NEW YORK, NY.- The Tony Awards ceremony had just wrapped up at Radio City Music Hall, and it was time for the parties. But for one honoree, James C. Nicola, the longtime artistic director of New York Theatre Workshop, there would be no stop-off for toasts at the Plaza Hotel or after-midnight carousing at Tavern on the Green.

Instead, he headed to a nearby parking garage and settled behind the wheel of a rental van for the 40-minute ride back to the dorms at Adelphi University on Long Island, where he’d be sleeping that night. As far as he was concerned, there was no other choice: He had pickup duty at 10 a.m. for a group of young artists arriving by train for one of the summer workshops that have been a hallmark of his 34-year tenure at one of off-Broadway’s most beloved theaters.

It’s not those gatherings that led the Tony committee to give Nicola a special honor. Or at least not fully. It’s also that his 199-seat East Village theater spawned the Tony-winning best musicals “Rent,” “Once” and “Hadestown.” That the recent hot-button plays “What the Constitution Means to Me” and “Slave Play” ran there. And that the theater’s support made a crucial difference to the careers of such writers as Tony Kushner, Lisa Kron and Doug Wright; directors Rachel Chavkin, Lileana Blain-Cruz and Sam Gold; and many others.

The Tony came as a bonus after Nicola announced last year that he was stepping down, the first of the very long-serving artistic leaders of major nonprofit New York theaters to do so. And while he acknowledged that the theater-world reckoning over the whiteness of its leadership persuaded him it was time to leave, he departed Sunday with what seems to be an unblemished record.

At 72, his gait has slowed. But his ice-blue eyes still blaze when he gets animated about his affection for anagrams or who might star with Daniel Radcliffe later this year in “Merrily We Roll Along,” part of the last Workshop season he programmed. (Freelance director Patricia McGregor, a Black woman who has had an ongoing connection to the theater, is succeeding him in the top job.)

Nicola spent five years working as a casting associate at Joseph Papp’s New York Shakespeare Festival (now the Public Theater). Comparisons with Papp and the far-larger Public are inevitably imprecise. But in his own less grandiose, more self-effacing way, Nicola is among the handful of artistic directors to make the biggest artistic impact on the New York theater world since — a magnet for iconoclastic talents who also helped develop a passel of shows with enormous commercial appeal.

More personally, he is one of the last of his kind: a son of the ’60s who imagined he’d be a Baptist minister and made a brick-and-mortar building into a flock and a chosen family.

In a video acceptance speech for the Tony, Nicola put it this way: “Our community has aspired to be a sanctuary for a certain species of artist — theater-makers who embrace their divinity, who understand their sacred obligation to lead and inspire us.”

And in one of several recent conversations that included breaks between work-in-progress readings at Adelphi and lunch at a favorite Hell’s Kitchen diner, he stood firm in his conviction that idealism is the fuel that kept him going and that bringing people together to be challenged is the goal.

“Nothing makes me angrier than to be called a gatekeeper,” he said.

He added: “Nothing makes me happier than to be mad when I leave the theater.”

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RACHEL CHAVKIN HAD BEEN inviting Nicola and his then-associate artistic director, Linda Chapman, to take in her work since she was an Master of Fine Arts student at Columbia University. After seeing “Three Pianos,” a rambunctious re-imagining of Franz Schubert as the center of a drunken posse of musicians and fans, Nicola asked Chavkin and Alec Duffy, one of her collaborators on the show, to his denlike office on the second floor of the East Village building that abuts the theater.

“I think he opened by saying ‘I think that’s one of the best pieces of theater I’ve ever seen,’ ” she recalled in a recent phone call. “Our jaws dropped.”

Programming “Three Pianos” into the Workshop’s 2010-11 season was a career-changer for Chavkin, who, while continuing to do avant-garde work with the troupe known as the TEAM, also helped to shape boundary-busting Broadway musicals “Natasha, Pierre and the Great Comet of 1812” and “Hadestown.” (She is co-directing at the Workshop again next season, while aiming another musical, “Lempicka,” for Broadway.)

Like Chavkin, now Tony-winning director Sam Gold earned his union card directing at the Workshop, in 2007. He still recalls Nicola’s support when he wanted to hire a scenic designer with opera-world credits to build what would be an ambitious set for Betty Shamieh’s play “The Black Eyed.”

“It’s the kind of thing that a director on their first job doesn’t get to do,” Gold said. “Jim would say, ‘I don’t want to limit your imagination.’ ”

And the commitment went beyond a single show — part of Nicola’s belief that directors are equal partners with playwrights in an American theater system that tends to privilege the latter.

“Over the years,” Gold said, “I’ve had very few people genuinely see me as an artist — who can relate one show to another, as someone with a lifelong project.”

Whitney White, who was Gold’s assistant on the 2016 Workshop production of “Othello” that starred Daniel Craig and David Oyelowo, speaks of Nicola as a presence in her life, not just a champion of her work. (White directed Aleshea Harris’ play “On Sugarland” at the Workshop this spring.)

“I’ve spoken to him about men and love and theater and everything,” she said. “It’s a fully furnished table.”

That’s not easy to find, even in nonprofit theaters that don’t have to obsess over the bottom line. “It’s a different style of artistic directorship — that you’re in community, in dialogue, not just a blip,” she added.

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NICOLA GREW UP OUTSIDE HARTFORD, Connecticut, gay and closeted, the oldest of four brothers in a middle-class family. In high school and then for a while at Tufts University, he took private singing lessons, imagining a career in opera or choral music. A year studying abroad took him to the Royal Court Theatre in London, where he got interested in directing.

