
In the basement of a church in Sheffield, Massachusetts, a happy group of people are standing around a piano singing about commitment, friends, and the joys and tribulations of marriage. A stranger might be forgiven for thinking she had strayed into a wedding rehearsal, except that the voices are those of professional actors, the director is standing by with an encouraging smile, and the choreographer is looking thoughtful. The only wedding going on here is the wedding of a group of individual performers into an ensemble. And the event is the first full-cast sing-through of Barrington Stage Company’s season opener, Company.
It’s easy to see why BSC artistic director Julianne Boyd is happy. The actors only arrived three days ago, but it’s already clear that they enjoy working with one another. And the sound the company makes at full throttle is a testament to the health and vitality of the musical theater scene. There’s no sign of an old warhorse here, dragged from the shelf and dusted off to please a summer audience. The show has an entirely modern feel.
“There’s still a lot to be said about men who have trouble committing to relationships,” Boyd muses, when she tears herself away from the music. Not to mention, a lot still to be said about marital relationships. “This morning, I got the cast in pairs and invited them into my office. I said today, I am your marriage counselor. Let’s talk about your life together.” When a prominent cast member asked her how many women she thought had ever tried directing Company, she agreed that the figure was probably not large. “So that gives my perspective a different angle, too.”
But Boyd is used to being in the vanguard of distaff entrepreneurial theater professionals. In 1978, as the only woman then directing on Broadway, she conceived and directed Eubie!, a show that garnered three Tony nominations and led to Boyd receiving Citicorp’s 1980

Outstanding Young Entrepreneur award. A later stint at the Odyssey Theatre in Los Angeles resulted in three Dramalogue Awards for her production of Tea. And in 1992, she continued to bend gender rules by becoming the first woman to be president of the Society of Stage Directors and Choreographers, a post she held until 1998.
What would persuade a woman of this much energy to stop her continental journeys and develop an essentially seasonal theater in the Berkshires? Several things, as it turns out. “In New York, I got tired of developing projects right under the critics’ eyes,” Boyd says. “Sometimes you worked on a show and you knew it needed another go round, but there you were opening it in New York, and it didn’t seem to make a lot of sense. Also, the budgets at regional theaters were often bigger than they are in New York. I didn’t have to worry so much about not having another ten or 20 extra dollars for props.”
Motherhood made a difference, too. Once her third child was in school, “she couldn’t travel with me anymore. I thought, okay, I have to just sit in one place.” When an opportunity came up to work with the Berkshire Theatre Festival, she jumped at it. “I thought, how perfect. It’ll be summer, [and then] I’ll be in New York in the winter with my family.”
Meanwhile, Boyd’s desire to be a part of a theater that served its community was growing. By 1993 she began to formulate her own thinking on how theater and community could and should form a mutually beneficial relationship that would allow them to feed one another. The answer, she decided, lay in building the audience properly.
“Many theaters couldn’t find ways to bring in new young audiences,” Boyd notes. “People would look at dwindling subscriptions and think it was ticket sales from new plays that were the problem. Then they’d bring in the Neil Simon and the Noel Coward, or offer a student matinee once a year, or a discounted balcony seat midweek.” But that doesn’t fix the problem. “Theater is a continuum. It has to become a habit. I thought, can I start a theater where community can be a large part of it, where the audience will grow.”