ONE
CONVERSATION
at a time
For as long as I can remember the focus of my life has always been on telling stories and creating conversations. When I was 10 years old I was directing variety shows for the other kids in the neighborhood and charging admission to the neighbors!
As a young artist living in NYC, I found myself unable to get a directing gig. No one was willing to hire me without first seeing my work, and no one was willing to take a chance and let me direct. So instead, I dove into the art, serving as a Production Assistant on the Broadway musical Grand Hotel with Tommy Tune; studying directing with Bob Moss; learning how to run a theater from Second Stage’s Carole Rothman, Carol Fishman, and Robyn Goodman; and seeing lots of theater. Before too long, I realized that I would need to create my own opportunities to achieve my goals. So I packed up and moved back home to Boston to pursue my dream of starting my own theater company.
With a few friends from my Boston College days, I founded SpeakEasy Stage in the winter of 1992. Since its inception, the company has been applauded for taking risks and creating conversation.
First, in response to my own experience, I made it an essential part of my life’s work to provide opportunities for young artists, whether they dream of being actors, directors, designers, playwrights, administrators, or crew. I take pride in the fact that my shows are places where theatre artists can stretch and grow their talents.
As part of this commitment to nurturing the next generation of theatre artists, I have taught musical theatre and directing for 20 years at The Boston Conservatory at Berklee. Like my work in the rehearsal room, I strive to make the classroom a safe space for creative exploration, challenge, and growth, where each individual can develop their artistic voice and do their best work.
One of the lessons that I share with my students is to choose work that resonates deep within them - a show that they must stage and share with others. That principle has guided my own career, making my shows an experience where Boston audiences can enjoy and be challenged by excellent productions that spark conversation and tackle important issues.
As a gay man, I have a particular affinity for bringing stories of my community to the stage, including plays about legacy (The Inheritance), the AIDS epidemic (Jeffrey; Love! Valour! Compassion!; Mothers and Sons), equality (Some Men), history (The View UpStairs), coming out (Fun Home) and isolation (Take Me Out, Significant Other).
In addition, I gravitate toward telling stories about those whom society has traditionally marginalized, and doing so authentically with humor, heart, and inspired stagecraft. I have won acclaim for telling stories about equity and anti-racism (The Scottsboro Boys; Caroline, or Change, Allegiance, The Color Purple); anti-semitism (Parade); neurodiversity (Body Awareness, Curious Incident of the Dog in the Night-time), mental illness (Next to Normal) and more. I’m proud that my directing work quickly evolved to ask big questions about social justice.
Another important dimension of my work has been my commitment to the contemporary musical. Unlike many regional theater producers who shy away from the expense, I have brought one or two musicals to Boston each season, shows as varied as In the Heights, A Man of No Importance, Dogfight, Violet, Passion, and A New Brain. My 2001 production of Bat Boy: The Musical, for example, ran for over 100 performances, earned SpeakEasy its first major awards, and established me as a major artist in the Boston Theater Community. I always gravitate toward musicals that entertain yet have huge amounts of hurt and heart. In addition, I excel in ‘right-sizing’ shows to bring out the intimate beauty that can sometimes be compromised in larger, commercial stagings.
Finally, I have dedicated a big part of my work to maintaining the vibrancy and viability of the Boston theatre scene. I strive to direct and produce shows that have never been seen in Boston before, and am also committed to hiring, training, and growing theatre artists who make the Hub their home. In addition, I am committed to telling Boston stories through The Boston Project, a new works initiative which supports the creation and development of new plays set in Boston that explore what it means to live in this city at this moment. It's vital to me to keep the city relevant by creating new work. I have also been quite fortunate to be awarded the Elliot Norton Award for Sustained Excellence in 2014, the highest honor bestowed on Boston Theatre artists.
But there is still more work to be done. More than ever, my vision and ability to produce and direct clear relevant stories is needed in Boston and beyond. I am fortunate that I can ask questions like what stories still need to be told, what communities need to be reached, and who still needs a chance -- and do something about it.
I am determined to use my 30 years of experience in the rehearsal room, in the office, in the classroom, and in the community to live out my art boldly and without apology. And I will continue to use my platform as a theater director and teacher to incite social change, one conversation at a time.
"It was in Paul’s musical theatre and directing courses at The Boston Conservatory that I learned the significance of thoroughly probing every directorial and design choice made during a production process. As an arts educator, he encourages his students to seek out the “why” behind their artistic decisions with unparalleled kindness, patience, and enthusiasm. He saw a director in me before I recognized the passion in myself, and it was through his teaching practices that I realized my own potential. I am forever grateful to have learned from Paul what it looks like to be a director who works collaboratively, with great compassion."
Katie O’Halloran, Director
