Why here? Why now?

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For centuries, artists thrived under patronage models, supported by visionaries who understood that art was not just a commodity but a necessity. This kind of fiscal support built the great artistic movements of history and is why we remember names like Guggenheim and de’ Medici.

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As theater became commercialized, the creative process became more about efficiency than discovery. Rehearsal periods were shortened to serve the bottom line, and as a result, the careful workshopping that was once a hallmark of the art form fell largely by the wayside. The truth is, great theater requires time. Rushing the process results in an inferior final result, one that offers little lasting imprint on the audience.

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At New American Ensemble, we believe the experience of seeing and making theater should deliver the kind of emotional impact that lasts long after the curtain closes. After all, what use is there in a performance if the audience leaves unchanged?

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Our Inspiration

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The pillars of our work are ensemble, process, and performance. In our pursuit of equalizing these ideals in service of the work, we take inspiration from the model set forth by Lev Dodin, the longtime artistic director of St. Petersburg’s Maly Drama Theatre, the world’s preeminent repertory ensemble. 

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In the forward to Maria Shevtsova's 'Dodin and the Maly Drama Theatre,’  acclaimed actor Simon Callow writes: "Surely somewhere, somehow in the English-speaking world it is possible to truly honour the art of the theatre - to which so much lip-service is paid - by investing in an organisation comparable to the Maly."

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We are answering this call to action.