Drama Dept. was conceived in a cheap rental car during the summer of ’94 and birthed in a Sardi’s banquet room as a non-profit theater collective of actors, writers, directors, designers and stage managers.

“the inventive, star-studded troupe that has become the last word in downtown theatrical savvy”
— The New York Times

What began as a gathering of a committed “Who’s Who” is now an enthusiastic VIP list of 102 including:

Cynthia Nixon, Sarah Jessica Parker, Isaac Mizrahi, B.D. Wong, Darren Star, Patricia Clarkson, Billy Crudup, Peter Gallagher, Frank Pugliese, Oni Faida Lampley, Peter Hedges & Jackie Hoffman

More than a decade after founding the company, the award-winning team of Artistic Director Douglas Carter Beane and Executive Director Michael S. Rosenberg continue to nurture their vision of a community theater in a professional theater community.

“That canny collective of let’s-put-on-a-show enthusiasms & high-glitz connections.”
— Newsday

Drama Dept.’s mission is the development and production of new and neglected works of American Theater. We bring together a diverse group of artists in a collaborative environment to present highly entertaining work at affordable prices. This, coupled with our business model, allows us to cost effectively produce one to two shows per year with the fewest artistic restraints.

“the simple, carefully thought-through eloquence that is the Drama Dept.’s signature”
— The New York Times

Drama Dept. operates like an independent production company. Company members propose projects that are first read in Doug’s living room and discussed by the group. Once a play has been developed through a series of public and private readings, we present the show in an intimate off-Broadway theater.

“a latter day Mercury Theater”
— Vanity Fair

Our low overhead, high art business plan contains two components:

• A $200,000 Production Fund. This money is used exclusively for productions and is replenished from ticket sales. If sales are not enough to return the fund to $200,000, we raise the difference before producing our next project.
• $200,000 a year for our General Operating Expenses.

This plan puts most of our money on stage and joins our artistic development process with a progressive fundraising campaign.

“Drama Dept. is in a league of its own.”
— The New Yorker

In feedback sessions, our artists discussed their relationship with the company and the unique place Drama Dept. holds in the world of off-Broadway theater. What they said repeatedly, was that the company gave them the freedom to take chances, to explore, even fail, all in the interest of creating something truly exciting. They felt supported, listened to and treated as full partners in the creative process.

Audience members pointed most often to another unique Drama Dept. characteristic, fun. They always knew they were going to thoroughly enjoy their evening, regardless of whether the production was outright comedy or idea-driven experimentation. This excitement, coupled with the casual atmosphere, famous actors tearing tickets or selling brownies, and the warmth of the staff, were all unique to their theater-going experience.

“you feel like you’ve been admitted to a hip but friendly club. You may snack on cupcakes baked by Amy Sedaris; you may be stuck on line for the lady’s room behind Cynthia Nixon”
— The Wall Street Journal

To date, this partnership of art and commerce has resulted in the production of 18 acclaimed works including Douglas Carter Beane’s As Bees in Honey Drown, David & Amy Sedaris’ The Book of Liz, Isaac Mizrahi’s Les Mizrahi, the Moss Hart/Irving Berlin musical As Thousands Cheer, Charles Busch’s Shanghai Moon and the Tribeca Theater Festival with Robert De Niro, Jane Rosenthal and Craig Hatkoff. The high point of the Festival was Drama Dept.’s production of The Downtown Plays, a production of nine short plays by such writers as Neil LaBute, Kenneth Lonergan, Paul Rudnick, David Henry Hwang and Wendy Wasserstein.

“invaluable...the young company that has brought a transfusion of vitality to the New York Theatre”
— The New York Times