First of all, we do know what it takes--at least on the part of the actors--to maintain a classical company in Los Angeles. It takes commitment, but a different kind of commitment. It takes a commitment to the idea of a company and to the long-term development of classical projects.

For the actor, this commitment to the idea of a company means incorporating the good of the ensemble in one's personal career and aesthetic goals. In practical terms, it means committing to role sharing and repertory and ensemble playing--playing small roles, alternating roles, and developing versatility. And patience.

It also means that the company makes a reciprocal commitment to the actors: generosity towards its artists and respect for their needs, creativity in casting, flexibility in rehearsal and performance scheduling. And on both sides, a willingness to share decision making, both logistical and aesthetic.

But we also know it takes three more important elements: a permanent home, a repertoire of plays, and support from the community.

As for our plays, we have more than seven years of developing projects behind us, and are ready to launch our first season as soon as our new home is finished. Sixteen plays have been brought to the point where we can begin serious rehearsal, and another sixteen are not far behind, including works by Shakespeare, Feydeau, Congreve, Anouilh, Pirandello, Balzac, Brecht, Miller, Williams, Ibsen, Euripides, Molière, Shaw, Hellman, and many, many more, including world premiere translations by our own members. And we have been scouring the modern repertoire as well for the best new plays that have the kinds of casts and concerns and demands that a classical company is particularly well equipped to meet.

And as for our support in the community, we are committed to the NoHo Arts District and are putting down strong roots there. We are in the process of Board expansion to include community members at the highest level of our decision making. We are opening our developmental readings to an ever-widening circle. And through our first two productions, we have begun to build a loyal audience, both inside the theatre community and with the general public.