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Laura Lee Everett Selected as USITT Executive Director

Harry Johal

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Laura Lee Everett Selected as USITT Executive Director


Carolyn Satter, president of the United States Institute for Theatre Technology (USITT), today announced that LAURA LEE EVERETT has been named as the Executive Director of the association after an exhaustive nationwide search.

USITT was founded in 1960 as an organization to promote dialogue, research, and learning among practitioners of theatre design and technology. Now in its 63rd year, its approximately 4,000 members include those at all career levels in every state in the union. USITT is now the leader in lifelong learning opportunities for the entertainment design and technology industry. The Institute has consistently embraced and expanded to include new technologies being used in all live entertainment.  

“I am ecstatic that Laura Lee will be able to bring her extensive skill set to USITT to invigorate and grow the already impressive impact of the Institute,” said Satter. “I am confident, as is the Board of Directors, that her incredibly sharp tactical acumen and extensive industry knowledge will take USITT to unparalleled new heights.”

Everett is currently the Chief Programs Officer for OPERA America.

Joining OPERA America in 2012, she facilitated the creation and opening of the National Opera Center in New York City. She created the public programming series Onstage at the Opera Center and established the curating cycles for the production design galleries featuring the work of celebrated scenic, costume, lighting, projection, wig, and production designers’ work in opera. Additionally, she produced professional development programs at the National Opera Center to facilitate composers and librettists, singers and pianists, and leadership training for future leaders in non-profit arts administration. She produced all programming and content for the biannual New Works Forum, gatherings of up to 400 producers, presenters, creators and collaborators of new music. 

For OPERA America, she executive produced the Opera America Songbook (a collection of 50 commissioned songs for the opening of the National Opera Center) and Fierce Grace: Jeannette Rankin, a commissioned song cycle about the first U.S. congresswoman, written by an all-woman team of composers and librettists. In 2015, she launched the Women’s Opera Network and in 2022, produced the inaugural Awards for Digital Excellence in Opera, recognizing the best work created for digital platforms by artists and producers across the U.S. and Canada.

Everett spent 10 years as the managing director at the Maryland Opera Studio at the University of Maryland and eight seasons with the Aspen Opera Theater Center. In both positions, she cultivated support for programs developing new work, training the next generation of performers, directors, designers, and technicians, and giving students in the performing arts the essential opportunity to gain experience in classic repertoire and contemporary work. 

She spent more than 20 years of her career as a stage and production manager specializing in opera and in this capacity has overseen productions and worked with many of the leading companies across the U.S.

“I am thrilled to be joining the team at USITT,” said Everett. “The chance to lead an organization that means so much to the industry is an opportunity that I do not embark on lightly. I believe that the prospects for USITT are unlimited.”

Everett is no stranger to USITT, having been actively involved as a volunteer for a number of years, currently serving as Management Commissioner.

“I am confident that Laura Lee is the visionary thought-leader that we sought to create a robust future-proof organization that can achieve success at the next level,” said Satter. “Along with her copious industry knowledge is her fundraising expertise, which will be a critical component in advancing the Institute while basing all that we do on our bedrock Core Values of inclusion, excellence, and responsibility.”

As the program officer for all of OPERA America’s granting programs, annually funding more than $2 million for new work creation and development, innovation in programming and production, and civic practice initiatives, Everett was instrumental in the 2014 creation of the Opera Grants for Women Composers programs, awarding more than $1 million to 98 composers, and to companies producing their work. She was essential in cultivating the funding and creation of the 2019 and 2020 IDEA grant programs offering developmental grants for work and residencies by BIPOC composers and librettists.

“Having only returned to live event production in 2022, it feels quite right to introduce Laura Lee to the USITT membership at our Annual Conference & Stage Expo in St. Louis, which we had already styled ‘The Gateway to the Future,'” said Satter. “In bringing Laura Lee on board as our executive leader, I am convinced that we have solidified a very bright future for the Institute. I just could not be happier.”

Each year, the Institute produces its signature Annual Conference & Stage Expo, generally drawing more than 5,000 attendees and 300 exhibitors to a selected city. It is one of the most anticipated events of the year in live entertainment technology, production and design, drawing a robust cross-section of the industry to explore the rich and diverse educational offerings, job opportunities, and vendor products and services on display.

“I would be remiss if I did not thank the Executive Director Search Committee for their time and dedication to USITT,” noted Satter, “especially former USITT President Carl Lefko who graciously chaired the committee.”

Besides Lefko, other members of the search committee were Rich Dionne, Avery Evans, LT Gourzong, Jody Harris, Brent “Mickey” Henry, Joe Payne, Lea Ann Quimby, Jim Streeter, Whitney Winkels, and President Satter. The search was conducted in concert with Isaacson, Miller.

Satter also expressed her thanks to Institute Fellow and former President Lea Asbell-Swanger, who has served as Interim Executive Director since June 2022.

Everett will make her first address to USITT at the Annual Membership Meeting in St. Louis on March 15. Her tenure as USITT Executive Director begins on March 21, 2023.

A high-resolution version of Everett’s headshot can be downloaded at www.usitt.org/lle.

