Convergences Theatre Collective
CTC stands as a critically acclaimed and award-winning community of independent makers and visionaries. Established in 2008 as a pioneering hybrid group with a presence both online and in-person, CTC is dedicated to fostering the research and development of innovative theatrical works. In my role as Producing Director, I spearhead operational activities, oversee artistic development, and champion our vibrant community. As the driving force behind CTC, I have played a pivotal role in designing processes and agreements that provide unwavering support to makers and visionaries at every stage of their creative journey — from ideation through production. Learn more about development process in our 4-part blog series.
My responsibilities also extend to orchestrating artist residencies and incubators, aimed at propelling the artistic evolution of projects while fostering professional development for artists, makers, and educators as collaborative leaders. Outcomes of my leadership as Producing Director:
Guided a collective process dedicated to telling authentic stories through over 150 groundbreaking theatrical productions. These productions serve as a reflection of the diversity inherent in the American experience, employing inclusive practices to amplify underrepresented voices.
Successfully produced and presented productions and events in 8 U.S. cities, as well as internationally in Montreal, Canada, and Guadalajara, Oaxaca, and Vera Cruz, Mexico, broadening our impact on a global scale.
Pioneered a digital and hybrid producing model that has cultivated a dedicated global audience spanning 6 continents and 46 countries, underscoring CTC's commitment to innovation and accessibility in the realm of theater.
Along with leading the creative development, I have been the primary storyteller, crafting story cycles to build audience, engage communities, and inspire participation. Below are examples of five storytelling cycles that invite the audience into the worlds of the creators and artists. These cycles bridge creators and audiences, fostering a vibrant, interactive community.
Project Unspeakable
A series of videos building support for Project Unspeakable, a play by Court Dorsey about the 1960’s assassinations of John F. Kennedy, Malcolm X, Martin Luther King, and Robert F. Kennedy. Supporters include actor Martin Sheen, Abdullah H. Abdur-Razzaq, African American activist and Muslim known for being one of Malcolm X's most trusted associates, Senator Cynthia McKinney, whistleblower Daniel Ellsberg, singer-songwriter Evelyn Harris, and playwright and activist V (formerly Eve Ensler). Series created and produced by Jeremy Williams.
Click the image to open the Youtube playlist.
A Mexican Affair
A collection of short videos including interviews with creator Rafa Reyes and music director Felipe Fournier (Latin Grammy Winner), behind the scenes in rehearsals, and selections from live performances from the Latin-jazz cabaret. Videos produced by Jeremy Williams
Click the image to open the Youtube playlist.
Building BABEL
A series of videos including improvisations, acro and dance rehearsals, and interviews with company members of BABEL, created by WT McRae and Jeremy Williams.
Click the image to open the Youtube playlist.
Through the Lens
Celebrating 10 Years of CTC projects through the lens of photographers Ben Gabbe, Lloyd Mulvey, and Alex Miles Younger. Video series created and produced by Jeremy Williams.
Click the image to open the Youtube playlist.
Questioning Artists
A podcast created and hosted by Kate Michael Gibson and produced by Jeremy Williams featuring CTC artists. Opening song written and performed by Kate Jaworski Rodell with cover art by Natalie Loveland.
Click the image to open the Soundcloud playlist.
Enthusiastic Events! with The Dance Enthusiast
Enthusiastic Events! provide unforgettable experiences by inviting artists and prime movers from related fields to the same party. A cross between a salon performance, panel discussion, and a gathering at your best friend's home, the masters formally share their history, creations, ideas, and methods, with our audience, and then all are welcomed to converse and mingle over delicious snacks. Our emphasis is to help people feel “at home” with dance; to illustrate dances connection to the larger world, and to cultivate audiences for dance by offering them insider experiences with the form.
Created and hosted by Christine Jowers, Editor-in-Chief of The Dance Enthusiast and produced by Jeremy Williams. The sold-out events took place at Gibney in NYC between 2014 - 2016 and were generously supported in part by the Mertz Gilmore Foundation as well as with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Andrew Cuomo and administered by Lower Manhattan Cultural Council.
