On Our Stages

Collaborate with them about each production’s need for intimacy, cultural, and other necessary consultants to promote equitable and safe spaces

Ensure we have culturally representative costume, hair, and makeup backstage personnel, and work with the unions to continue to diversify their membership

Develop and offer consistent training on respect in the workplace for all participants in the production/rehearsal process to promote a culture of belonging

Challenge our implicit bias in programming, casting, and hiring decisions

Before committing to production, work with all collaborators including authors and authors’ estates to ensure alignment with the principles in our Build a Better Roundabout plan

Maintain mechanisms for timely reporting and resolution of harmful behaviors in the workplace and develop post-production surveys to assess their efficacy

Make wage scales and employment terms applicable to our venues readily available

Create a task force to explore options to reconcile pay-equity between Broadway and Off-Broadway spaces

At top of each season, consult with directors and creative teams to review rehearsal and tech schedules to take into account all factors for each production, and work out a schedule that meets the needs of the production without overly taxing the artists and other workers

Expanded early hiring plans to encompass intimacy and cultural consultants as needed for each production

Theatrical Workforce Development Program, in partnership with IATSE, has increased diverse representation backstage and in the technical-theatre pipeline

To reconcile pay-equity between Broadway and Off-Broadway, we have created a task force that holds regular meetings and has begun costing-out potential scenarios starting with comparisons between our two venues at the Harold & Miriam Steinberg Center for Theatre

Expanded the search for wardrobe, hair and makeup personnel to find qualified new-to-us workers and who share identities with our casts

Engaged people of color in hair/makeup supervisor positions who had not yet worked in that leadership capacity

Held 90-minute anti-racism training sessions held with every company

Collaborated with directors to build schedules that do not include “10 out of 12s”

Held our first affinity group Space Jam writers’-support initiative for our BIPOC artists

Expanded early hiring plans to encompass intimacy and cultural consultants as needed for each production

Hosted networking events to expand our artists’ pipeline of designers, writers, and stage managers, and hired several new-to-us designers

Began work on an Institutional Principles document to share with creative team members, including directors, that addresses diversity in casting and hiring on our shows

Continued to hold 90-minute anti-racism training sessions with every company

Continued to collaborate with directors to build schedules that do not include “10 out of 12s”

Developed system for reporting EDI/AR issues and hired mediators to lead restorative practice when necessary

Made distinct gender-inclusive, accessible restroom signage across all our theatres

Produced the first Broadway revival of Samm-Art Williams’s 1979 Home in spring 2024, the first production to emerge from The Refocus Project

Continued dialogue with our union partners about prioritizing and aligning our collective EDI work

After 3 seasons of readings, we examined the impact and effectiveness of The Refocus Project, our program to transform the canon, and plan for its future