledge of strategic planning and operational alignment within complex performing arts or multi-unit environments;
• Knowledge of cost recovery, procurement practices, and revenue-generating venue operations;
• Knowledge of multi-venue operations and varied event types across presenting, academic, and rental activity;
• Advanced knowledge of safety standards and regulatory practices (e.g., OSHA, rigging, electrical systems);
• Knowledge of production management systems, scheduling tools, and technical databases;
• Skill in long-range planning, including capital planning, equipment lifecycle management, and long-term infrastructure strategy;
• Skill in leading and developing multidisciplinary teams, including full-time and part-time workforce models;
• Skill in supporting interdisciplinary collaboration and integration with academic programs;
• Skill in communicating complex technical concepts clearly to diverse audiences;
• Ability to evaluate and implement emerging production technologies, including hybrid and streaming systems;
• Ability to make data-informed decisions regarding resource allocation and investment priorities;
• Ability to represent the organization as a senior production authority in high-level artist and client engagements;
• Ability to develop staffing strategies and foster a collaborative, inclusive, high-performance culture;
• Ability to implement and maintain comprehensive safety and risk mitigation programs;
• Ability to lead adoption of technology-driven workflows and operational innovation;
• Ability to build consensus, resolve conflict, and influence decision-making at senior levels; and
• Demonstrated ability working with a diverse population of artists, students, faculty, staff, and community members.

Instructions to Applicants:

For full consideration, applicants must apply for the Director of Production at https://jobs.gmu.edu/. Complete and submit the online application to include three professional references with contact information, and provide a cover letter and resume.

Mason Ad Statement

George Mason University is a nationally ranked R1 research university committed to creating a more just, free, and prosperous world. With 40,000 enrolled students, George Mason is the largest and most diverse public research university in Virginia, offering degree programs at the master’s, doctoral, and professional level, along with certificates and credentials.

George Mason fosters an All Together Different environment for students, faculty, and staff, driven by our core beliefs. We believe in inclusivity over exclusivity; we believe in advancing our mission by being willing to take risks, not avoiding them; and we believe our best work is possible when we apply our diversity of origin, identity, circumstance, and thought.

George Mason University is an equal opportunity/affirmative action employer, committed to promoting inclusion and equity in its community. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability or veteran status, or any characteristic protected by law.

MORE

Students tend to have a low tolerance for fanciful hypotheses and abstruse thought experiments. All but the most philosophically inclined roll their eyes at Descartes’s famed “evil demon” scenario in which the reader is meant to reflect on whether any of her beliefs couldn’t have been presented as a deception of a malevolent spirit. – Hedgehog Review

When deciding how to make a word singular or plural, for instance, bilingual people exhibit strikingly similar brain activity regardless of whether they are speaking in their first or second language. – The New York Times

Choreographic researcher and artist Nazira Yerbolkyzy is among a new generation of practitioners working to reframe this relationship by exploring how traditional movement philosophies can be reinterpreted through contemporary choreography and movement analysis. – BroadwayWorld

“A £1 billion regeneration project to transform an industrial site in North London into a ‘landmark’ film and television studio site has been given the green light” — by a one-vote margin — “from Camden Council.” – The Standard (London)

Christophe Leribault: “To put it bluntly: despite its imposing majesty and the daily dedication of its staff, the Louvre is running on fumes. Its facilities and infrastructure are reaching the end of their lifespan.” – ARTnews

The 40-year-old wasn’t happy when artistic director Susan Jaffe told him to make room for someone younger, but he’s philosophical: “I’ve been with ABT my entire life, and I feel very grateful. … The idea of continuing to dance for the sake of dancing, that’s not what I (want) right now.” – The New York Times

The annex, opened in 1997 to house two Byzantine frescoes and closed since those works were returned to Cyprus in 2017, will reopen late next year to house long-term, site-specific, immersive installations — the first will be by Teresita Fernández — which will remain in place for roughly five years each. – Houston Chronicle (MSN)

“The Republican-chaired House Appropriations Committee … advanced a proposal that could defund the Department’s Assistance for Arts Education program, … which was established in 2015 to fund primary and secondary arts education with an emphasis on ‘disadvantaged students’ and children with disabilities.” – Hyperallergic

Facing more than one court case and no scheduled concerts, the struggling Texas orchestra has promoted its associate conductor, Felipe Tristán, to the music director’s podium on an interim basis. – San Antonio Express-News (MSN)

“The U.K. public service broadcaster, will cut around 550 jobs, slash content spending by £80 million ($107 million) over two years and ‘review’ broadcast TV channels as part of a big cost savings push. … (The network is) also eyeing further job reductions in corporate and other areas (totaling) around 700.” – The Hollywood Reporter

Byron Allen built a media empire on one insight: the money is in owning the content, not performing it (Los Angeles Times). Several of today’s stories read like institutions taking that lesson to heart. Cincinnati Opera is committing $6 million to three new works by Black creators (Cincinnati Business Courier). Roxane Gay and Debbie Millman bought The Rumpus rather than launch something new, wagering an established name is worth more than a clean slate (Publishers Weekly). And Lincoln Center is making its biggest commitment to dance in decades (The New York Times).

The counter-move came from Fox, which spent $22 billion not on shows but on Roku — buying the pipe instead of what flows through it (Vulture). Underneath all of it, the stakes: Sydney’s Song Company, 40 years old and one of the world’s finest vocal ensembles, filed for liquidation (Limelight).

On a lighter note, London’s Shaftesbury Theatre will become the Judi Dench Theatre (The Guardian).

Doug