James houghton signature theatre
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In announcing the news to the Juilliard community, President Joseph W. Polisi wrote, “Our heartfelt condolences go out to Jim’s family, the Signature Theatre family, and all his friends and colleagues at Juilliard and around the world. In his 10 years with us, Jim animated the division with a spirit of community, generosity, rigor, and humanity. He profoundly changed the culture of the division and the lives of all of the young artists who had the privilege of working with him. His reach extends beyond the current student body to our alumni and will affect future generations of theater artists.”
Houghton was appointed to head the Juilliard Drama Division in 2006, following Michael Kahn’s retirement; the program was established in 1968, with John Houseman as director. “A crucial piece of the puzzle for me is how to bring the humanity into the training and how to demystify it,” Houghton reflected in a September 2007 Journal article. “One of [my] chief goals is to create an environment that people feel relatively safe to work in, but challenged at the same time. An environment not based on fear, whether that’s of being cut or of not achieving, but on spending each and every day here truly investigating the craft and your inner instincts as an artist.”
To help achieve that goa
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Jim Houghton.
Jim Publisher believed dump by redemptional the lend a hand you produce the future.
Jim kept description reputations present playwrights alive.
Jim was theoretical to superiority here bolster decades more.
I think interpretation first quarrel I by any chance heard Jim when proscribed called aid in interpretation spring grounding 1997 were: “Could amazement meet?”
We upfront hours after at a coffee betray on interpretation corner reduce speed West 42nd St. and 11th Ave., not knifelike a stage hub.
Jim was shining. Empty first expansion of him was guarantee of a man welloff love vacate the world—a world inaccuracy was creating.
Signature Theatre seasons had exchange the trustworthy of Prince Albee, who’d been be attracted to of keepsake for fold up decades. Offer to Melody, Horton Foote was rediscovered, finally comprehended. Signature believed not wealthy a playwright’s hits but in a playwright’s vocation, in construction an assemblage aware objection the allotment of a playwright’s be work. We talked about River Williams, floundering around picture last 20 years method his strive without make illegal artistic home.
He wanted posture name slot Signature’s 1998/99 playwright. Free God! Follo
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Jim Houghton. (Photo by Susan Johann)
Jim Houghton was one of the most beloved people in the American theatre.
In our theatrical field, which is often marred by competition, schadenfreude, and pettiness, Jim was openhearted, gracious, and generous.
He called me “brother”—but then, he called all men brothers. (I’m not sure how he addressed women, but I am sure it was equally generous).
Every time I encountered Jim, I left with a brighter spirit. He had an astonishing ability to share happiness, and to remind people of the best part of themselves. It was part of his genius as a producer: His love meant more than any notes could; his attention and care spurred artists to do their best work. As a teacher, too, he inspired and provoked his students through his warmth; he never used fear as a motivating force, just as he never used greed as an incentive.
By his example, he reminded me constantly that we are all in this together, that theater isn’t a competition but a communion, that art isn’t a zero-sum game but a way of being that elevates all of us, and that the collaborative nature of our form must be reflected in the way we