Dance on Broadway Stages & Screen Special Guests:
Nikki Feirt Atkins, Founder/Artistic Director of American Dance Machine for the 21st Century
Chet Walker, Director/Choreographer (Outer Critics Circle Award, Drama Desk Award, Astaire Award winner Tony nominee PIPPIN)
Ellenore Scott , So You Think You Can Dance, CATS Broadway Revival
DANCE: Island to Island - Moving Caribbean in New York City Special Guests:
Candace Thompson/ Trinidad and Tobago, Founder of Dance Caribbean Collective
Nélida Tirado/ Puerto Rico, World Renowned Flamenco Artist/Creator of Dime Quién Soy (Tell Me Who I am)
Nadia Dieudonné/ Haiti, Acclaimed Afro-Haitian Dancer and Choreographer and Director of Feet of Rhythm, a Haitian Folkloric Dance Company
Davalois Fearon/ Jamaica, Recognized in 2015 by prominent dance writers Wendy Perron and Charmaine Warren as one of the best and most memorable performers of the year. Founder/Artistic Director of Davalois Fearon Dance
Dance Art Fusion Family Party Special Guests:
Hu Bing, a visual artist who is known for transforming the oppression she experienced during China's Cultural Revolution into ethereal art
Chrybabie Cozy, a Harlem, NYC entertainer and founder of the LiteFeet Nation --a hub to the new direction of Hip-Hop
The Brooklyn Ballet, who reflects a multi-disciplinary and multi-cultural approach to ballet with its artistic director Lynn Parkerson
Cheryl McGinnis, art dealer and curator, who advocates for arts accessibility to the public
Dance as Empowerment Special Guests:
Lucija Stojevic, director of the film, “La Chana”
David Leventhal, Director of Dance for PD®️(parkinson's disease) whose work was featured in Dave Iverson's film "Capturing Grace"
Flamenco artists, Sonia Olla and El Bola
Dance & Fashion Special Guests:
The Martha Graham Dance Company
Janet Eilber, artistic director of MGDC
Valerie Steele, the curator and director of the Museum at Fashion Institute of Technology
Reid Barthelme, sought after dance and fashion designer.
Building Demand for the Arts with the Doris Duke Foundation
The Building Demand for the Arts program (2013-2021) supported organizations and artists in joint efforts to ignite interest and engagement in jazz, theater and/or contemporary dance from their communities. This program is predicated on the beliefs that artists are key connectors to communities, and that artists and organizations can work together in imaginative new ways to attract and engage audiences. These grants also promote deeper partnerships, longer relationships, and new kinds of conversation and cooperation between organizations and artists.
The Building Demand for the Arts program launched in 2013 as part of a larger, ten-year special initiative through which Doris Duke Foundation earmarked $50 million for the performing arts above its existing funding. With this final cohort of grantees, the program will have awarded a combined total of more than $6.6 million to 90 teams of artists and organizations. As Program Manager from 2016-2021, I managed a program portfolio of approximately $4.5 million with 56 teams of artists and organizations working with communities in 17 U.S. cities through three rounds of grantmaking:
Exploration (2016) supporting 18 pairs of artists and organizations totaling $800,000 in grants.
Implementation (2016-2019) supporting 24 pairs of artists and organizations totaling $2,430,000 in grants.
Deepening Practice (2020-2021) supporting 14 pairs of artists and organizations totaling $1,300,000 in grants.
My role included program and reporting design, learning and evaluation, mentorship, managing grant agreements, ensuring compliance, overseeing financial reporting, and cultivating a vibrant peer learning community. This community flourished through grantee convenings at notable venues like Duke Farms in New Jersey (2016), New Orleans' Contemporary Arts Center (2017), Gibney in NYC (2020) which included a Artist Showcase, and a virtual gathering in 2021, attracting over 150 participants, including artists and institutional leaders, united in their pursuit of innovative approaches to audience building and community engagement in the arts.
