Exponential Festival Ushers in New Leadership, Prioritizes Artistic Feasibility in Brooklyn’s Experimental Theater Scene
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A vibrant cornerstone of New York City’s avant-garde performance landscape, the Exponential Festival, is preparing for its eleventh year, running January 3 through February 7, 2025, across various venues in Brooklyn. The festival, known for showcasing “real experimental theater,” is undergoing a leadership transition, with playwrights Nurit Chinn and Bailey Williams stepping into co-directorial roles.
The festival’s continued existence is particularly noteworthy given the shrinking landscape for experimental theater in the city. The change in leadership marks a significant moment for the festival, as it navigates a “baton pass” from founder Theresa Buchheister and long-time collaborator Nic Adams.
On December 7, a conversation between the incoming co-directors and Haruna Lee of The Rail revealed a pragmatic yet passionate approach to curating the festival’s future. The discussion, held over breakfast in Carroll Gardens, highlighted the importance of supporting artists’ visions within practical constraints.
A Collaborative Approach to Leadership
Williams acknowledged the inherent risk in bringing on co-directors who hadn’t previously worked together, stating, “I did not know you, Nurit, prior to us being asked to come on as co-directors, which is interesting and kind of risky actually to bring on two people who do not have a preexisting relationship to lead an organization.” Despite the unfamiliarity, both directors described the partnership as remarkably “intuitive.”
Chinn emphasized the foundational element of their collaboration: “The main requirement is caring a lot.” She further elaborated on her admiration for Williams’ work, noting a blend of “wild and adventurous” creativity coupled with “meticulousness and attention.”
Artistry and Production: A Symbiotic Relationship
Both Chinn and Williams bring extensive experience as playwrights to their new roles, and they believe this artistic background is crucial to the festival’s identity. “Something that I think works for all of us is that we’re artists,” Chinn asserted.
Williams underscored the value of artists engaging with the production side of theater, stating, “I really believe that artists should produce themselves at least once, if not for their whole careers, because I think it teaches you something really valuable about the way your work works.” She added that Exponential actively fosters this integration, allowing for “artistic freedom in the constraints of the stage.”
Prioritizing Feasibility Over Aesthetics
The incoming directors are keenly aware of the festival’s history and the legacy of Buchheister and Adams. However, their approach to curation is distinctly focused on practicality. Chinn explained that decisions are often driven by logistical considerations: “a lot of the decisions we make are practical, as opposed to aesthetic.”
This means evaluating whether a proposed project is “possible in the spaces we have” and whether artists have the resources to successfully realize their vision. Williams added, “To make sure we’re not setting someone up for failure.” This emphasis on feasibility represents a departure from theaters that prioritize a specific “aesthetic” or target “audience.” Instead, the Exponential Festival prioritizes supporting artists who can “make it work.”
The festival’s commitment to supporting artists’ visions, even within limitations, positions it as a vital incubator for experimental theater in New York City. As the festival enters its next chapter, the focus on practicality and collaboration promises to ensure its continued relevance and vibrancy.
