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Douglas C. Wager
Douglas C. Wager currently serves as Artistic Director and Head of Directing for Temple University. He came to Philadelphia in 2003 to serve as Director in Residence for the Prince Music Theater where he staged It Ain't Nothin' But the Blues; the world premiere of The Great Ostrovsky by Cy Coleman and Avery Corman, for which he received his first Barrymore Award Nomination for outstanding direction of a musical; and the world premiere of Gemini, the Musical, by Albert Innaurato and Charles Gilbert.
Prior to that, he spent several years in Los Angeles working in film and television after spending more than twenty years as a resident director and producer with the renowned Arena Stage in Washington, DC. Mr. Wager served as Arena's Artistic Director for seven seasons, from 1991 to 1998. While in residence at Arena, he was involved in producing over two hundred productions, beginning his distinguished career there as an intern in 1974. During his tenure, he directed over fifty plays in the main season, ranging from large-scale musicals to classics and new plays, world and American premieres, and he produced over sixty productions as Artistic Director.
For Temple University, he has staged Alan Ayckbourn's Taking Steps and Tom Stoppard's On the Razzle, and the Philadelphia premiere of Stephen Adly Guirgis' Our Lady of 121st Street. In the fall of 2007, he adapted and directed the highly acclaimed world premiere of In Conflict, based on the book by Yvonne Latty. The play has subsequently toured to the KCACTF American College Theater Festival, The Long Wharf Theater, and The Edinburgh Fringe. In Conflict will have its New York Off Broadway premiere in the fall of 2008 at The Culture Project.
Samuel French Titles by Douglas C. Wager
- Shining The Light: How One Teacher Brought The Ghostlight Project To His High School
- A Musical Classic Gets a Bold New Staging in San Antonio
- Beautiful: The Multi-Generational Draw of HEATHERS THE MUSICAL
- Transgender Characters, in Their Own Words
- True and False: Harold Pinter’s HOMECOMING in a Post-Factual World
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