Theatre Work: Reimagining the Labor of Theatrical Production

Theatre Work: Reimagining the Labor of Theatrical Production investigates both the history and current realities of life and work in professional theatrical production in the United States and explores labor practices that are equitable, accessible, and sustainable.

In this book, Brídín Clements Cotton and Natalie Robin investigate the question of artmaking, specifically theatrical production, as work. When the art is the work, how do employers navigate the balance between creative freedom and these equitable, accessible, and sustainable personnel processes? Do theatrical production operations value the worker? Through data analyses, worker narratives, and analogues to the evolving gig economy, Theatre Work questions everything about theatrical production work - including our shared history, ways of operating, and assumptions about how theatre is made - and considers what might happen if the American Theatre was reborn in an entirely new form.

Written for members of the theatrical production workplace, leaders of theatrical institutions and productions, labor organizers, and industry union leaders, Theatre Work: Reimagining the Labor of Theatrical Production speaks to the ways that employers and workers can reimagine how we work.

Brídín Clements Cotton (she/her) is an arts manager, educator, and maker. Currently an arts instructor for stage and project management at NYU Abu Dhabi, she has held a variety of management and teaching roles at arts organizations and educational institutions. Her approach to facilitating collaboration is driven by belief in the potential for theatre as a space for human connection and interest in how gatherings can create collective meaning.

Natalie Robin (she/her) is a lighting designer, labor organizer, and educator. She is the full-time organizer for United Scenic Artists, Local 829, IATSE, of which she is a proud and longtime member. Previously she taught at several institutions of higher education. She believes everyone should have the protections of a union and is committed to deconstructing the traditional capitalist, hierarchical, ego-driven collaborative structures in theatre making.