Director's cut: Meet Anna Hogan

Jun. 21—Anna Hogan is in the right place at the right time. Hogan is the newest part of the creative triumvirate at Santa Fe Playhouse along with David Stallings and Antonio Miniño, and she's about to make her New Mexico debut by directing Sunday in the Park with George (Story Page 28). Hogan, who holds a bachelor's degree in musical theater from West Texas A&M University, recently spoke with Pasatiempo about her creative journey, which started in her hometown of Lubbock, Texas, and wound through New York before bringing her to Santa Fe.

You knew David Stallings before you moved to Santa Fe?

I knew David in New York. David was working with the 14th Street Y theater, and I was the associate artistic director of a company that would work in rep with another company for the season. We would come in as part of their season and they would guest present us. And I didn't realize this, but the first show I saw when I was in New York was written by David. And Antonio directed it. It was Anais Nin Goes to Hell. I didn't formally meet them for another year. But we were in the same circles in New York and working in new play development.

I would say it's a small world, but New York is a huge actor's community.

I haven't been on stage in a hot second, but once you get to the production level, people want to help each other. It was nice to be able to connect with them like that. And when I went to the Wallace Theater in Levelland, Texas, David saw I was doing Sweeney Todd and submitted a tape, and I was like 'Gosh, please come, that would be amazing.' Then this whole thing happened, and it's been surreal.

How long were you at the Wallace?

I was there for about four years. I started off as a consultant on early development and programming, and then I transitioned to an artistic director position. I had a few seasons there while we were working on a capital campaign. It was also a historic building.

Was that the first time you were an artistic director?

I had been an associate artistic director for Rising Sun Performance Company in New York. That was with Akia Squitieri; she's fabulous. I think it's been over 20 years now in operation, but I was there four years with Akia. And then as soon as I came back to Lubbock, I got the position at the Wallace, and then ultimately I transitioned over here.

It seems like you've picked up new responsibilities at each stop along the way.

The scope is always the same as a producer, but the missions and visions can obviously shift. Rising Sun was primarily focusing on producing new work, incubating new pieces, and giving writers' resources. We did a lot of different festival circuits to get the pieces out there.

But at the Wallace, it was basically trying to reconnect with the community and to get them to look forward to this big "coming home" event for the theater being fully renovated. The pieces had to do, in a lot of ways, with community and re-engaging the community. Here, it's similar. It's really great how things work. We have an amazing staff. And they don't pay me to say that.

You guys are all at the same stage of your careers and have the same level of experience doing DIY stuff?

It's nice, because theater is all about collaboration. Our product in theater is people. That's our medium, and to have artists on staff who understand that and are here for the same reasons, I think we're in alignment. It's really nice to be able to take the ego out of the room. Then we can all just focus on what we really care about, which is the work.

Do you miss performing?

My background was in performance, and I enjoyed performing. But I think when you're directing and producing, it's really important to know all the inner workings. I'd say I enjoyed performing but don't necessarily miss it. My brain is more suited to the directorial process. I really love working with designers. I love working with the full team and helping people all fully realize the vision. Once I found myself behind the table, I was really happy there.

Did you feel New York was a cutthroat environment as a creative person?

Honestly, I didn't find that to be my experience. I feel like everybody who's there is there for the same reason. I feel like the community was very invested in helping each other. Resource sharing was a big thing. Supporting each other's productions and attending each other's productions, it was a really healthy environment.

If you're working in new work development, you're working with playwrights and directors and all these actors. You'll be cycling through so many projects, and the world can become very small if you're working with the same people.

What's your transition to Santa Fe been like?

It's been good! West Texas isn't that far. It's like five hours. It's a similar feel, and I adore Santa Fe. It's beautiful and the people have been wonderful.

That's one thing I love about working in theaters; every opening, every performance and every rehearsal is an event where you connect with like 20 people. It's been very easy to meet people, and people have been very kind.