new OSF artistic director

Ashland picks new artistic leader

Nataki Garrett, who directs this season's "How To Catch Creation," will become the Oregon Shakespeare Festival's sixth artistic director

The Oregon Shakespeare Festival announced a new artistic director in a Tuesday morning release. Nataki Garett will be the Ashland festival’s sixth artistic leader, replacing Bill Rauch, who is completing his final season before taking over as the first artistic director of the new Ronald O. Perelman Center for the Performing Arts at the rebuilt World Trade Center in New York.

It’s a plum job, one of the top posts in the American nonprofit theater, and one of several nationally that have been open in the past year. And it marks a sweeping change in leadership, with top positions across the country going to women and people of color, as The New York Times details in today’s editions.

Garrett most recently was acting artistic director for the Denver Center for the Performing Arts during its 18-month leadership transition. Chris Coleman, who was artistic director of Portland Center Stage for 17 years, was appointed to the permanent post in Denver. Coleman was replaced by Marissa Wolf, who moved from Kansas City Rep to take the reigns last September.

Garrett, who holds as MFA in directing from California Institute of the Arts, has worked for more than 20 years as “a theatre administrator, director, producer, playwright, educator, activist and mentor.”

Nataki Garrett, new boss at OSF. Photo: Bill Geenen

“I am absolutely thrilled to be named incoming artistic director of Oregon Shakespeare Festival and it is an honor and privilege to inherit such a wonderfully rich and dynamic legacy of artistic excellence in partnership with a dedicated board, staff, company and local community,” Garrett said in a prepared statement. “I am equally excited and inspired by OSF’s dedication to expanding our worldview and look forward to maintaining our commitment to the revolutionary spirit of Shakespeare and classical text, while continuing to explore and expand opportunities for new voices and narratives through new play development.”

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