Careers in the Theater from the Stage and Beyond: An Interview with Catherine Russell
Careers in the Theater from the Stage and Beyond: An Interview with Catherine Russell
Careers in the Theater from the Stage and Beyond: An Interview with Catherine Russell
By Rylee Vogel
When discussing careers in the theater industry, roles like acting, stage management, and technical work typically come to mind. However, there are many potential career opportunities within the theater that extend beyond the stage or backstage.
Catherine Russell is a perfect example. Russell is the theater manager of The Theater Center, an Off-Broadway theater complex in the heart of Times Square that houses both the Jerry Orbach and Anne L. Bernstein theaters. With over 45 years of experience in the New York theater scene as an actor, producer, professor, manager, and entrepreneur, her deep understanding of business, relationships, and hard work has established her as a respected member of the community. When asked how she is involved in the industry she says it is easier “to tell you what I’m not involved in”.
In this interview, Russell shared the challenges, successes, and essential advice for pursuing a career in the industry with an emphasis on theater management.
Performance Beginnings
Russell began as an actress and from there, her overall involvement in the industry grew.
“I’ve always wanted to be an actress. I came to New York to act.
I got my equity card on my 25th birthday. I was in the show that moved Off-Broadway, and I have been acting ever since. I joined a theater company in The Village called the Actors Collective.
One of the shows we did was Perfect Crime, and it moved Off-Broadway. I literally answered an ad in Backstage for a theater company, and it’s employed me for 40 years.”
Russell is the Guinness World Record Holder for most performances in the same role. She stars in A Perfect Crime, the longest running play in New York City. Over the decades, she has taken on multiple roles within the theater and industry.
“I general manage the shows that are here [The Theater Center], run the business, and I built this theater.
I find it all rewarding. I feel really lucky. I never think “oh, I have to do to work” or “I don’t want to go to work”. I really like being here. I like working in a theater, and I like running the box office and house as much as I like being onstage. I just like working in a theater. I like the feel of the theater, the smell of a theater. I like the excitement before a show starts.”
Building a Business and a Legacy
Russell’s dedication to creating and sustaining spaces for the arts has supported countless creatives throughout the years. One of Russell’s first business ventures was renovating a theater on 46 and Broadway.
“This is fun. Let me find another theater to maybe renovate. I wanted to build a theater and get corporate sponsorship.”
To achieve that goal, she wrote to Stuart Elliott, the former advertising columnist at the New York Times, for advice. He directed her to Snapple, leading to the first ever Off-Broadway corporate sponsorship.
“I did it with Snapple.
Perfect Crime, the show that I’m in, basically had to move nine times because a lot of the Broadway theaters were not set up for long runs. So, we would do the show, and then, after three months, we’d have to move.”
This partnership allowed Russell to build the Snapple Theater, now the Theater Center. It remains home to Perfect Crime, along with three other long running parody musicals, acting classes, rehearsal studios, and more.
One of the key takeaways from this interview was Russell’s emphasis on relationships. Genuine connections and relationships are what make working in this field possible. Her connection with Elliott helped create the theater.
“And for about 10 years after we moved here, every year on the anniversary, I wrote him an email or a letter and said: You changed my life, thank you. Cathy.
Because, I mean, how kind of him to take the time. Just the kindness of people, whenever people ask me for advice or ask me for something, I try to take a moment to help because I think of all the people who help me. His taking five minutes to think about it and answer me changed the trajectory of my life.”
It’s so special. Our whole business is about relationships. Do not be afraid to ask for advice”.
What Does Theater Management Really Look Like?
Managing a theater comes with its fair share of surprises, many of which have nothing to do with the stage. Another theme of Russell’s advice is versatility. The ability to problem-solve and work hard is a paramount to success.
When asking what some of the hidden challenges are that come with the job, she hilariously noted:
“Well, I plunge the toilets… I don’t mind; I have a great plunger…
Our air conditioning broke, so spent the week on the roof with the air conditioning guys trying to get the air conditioning fixed (it sort of works better now).
Or, there’s no heat, or the elevator breaks… I am a good mechanic now. You begin to learn when it doesn’t work, you have to figure out how to get it to work. You have to figure out how to get somebody here to fix it.”
Beyond plunging toilets, Russell also works extremely hard on the administrative side of the job. She describes her typical day as follows:
“During the year, I usually come early in the morning, around 7:15. I drop my dog off upstairs where he hangs out in the box office.
Then I usually get on the seven train and go teach [at NYU] at 8:15 during the school year.
Then I am back to the theater by noon. I do the payroll, and I figure out what kind of advertising we’re going to do. Then, I write contracts for people who are going to come in and rent the theater, we’ll have rehearsal, and we’ll cast.
It is essentially theater related business for most of the day. Then I do the show at night. Then, a lot of times when everybody’s gone, I stay here and work because it’s quiet.”
A Changing Industry
Russell began her New York City career in the early 1980s, and though the heart of the industry is still the same, she discussed how there is less opportunity now due to dramatic inflation in the city. So, creatives have to work extra hard to achieve success in all areas of the field.
“Theater prices were cheaper. So, in 1981, if we wanted to do a show, we would.
For like $3,200, you could do a show for a month. Of course, we begged and got things from the costume collection, but you could do it all. That would never happen now. I mean, it’s so much more expensive. Which makes me sad, in a way.
I wish there were more groups of people doing theater together. You don’t see it as much. You know, I was able to with my theater company, even before Perfect Crime, we did a whole bunch of shows- a couple of them moved Off-Broadway.
You know, the idea of working together and creating theater, I think it’s been lost a little bit.”
Because it is more challenging to create art in 2025, Russell again emphasized the importance of building community and relationships to create art.
“I don’t think as many young people are starting theater companies and working together, it’s so lonely being an actor in New York. It’s great to have a community of people that you create theater with.”
Advice to the Next Generation
ffBuilding a career in management takes a lot of grit and flexibility; however, it holds the potential to be an extremely rewarding career. Russell’s own path shows what’s possible though perseverance and dedication and is evidenced by the theater spaces she has created and maintains. When asked what advice she would offer to young professionals, she emphasized both attitude and skill.
“For management, I would say to try to enter into it as much as possible- be willing to work for free if you think you’re going to learn something from it.
And be really nice to people. It sounds dumb, but I have seen people be so successful in management because of it.
You need to know how to do everything- run a box office, fix a toilet, plan an event… You have to be very willing to do whatever you need to do and let people teach you how things work.
There is a real need for company managers.
I don’t think you can company manage and act, but you can be a casting director. If you want to go to casting, I recommend reaching out to independent casting directors, follow their work, and then connect. Then, you can wither work for that casting director or start your own business with something that doesn’t get in the way of acting.”
Conclusion
Becoming a good theater manager requires a lot of skill, time, and willingness to learn. Catherine Russell exemplifies what it means to truly dedicate oneself to the craft and business of theater.
Kindness, relationships, and hard work are what this job requires at the end of the day.
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