Val Day, the artistic director of New York's 59E59 Theaters, is promoting a leadership model focused on creating supportive environments for artists rather than controlling creative output. Her approach, which she likens to gardening instead of gatekeeping, emphasizes providing resources and space for theater companies to develop their unique visions, a strategy she believes is essential for the industry's future.
Overseeing more than 30 productions annually across three stages, Day argues that relinquishing institutional control is key to fostering bold and innovative work. This philosophy guides the programming at 59E59, which partners with diverse companies from around the world to bring fresh perspectives to its Off-Broadway venue.
Key Takeaways
- Val Day, artistic director of 59E59 Theaters, advocates for a leadership style that prioritizes creating space for artists over curating content.
- Her model involves partnering with diverse theater companies and giving them the freedom to realize their own artistic visions.
- Day believes this artist-led approach is crucial for the sustainability and relevance of live theater in a changing cultural landscape.
- Successful productions like "The Immortal Jellyfish Girl" demonstrate the effectiveness of trusting artists' processes, even in early development stages.
- 59E59 Theaters runs several initiatives, including a resident company program and international festivals, to support this mission.
A Shift in Artistic Direction Philosophy
Val Day proposes a fundamental shift in how artistic directors perceive their roles. Instead of acting as curators who select and shape art based on personal taste or institutional branding, she suggests they should function as cultivators of talent.
"Artistic directors shouldn’t be gatekeepers. We should be gardeners," Day stated. "Our role isn’t to shape the art itself, but to cultivate the conditions where bold, surprising, artist-led theatre can flourish."
This perspective was shaped early in her life, not in a theater but in a high school history class. Her teacher encouraged students to find their own creative formats for a final presentation, offering guidance without dictating the outcome. This experience of creative freedom led Day to write her first play and ignited her passion for the collaborative energy of live performance.
Now leading a major Off-Broadway complex, Day applies this lesson to her daily work. She contends that for theater to remain vital, institutional leaders must trust artists and provide them with the necessary platform and resources to experiment and innovate.
Challenges Facing the Modern Theater Industry
The American theater is currently navigating a period of significant change. Day identifies several urgent challenges that institutions across the country are facing, which inform her leadership approach.
Industry Headwinds
The live performance sector is grappling with multiple pressures simultaneously. Post-pandemic shifts in audience behavior, rising operational costs, and increased competition for public attention are forcing theaters to re-evaluate their models for sustainability and relevance.
According to Day, these pressures can lead to risk-averse programming. The temptation to chase proven commercial successes or stick to familiar formulas can stifle creativity. She warns that this can make the art form feel homogeneous and less compelling, especially to new audiences.
"Our field is already in danger of becoming safe, homogeneous, too easy to scroll past," she explained. To counter this, Day argues that leaders must resist letting financial targets and planning cycles overdetermine the creative process. The core mission, she emphasizes, must remain centered on the artistic work itself.
The 59E59 Theaters Programming Model
The operational model at 59E59 Theaters is a direct application of Day's philosophy. The venue was established by the Elysabeth Kleinhans Theatrical Foundation with a specific mission to support other nonprofit theater companies.
With a continuous programming schedule of over 30 shows a year, the theater acts as a host for a wide array of creative partners. This structure is designed to place support directly with a diverse range of companies, each bringing its own mission and aesthetic.
By the Numbers: 59E59 Theaters
- 3+ Stages: The complex operates three distinct performance spaces.
- 30+ Productions Annually: The theater maintains a year-round schedule with no formal "off" season.
- 8 Resident Companies: A growing initiative that provides a consistent platform for a select group of partners.
Day notes that this approach requires a long-term perspective rooted in curiosity about what artists are creating globally. "Our most transformative work consistently emerges when we let the producers lead and we follow," she said.
Case Study: The Immortal Jellyfish Girl
A key example of this model's success is the 2023 production of The Immortal Jellyfish Girl by Wakka Wakka. Day programmed the show based on her admiration for the company's previous work, even though it was in the very early stages of development and presented primarily through drawings.
She admitted to feeling nervous about the decision, but the trust placed in the artists paid off. The resulting production was a visually unique post-apocalyptic story featuring intricate puppetry. It attracted a new demographic to the theater, filling the largest venue for over five weeks and ultimately earning a Drama Desk Nomination.
This experience reinforced Day's belief that the most resonant work often comes from unexpected places and cannot be forced or planned through a traditional curatorial lens.
Fostering a Creative Ecosystem
To further its mission, 59E59 Theaters has developed several key initiatives designed to support artist-led work. These programs act as pipelines for new and diverse creative voices.
Resident Company Initiative
In recent years, the theater launched a resident company initiative that has grown to include eight different companies. These residents contribute nearly a third of the venue's yearly programming. This initiative provides a stable home for companies to develop and present their work.
Recent productions from resident companies include:
- Polishing Shakespeare (Twilight Theater Company)
- This Is Government (New Light Theater Project)
- Sugarcraft (No.11 Productions)
- ADRIFT (Happenstance Theater Company)
- Amerikin (Primary Stages)
Each company is encouraged to pursue its distinctive vision, resulting in a varied and dynamic season that reflects a multitude of artistic missions.
Festivals and International Partnerships
59E59 also hosts several festivals that serve as platforms for national and international artists. Programs like Brits Off Broadway, East to Edinburgh, and the AMPLIFY series are designed to introduce New York audiences to different theatrical traditions and expand the creative network of the institution.
These festivals are more than just showcases; Day sees them as "invitations to deepen our relationships with creative folks and to expand what’s possible on our stages." They are integral to the theater's goal of being a space where global artistic conversations can take place.
A Vision for the Future of American Theater
Day concludes that the best path forward for the American theater is a return to a model where institutions serve as a canvas for artists, rather than being the centerpiece themselves. She calls on fellow artistic leaders to see themselves as "stewards—champions of space, process, and possibility."
She believes that by relinquishing control and empowering creatives to take risks, the entire ecosystem benefits. When artists feel free to experiment, the work becomes bolder and more innovative. In turn, audiences are encouraged to take more risks, leading to a more vibrant and resilient theatrical landscape.
This shift in perspective, from gatekeeper to gardener, is what Day believes will reinvigorate the field and secure its future relevance. "When creatives feel free to take big swings, the work gets bolder, audiences take more risks, and the American theatre becomes more vital," she affirmed.