Developmental Evaluation Toolkit
Innovatively designed and implemented a custom Developmental Evaluation Plan toolkit and process for grantees.
Significantly elevated evaluation practices across organizations of all sizes, leading to data-rich project reporting.
Empowered grantees to successfully leverage the toolkit for securing new funding and community support, ensuring the sustainability of projects beyond the program's scope.
Read a selection from the workbook which includes the introduction, table of contents, and appendix:
COVID-19 Response and Project Pivoting
Authored the “Pivot Guide: Transmedia Storytelling” workbook, providing critical support to grantees during the early stages of the COVID-19 pandemic. From the Introduction:
Guided all 14 grantee projects through successful completion of the program, demonstrating increased capacity as producers adaptable to unconventional performance venues and storytelling processes.
Achieved remarkable outcomes for grantees, including notable increases in audience numbers, funders, and community partners, surpassing original project goals.
BDA Deepening Practice was designed with the recognition that the work of building demand is on-going and not dependent upon one performance, project, or season. With the final round we have been asking questions about how we can deepen our demand building practices. COVID-19 has created a global disruption of “business as usual’. Rather than moving forward as planned, we will adapt our plans to respond to the present and near-term future through exploration: how can we build demand for the arts during a time of pandemic?
Hybrid Reality: consider the future where we will engage in a greater range of activities in-person as well as online. This hybrid reality will include a mix of online, remote, and in-person with personal distancing protocols happening on multiple stages.
How can we come together in safe and creative environments to share experiences?
In crisis response mode, we collectively turned to online platforms as our primary means of collaboration, work, and social connection. It felt like someone flipped a switch from IRL (in real life) to digital. This is a false metaphor. The switch did flip on the need to transition from IRL to online, but we did not prepare our teams, audience, and community to make this transition. There is a common set of assumptions in place:
We are all online
Everyone has internet at home
Everyone has devices that connect online
Everyone is comfortable using devices and online platforms in place of IRL
Talking to your family on FaceTime and WhatsApp is the same as using Zoom in collaborative and creative work sessions
Transitioning from IRL to experience performing arts online is a simple, straightforward process - flip the switch.
These assumptions are not only false, they also reveal a privileged perspective. Many people are online, but not everyone. Home internet access is widely available, but not everyone can afford it. A lot of people own or have access to devices that connect to the internet, but not everyone. While online experiences like “binge watching” and posting on social media can be fun, online experiences do not replace live, in-person events. And yes, some of us have been exploring video chats with FaceTime, Skype, and WhatsApp for many years. But we have not been using these tools for daily collaboration, creativity, and productivity as a team and community.
Transitioning from IRL to online is a process of adaptation. It requires a team to collaboratively to imagine, design, and explore. This guide is a tool to support your thinking.
Access the full guide here:
BDA Final Thoughts
Selection from Jeremy's final program report:
For Performing Arts in the 21st century, the process - how we work - is equal to a production, concert, or program. At times, process is of greater importance to artists, audience, and communities. Organizations and institutions should reflect and provide support that aligns with the essential needs of artists, audience, and communities.
Organizations and individuals who continue practices and systems that perpetuate oppression, privilege, and exclusivity reflect 19th and 20th century models and modes of operation based in capitalism rather than being rooted in artistic practices and traditions that are in dialogue with communities.
21st century practices are inclusive, embody equity, and make space for diverse perspectives, experiences, and identities. They also embrace technology as a means to expand stages and connect communities in meaningful ways.
Everyone involved - individuals and organizations - must be committed to advancing artistic excellence and innovation through non-transactional processes and systems. We advance when we rely upon processes and systems grounded in transformation and multifaceted support.