Eventually, it helped lead him to the writing of British experimentalist Caryl Churchill, a Royal Court favorite, whose work he helped champion at the New York Shakespeare Festival and at Arena Stage, in Washington, D.C., where he had a one-year directing fellowship that turned into seven more years as a producing associate.




What became New York Theatre Workshop had been presenting work around Manhattan for nearly a decade when Nicola raised his hand for the top job. In conversations with Stephen Graham, its founder and current board member, he learned that the theater, which was already funding fellowships for directors, was hungry to have a bigger public profile.

“They wanted to change the form,” Nicola said. “What better could I hear?”

Under Nicola, the theater staged Churchill’s work eight times, more than any other writer. But no figure is more associated with his tenure than Belgian auteur Ivo van Hove. After seeing his work in Europe, Nicola brought him to direct in the United States for the first time, adapting Eugene O’Neill’s unfinished play “More Stately Mansions,” in 1997.

Two years later, his deconstruction of the Tennessee Williams classic “A Streetcar Named Desire” — Blanche, Stanley and Stella each spend stage time in the bathtub — heralded the van Hove/Workshop alliance as one of the most exciting (and divisive) destinations in New York theater.

During Nicola’s reign the theater presented eight van Hove productions, capped in 2015 with “Lazarus,” a rock musical with a book by Enda Walsh and songs, new and old, by David Bowie, who was secretly battling cancer during its creation and died during its run.

The circumstances had echoes of “Rent” — a show the theater began developing four years into Nicola’s tenure that had its final dress rehearsal at the Workshop on Jan. 25, 1996. That night its creator, Jonathan Larson, suddenly died of an aortic aneurysm.

The “Rent” story — 12 years on Broadway, the Pulitzer Prize, productions all over the world — is show business canon. Royalties from that and other Broadway transfers helped boost the theater’s annual budget from $400,000 to $10 million in the Nicola era. But as he talked about “Rent” and “Lazarus,” Nicola hinted at the ways they might have turned out had tragedy not struck, their creators wrested from the process of art-making too soon.

“Lazarus,” which was sped into production and during which only van Hove knew of Bowie’s precarious health, was among the most challenging experiences of Nicola’s time at the Workshop. But he pinpoints his darkest days to 2006, when a planned staging of “My Name Is Rachel Corrie,” a solo play about an American demonstrator for Palestinian rights who was killed by an Israeli bulldozer, was pulled.

Kushner and Harold Pinter, among others, accused the theater of capitulating to political pressure; the theater maintained it was only delaying the production, which originated at the Royal Court in London. Nicola had to return from Italy to defuse the situation, which he called a “misunderstanding that was threatening to the very heart of the institution.” (“Rachel Corrie” ended up running at another theater.)

More recently, debates over representation in the theater world have encouraged in him a greater self-awareness. He pointed to Jeremy O. Harris’ “Slave Play,” which was championed by his theater and by notable white male critics. He later came to learn that many Black women felt otherwise.

“There are impulses that I have that feel like good and positive ones, and then learn that my response is not universal,” Nicola said.

“It’s really good to think about the risks and possible outcomes,” he added, “but also not be intimidated by not being able to predict. To not retreat, not get cautious or conservative.”

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FINISH A 34-YEAR TERM running a major theater, and the hosannas will come fast and furious.

Besides the Tony, Nicola was celebrated at the Workshop’s annual gala, which had a diner theme in honor of his affection for humble food. There were speeches and a musical performance from some original “Rent” cast members; a drag queen; and, for a finale, four veteran stage actresses enacting a “scene” from “The Golden Girls,” a Nicola favorite.

Weeks later, several hundred friends and associates surprised him at the theater with a reading of Moss Hart’s backstage comedy “Light Up the Sky,” the last play he had directed at Arena Stage, with a cast that included playwrights Lucas Hnath, Dael Orlandersmith and Kron; performer Penny Arcade; and producers Jeffrey Seller and Jordan Roth. (“I have lived this play my entire adult life,” a grateful Nicola said later.)

Uptown and downtown, artful and kitschy — it’s an increasingly illusory divide that Nicola, who soaked up the work of Charles Ludlam’s Ridiculous Theatrical Company, has managed to happily bridge, personally and professionally.

“He’ll be talking one minute about [French director] Ariane Mnouchkine, and the next he’ll be doing an Ethel Merman impression,” said Wright, whose Grand Guignol-ish Marquis de Sade play, “Quills,” was, along with “Rent,” in the 1995-96 season that brought a new level of starshine to the theater.

Nicola proudly cops to being a musical-theater show queen, quoting “Funny Girl” in his gala acceptance speech and later pointing to a lyric from (shocking!) Andrew Lloyd Webber’s “Sunset Boulevard” as explaining his mission: “We taught the world new ways to dream.”

The director in him decided he needed a ritual way to bring closure to his time at the theater. So he and friends rode the Circle Line on the Fourth of July. “When I board the boat I will be leaving my old life, and when I get off it, I will be entering my new life,” he said beforehand.

As to what’s next, all he can propose is “opening myself up to new adventures.”

In the meantime, he’s taken to writing letters of thanks, sending them into the world without knowing who will (or won’t) respond.

One went to the theater department at Tufts University in Massachusetts.

Another to the Little Theater of Manchester, Connecticut, where he appeared onstage as the Mock Turtle in “Alice in Wonderland” and was first dazzled by the art of telling a story to an audience in public.

“My gratitude to the theater was giving me a sense that the world was bigger — that there were many other possibilities,” he said. “To that 12- or 13-year-old boy, this is everything he aspired to. It happened.”

This article originally appeared in The New York Times