Source: USITT



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Editor's Choice

Bollywood Under the Influence: How Paid Media Distorts Reality

H Johal

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Balle Balle Radio Entertainment Desk

 

December 31, 2025

 

Bollywood Under the Influence: How Paid Media Distorts Reality

 

## Bollywood’s Battle for Authenticity: Unmasking Paid Media’s Influence

 

**Mumbai, India** – The dazzling world of Bollywood is facing a reckoning as concerns mount over the increasing reliance on paid media and fabricated publicity. Veteran journalists and industry insiders are sounding the alarm, warning that these practices are eroding the very foundation of authenticity upon which the Indian film industry was built. The shift, they say, is creating a distorted reality for both the stars and the audiences who adore them.

 

The core issue, according to a recent panel discussion among industry experts, centers on the curated image. Celebrities and studios are increasingly investing in paid channels to shape their public perception. This involves filling press events with paid attendees and strategically cultivated fan clubs, manufacturing an atmosphere of overwhelming adoration, as opposed to genuine engagement with critical media. One panelist bluntly stated this trend replaces authentic dialogue: “You want your applause, so you gather people like that.”

 

This calculated approach, the panel argued, directly undermines the role of traditional journalism. Critical analysis is being sidelined in favor of public relations-driven narratives. Audiences are left with a skewed understanding of films, talent, and overall quality. The rise of paid reviews, both positive and negative, further muddies the waters. This makes it exceedingly difficult for the public to distinguish between genuine opinions and strategically manufactured hype. A panelist revealed the open secret: “Positive reviews are paid for, negative reviews are paid for,” highlighting the pervasiveness of the issue.

 

Panelists pointed to examples such as Shah Rukh Khan’s pioneering use of lavish hotel halls reserved for fan clubs on his birthday. They argue that while such displays generate immediate validation, prioritizing them over genuine skill development ultimately harms the industry. One panelist warned, “You are killing yourselves with your own hands,” underscoring the long-term consequences of prioritizing image over substance.

 

The consensus among experts is clear: the over-reliance on paid media poses a significant threat to the long-term viability of Bollywood. By prioritizing image over artistic integrity and genuine storytelling, the industry risks losing touch with its audience. The challenge now is whether Bollywood can reclaim its authenticity and reconnect with the core values that once defined it, or if it will continue down a path of manufactured hype and distorted realities.

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Editor's Choice

Inside Bollywood’s Silence: The Real Reason Dhurandhar Isn’t Being Celebrated

H Johal

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Inside Bollywood’s Silence: The Real Reason Dhurandhar Isn’t Being Celebrated

 

In a season where Bollywood films are loudly pushed, praised, and plastered across every digital corner, the curious silence surrounding Dhurandhar has raised more questions than answers. Social media has been buzzing with talk of nepotism, PR politics, and manipulated corporate bookings. But industry insiders tell a very different story—one that has less to do with individuals, and everything to do with genre power, studio territory, and the fragile ego structure of Bollywood’s biggest players.

 

At the heart of the storm lies a simple fact: Dhurandhar is a spy thriller. Not just any thriller—the genre Bollywood unofficially considers the exclusive territory of Yash Raj Films. For over a decade, YRF has aggressively built its “Spy Universe,” treating it like a cinematic fortress. The studio’s identity, revenue expectations, and long-term franchise planning are deeply tied to the success of this genre. So when War 2—their highly anticipated blockbuster—released earlier this year and struggled at the box office, it didn’t just bruise egos; it shook the foundation of the Spy Universe itself.

 

Against this backdrop, the arrival of Dhurandhar became a complication no one at YRF wanted. Insiders insist the silence around it isn’t about actor rivalries or PR games. It’s far more strategic. Publicly celebrating another studio’s spy thriller—especially one gaining genuine praise—would inevitably weaken the narrative YRF is trying to rebuild with its upcoming film Alpha. Acknowledging Dhurandhar would mean accepting a new, strong competitor in the very space YRF claims as its own.

 

There’s also the added complexity of personalities. Industry veterans quietly acknowledge the friction between “Gangu” and certain YRF loyalists. Some believe that any hype around Dhurandhar will reflect indirectly on Ranveer Singh, an actor who has been caught in the crosshairs of shifting alliances and subtle jabs from prominent names. Even recent comments by Filmfare’s Jitesh Pillai, insiders say, were not random—they were part of the larger mood within the establishment.

 

What is particularly telling is that this silence cannot be explained by corporate bookings or inflated footfall numbers. Brahmāstra pioneered and benefitted from such tactics, yet it received full-throated celebration from every camp. The absence of similar support for Dhurandhar points clearly to the genre politics at play.

 

Behind-the-scenes tea also hints at larger ripples: whispers of Deepika Padukone stepping away from an Ayan Mukerji–Ranbir Kapoor project have surfaced, possibly tied to the tense undercurrents created by this power struggle. Whether these developments are temporary or signal a deeper fissure will become clearer in the coming months.

 

For now, what remains undeniable is the industry’s discomfort. Dhurandhar is being quietly acknowledged as a good film—good enough to challenge the supremacy of the Spy Universe itself. And in a world where brand territories matter more than merit, silence has become a weapon.

 

As Bollywood inches toward the release of Alpha, expect the temperature to rise, alliances to shift, and narratives to be aggressively shaped. Because in this battle, it isn’t actors fighting for acclaim—it’s studios fighting for genre dominance.

 

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