Producing History
Convergences Theatre Collective
Major productions, programs, and projects as Producing Director (2008 - present)
Year | Title or Program Name | Description | Venue(s) | Location(s) |
2023 - Present | Portrait of an Artist in a Safe Space | An 18-month virtual incubator supporting artists making new works live and online. | CTC Digital Studio | online |
2014 - present | The Woman Who Was Me | A play for one woman by Peter Grandbois performed by Liz Stanton. Innovative Theatre Award winner. | Performing Arts Center at Naropa Univ, TheaerLab, United Solo Festival at Theatre Row, | NYC, Boulder, CO + online |
2016 - present | Bubbling Waters | A trio of plays and stories that look at the lives and contributions of Black New York beyond and before the Harlem Renaissance. | ||
2019 - 2020 | Celebrate Oaxaca | Bohemia Clandestina Concert Series, Magia de los Textiles, Dia de Muertos Online | Hotel Casa Divina, Teatro Teatro Macedonio de Alcalá | Oaxaca de Juarez + online |
2018 -2019 | I'mmigrants | A new dance-theater work by Leo Able exploring human migration and immigration. | Bernie West Black Box, Dixon Place | NYC |
2018 - 2019 | Independent Producing: Support Proceeds Movement | Graduate course in producing for the Arts Admin program. | Baruch College | NYC + online |
2018 - 2019 | CTC Artist Residency | A 5-week residency for multiple artists developing new theatrical works | Bernie West Black Box | NYC |
2013-14 + 2019 | From the Realm of the Shadow | Workshop production of Chris Mohr's operatic dance drama and further development as a feature film. | Theater at the Riverside Church | NYC + online |
2015 -2019 | Nahoonkara | 2016 Script Development Lab focused on characters and dialogue. 2019 Theatrical Development Lab focused on creating the theatrical worlds of the play. | Cameo Studios (NYC), Denison University | NYC, Denison, OH + online |
2010 - 2019 | New Play Reading Series | Bitter Waters by Kaleda Davis (2016), The Custom of the Country adapted by Taavo Smith & Jeremy Williams (2010), D'arc Water by Kate Kohler Amory (2017), Gertie's Garden by Erin Duer (2016), Nahoonkara by Peter Grandbois (2015 & 2016), Nina with Boris by Ross Pasquale & Jeremy Williams (2012, 2014), Suicide on Pennsylvania Avenue by Susan Ferrara (2011), The Shore by Kate Michael Gibson (2011), Wait for Me by Mark Snyder (2016) | Cameo Studios, Shetler Studio Theatre, TheaterLab | NYC + online |
2019 | Development: Fundraising and the Creative Process | A community learning event connecting creative development and fundraising. | Bernie West Black Box | NYC |
2019 | Through The Lens | A 4-part video series featuring photos from CTC's archive. Created for our 10th Anniversary | YouTube | online |
2015 - 2018 | A Mexican Affair | A jazz Cabaret celebrating the relationship between the U.S. and Mexico through songs and stories. | NYC: Alvin Ailey Studios, Casita Maria, Metropolitan Room, TheaterLab, The Paper Factory Hotel, Washington Square Park; Argenta Contemporary Theater (AR), Mexico: Casino Español de Córdoba & Centro de Exposición | multiple |
2018 | Art & Activism | An evening exploring the intersection of art and activism with the artists of CTC. | Bernie West Black Box | NYC |
2018 | Questioning Artists | A podcast exploring the creative process with CTC collaborators. | SoundCloud | online |
2013 -2017 | BABEL | An acrobatic-dance theater piece exploring The Tower of Babel Myth from The Bible | Central Park (NYC), Flushing Town Hall (Queens), Gibney (NYC), TheaterLab (NYC), Theater at the 14th St Y (NYC) | NYC |
2017 | Secret City Cabaret | Performance party and cabaret. | The Paper Factory Hotel | Queens, NY |
2013 - 2016 | Project Unspeakable | Script Development and Theatrical Development Labs for a new play by Court Dorsey. | Gibney, Punto Space, TheaterLab | NYC + online |
2016 | The Bacchae in Vocal Extremes | Works-in-Progress showcase of Liz Stanton's work for extend voice. | Estrogenius Festival | NYC |
