Erick R. López (’16)

Erick R. López (MET ’16) currently serves as General Manager at Geffen Playhouse in Los Angeles, CA. With a diverse background in the arts, Erick has experience as an actor, vocalist, stage manager, and administrator.

Before joining Geffen Playhouse, he held various roles in non-profit cultural organizations, including General Manager at A Noise Within, Administrative Manager for Dance at Harvard University, Manager of Programs at The Boston Children’s Chorus, Program Coordinator at the National YoungArts Foundation, and Education and Outreach Coordinator at Mission San Luis: A Living History Museum.

Erick holds an undergraduate degree in Arts Management from the University of Massachusetts, Amherst, and a Master of Science degree in Arts Administration from Boston University. He currently resides in Los Angeles, CA, with his husband, Bryan, and their dogs Hola and Heidi.

Could you start by introducing yourself and giving an overview of your role as a General Manager in arts administration? What are the primary responsibilities and functions that define your position?

My name is Erick R. López (he/him pronouns), and I’m a seasoned arts administrator with over 10 years of experience in the industry. Currently based in LA, I hold the position of General Manager at the Geffen Playhouse, a LORT B and D affiliated theater.

At the Geffen Playhouse, I straddle the realms of administration and production, playing a pivotal role in reducing company liability through contract negotiation. This encompasses contracts with actors, designers, directors, rights holders, and various contractors. I also prioritize employee relations, ensuring a positive and productive work environment that fosters creativity and fosters a desire to return for future projects.

Prior to the Geffen Playhouse, I was the General Manager at The Noise Within in Pasadena, CA. I also was the administrator for the Office for the Arts Dance Program at Harvard University and was the Program Manager for the Boston Children’s Chorus. My journey began at the National YoungArts Foundation in Miami as Program Coordinator for their national competition.

How have your diverse artistic experiences, ranging from acting, vocal performance, and stage management, and administration shape your role as a general manager at Geffen Playhouse? How have you mixed your artistic and administrative experiences together?

Thriving as a general manager requires a unique combination of practical and artistic expertise. Having firsthand experience as a performer and stage manager allows me to connect deeply with the concerns and challenges artists face during the production process. This understanding informs my empathetic leadership style, an essential element in advancing a production and an arts organization.

The key lies in striking a balance between artistic vision and operational reality. This intricate dance requires balancing the pursuit of artistic excellence with the responsibility of maintaining fiscal responsibility.

The cornerstone of this balance is unwavering empathy. Without it, solely focusing on the business aspect and dismissing concerns with a simple “the numbers don’t add up” neglects the vital aspect of nurturing artistic endeavors. Recognizing the importance of advancing artistic projects, whether for audience impact or organizational growth, requires marrying both perspectives. This ability to bridge the gap between art and administration, informed by my personal experience on both sides, is truly indispensable.

You noted a shift in your perspective from a micro to a macro scale in your profile. Could you elaborate on a specific moment or course that served as a catalyst for this transformation?

My time at Boston University fostered a significant shift in my perspective, particularly regarding the mindset of employees and individuals within the broader world. Initially, I was susceptible to the common tendency of focusing solely on my own experiences and challenges within the workplace. However, through the BU program and its exploration of global perspectives, I began to question the necessity of the traditional study and the importance of having a study abroad component.

This questioning led to a transformative realization during MET AR 587: The Arts in Barcelona. It made me acutely aware of how easily we can become engrossed in our daily tasks, losing sight of their broader impacts on the world. In the field of general management, the emphasis on contracts and setting precedents is particularly crucial. Every finalized contract establishes a framework for future agreements. For example, a seemingly isolated decision to offer a generous rate on a specific project can have unforeseen ripple effects for future projects. Each decision, though seemingly routine, has the potential to transcend the confines of our individual desks and organizations and influence our careers, impacting our communities, regions, and beyond.

This realization crystallized during discussions about the Barcelona Olympics within the Barcelona class. While seemingly unrelated to our studies, the event had a profound impact on the arts sector, securing funding for critical infrastructure and various other elements, served as a powerful illustration of the far-reaching consequences of seemingly unrelated tasks. This insight shifted my perspective, illuminating the inherent importance of our daily activities while emphasizing their capacity to generate broad and swift-reaching effects.

Could you walk us through a project or accomplishment that you are especially proud of, and the role it played in your professional career?

As a true millennial with experience across various fields, pinpointing just one project as a highlight is difficult. However, I’m particularly proud of my work on “The Lonely Few,” a world premiere musical that represents my first foray into the genre. The scale of the project and its potential future on Broadway make it incredibly rewarding.

For “The Lonely Few,” I leveraged my expertise in contract management to navigate uncharted territory. Embarking on a musical for the first time, I explored unfamiliar territory, from hiring musicians and collaborating with their union to employing composers and sheet music writers. Researching and venturing into these new areas was not only exciting but also crucial to the project’s success.

Engaging with a passionate community that deeply values the work was immensely fulfilling. Providing support and witnessing the creation process firsthand was truly gratifying. The project’s current momentum is also exciting: it’s heading to MCC Theater in New York for another production, and with a little luck, it could eventually make its way to Broadway.

Picture a situation where you are hiring an entry-level arts administrator. How would you assess a candidate’s passion for the arts and their potential to grow within your organization, even if they lack extensive professional experience?

My interview process, regardless of the role, concludes with a unique question: I ask each candidate about their most recent favorite show, whether it’s a play, TV series, book, or any other form of entertainment. I’m not so interested in the title, but rather the reasons behind their choice.

This question invariably sparks fascinating discussions. Young arts administrators reveal their passions, pointing out specific aspects of a genre they admire, like the lighting, set design, or a compelling performance.

I firmly believe that genuine enthusiasm for the arts is impossible to mask. It transcends work experience and skill sets. I’m drawn to what ignites their joy and how they express it. This intrinsic quality is invaluable because it cannot be taught or learned. If it doesn’t exist during the interview, it’s unlikely to materialize later.

Addressing potential for growth is inherently tied to this passion. Those truly passionate possess an intrinsic drive to learn and evolve. They readily take on challenges and responsibilities, naturally progressing to the next level.

Ultimately, what I seek in young arts administrators is this passion for something. It isn’t a skill set, acquired knowledge, or a degree. It’s the fire that fuels creativity, dedication, and an unwavering commitment to the arts.

Personal values often align with one’s choice of career. Can you share a core value or belief that strongly resonates with your work in arts administration? How do you incorporate this value into your decision-making and leadership in the arts field?

As you know, theater is often lauded as a collaborative art form, where the success of a production hinges on the seamless interaction of diverse individuals. While collaboration may not be explicitly stated as a core value, it is inherently intertwined with the people-centric approach that forms the cornerstone of my own philosophy.

In all my endeavors, people remain at the heart of my focus. Whether it’s negotiating contracts that empower artists and engage them in the creative process, or ensuring institutions provide robust support for their artistic journeys, my actions are fueled by a genuine desire to empower and nurture the individuals who bring the magic of theater to life.

Therefore, my core value in arts administration is firmly rooted in the collaborative and people-centric principles that are the very lifeblood of artistic creation. It is through fostering a spirit of collaboration and prioritizing the well-being and success of the individuals involved that we can truly unlock the full potential of the arts and create experiences that resonate deeply with audiences.

Interview conducted by Arthur W. Stockham