2016 | Winter Performance Suite | A mini-festival featuring A Mexican Affair, BABEL, and The Woman Who Was Me | Gibney & TheaterLab | NYC |
2009 - 2014 | Shameless | A dance theater work inspired by Miss Julie co-created by Kate Kohler Amory and Jeremy Williams | DANY Studios, Gibney, One Arm Red Theater | NYC |
2010 - 2011 | Ghosts of Troy | Devised theater inspired by the histories of Troy created by Kate Kohler Amory and students. | Salem State University | Salem, MA + online |
2008 + 2011 | Three Sisters/ God Grant It All Works Out | Dance theatre/Butoh performance inspired by Chekhov's Three Sisters | Boulder International Fringe Festival (CO)l & Dixon Place (NYC) | multiple |
2009 - 2010 | Custom of the Country | Adaptation by Taavo Smith and Jeremy Williams. 2019 table read. 2010 Staged Reading | CAB 21 Back Box, Shetler Studios | NYC |
2009 - 2010 | Uncle Vodka | Devised theatre inspired by Chekhov's Uncle Vanya and Beckett's Endgame. | Mabou Mines | NYC |
2015 | Preview Party for the Winter Performance Suite | A performance party to preview CTC's Winter Performance Suite | Alvin Ailey Studios | NYC |
2010 | Butoh & Beyond | An evening of short works exploring Butoh in theater, dance, and performance art | TheaterLab | NYC |
2011 | Vanya Solo | A solo play by Taavo Smith inspired by Chekhov's Uncle Vanya | Salem State University | Salem, MA |
2008 - 2010 | Darger | A devised theatrical work exploring the life of artist Henry Darger. Supported by the American Folk Art Museum. | ||
2008 | The Space Between | Solo Butoh-dance-theater performance created by Jeremy Williams | Thrust Theater at the University of Louisville | Louisville, KY |
2008 | Inanna | Workshop production of Peggy Firestone's adaptation of the ancient Sumerian myth | Event Center at Naropa University | Boulder, CO |
History of Independent Producing (2007 - present)
Year | Program Name/ Title | Description | Role | Organization/ Venue | Location(s) |
2014 - 2023 | Arts Program | National funder supporting Contemporay Dance, Jazz & Theater | Program Consultant & Producer | Doris Duke Foundation | NYC |
2014 - 2022 | Building Bridges Program | National funder supporting storytelling projects that support well-being between U.S. Muslims and their neighbors. | Program Consultant & Producer | Doris Duke Foundation | NYC |
2012 - 2022 | Revealing Dances | Audiences are invited to experience the creative process of making dances. Co-created with Melisa Riker. | Co-Producer/ Facilitator | 2X2 Studio, Adelphi University, John Jay College, TheaterLab, Riverside Park | multiple |
2014 - 2016 | Enthusiastic Events Series | Creating unforgettable experiences by inviting artists and prime movers from related fields to the same party. | Producer | The Dance Enthusiast | NYC + Online |
2012-2016 | Engaging Dance Audiences | A program that enabled dancemakers to explore and research methods of engaging audiences for dance, learn from peers, and share the learning nationally. | Facilitator & Webinar Producer | Dance/USA | multiple |
2012 - 2015 | Secrets & Seawalls | Site-specific dance theater work developed and performed in multiple locations in NYC. | Consultant & Facilitator | Kinesis Project dance theater | multiple |
2013 - 2014 | Dancentricity | DANCentricity invites high school students to explore the creative process by learning about and actively engaging with a professional choreographer. A Cycle of interrelated workshops center around the premiere of the choreographer’s latest work. | Producer | Gibney | NYC |
2013 | Dividing Line | World premiere of a new full length work by choreographer Gina Gibney. | Producer | French Institute Alliance Française | NYC |
2008 | 23 Seconds on John Cage | Created by SITI Company members exploring the work and life of composer John Cage. | Associate Producer | ATLAS Center | Boulder, CO |
2007 | Beckett/Butoh | Butoh artist Katsura Kan's new work exploring three plays by Samuel Beckett in movement, image, and technology./ | Associate Producer | ATLAS Center | Boulder, CO |
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