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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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Mirzapur: The Movie Day 1 — Rs. 29.70 Crore Gross Beats Projections, But Weekend Hold Is the Real Verdict

H Johal

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Mirzapur: The Movie Day 1 — Rs. 29.70 Crore Gross Beats Projections, But Weekend Hold Is the Real Verdict

Mirzapur: The Movie Day 1 — Rs. 29.70 Crore Gross Beats Projections, But Weekend Hold Is the Real Verdict

MassMasala — Studio CarryOnHarry Trade Desk

Here is the contradiction worth sitting with: a film with no conventional Bollywood superstar, no Rs. 200 crore vanity production, and a cast built entirely of character actors — Pankaj Tripathi, Ali Fazal, Ravi Kishan, Divyendu Sharma, Jitendra Kumar, Abhishek Banerjee — has just opened bigger than most marquee productions of 2026. Mirzapur: The Movie grossed Rs. 29.70 crore on Day 1, beating industry projections that were already pegged at Rs. 25-26 crore. You cannot manipulate a hall. And on Friday, the halls were telling a clear story.

The ground signals were there before release. Advance booking opened with a bang — the kind of unsolicited, early fan-driven booking that is the clearest organic indicator in the pre-release phase. That advance converted cleanly into opening day footfalls. Gross of Rs. 29.70 crore against a strong advance is not corporate booking doing rounds — that is fandom activated and physically present. Compare this to Awarapan 2, the last crime franchise to test this theatrical turf, which Mirzapur: The Movie has already outrun on Day 1 alone. That is a benchmark worth taking seriously.

The context here is genre migration — and it is significant. Mirzapur built its cult on OTT, across two seasons, in living rooms and on phone screens at midnight. The question the entire trade was asking: will that OTT fandom pay Rs. 250-350 for a theatre ticket? Day 1 says yes. This is not a small thing. It confirms that when a franchise has genuine emotional ownership with its audience, the migration from streaming to theatrical is achievable.

But here is where MassMasala will not give false comfort. Day 1 belongs to the converted fan. The theatrical audience is small and deliberate — roughly 4-5 crore people in India who still choose to go to cinemas. Saturday and Sunday will tell us whether word-of-mouth is spreading beyond the fandom into general audience. If Mirzapur: The Movie holds 80-90% on Day 2, the film has real legs and a Rs. 80+ crore nett run is on the table. If it drops sharply, Day 1 was a one-time event, not a sustained theatrical hit. Box office is brutal, and box office does not lie. Gurmmeet Singh ki film ne ISI mark ke liye avedan diya hai — approval agle 48 ghante mein milegi.Editor’s VerdictOpening day numbers for an ensemble crime film — no Khan, no Kumar, no Kapoor in the billing — crossing Rs. 29 crore tells you something the industry has been reluctant to say clearly: character actors with genuine audience investment are now a commercial proposition, not just a critical one. What Mirzapur has done here is prove that emotional ownership of a franchise travels further than a single star’s opening weekend pull. That said, Day 1 is written by believers. The harder test is always Day 2 onward, when the casual cinemagoer decides whether word-of-mouth earns their ticket money. OTT-to-theatrical migration at this scale is rare enough to deserve attention, but the sustainability question remains open. A franchise built in living rooms now needs to justify the multiplex premium repeatedly — not just once.

Beyond the headlines, the real disruption here isn’t the numbers; it’s the quiet proof that in 2026, a story can be the star.Studio Ki RayeOTT-to-theatrical migration ka yeh sabse clean case study hai jo Bollywood ne recently dekha hai — aur iska asli lesson star power ke baare mein nahi, IP ownership ke baare mein hai. Jab audience kisi franchise ke characters se genuinely connected hoti hai, toh woh ticket window tak jaati hai — chahe koi Khan ho ya na ho. Lekin jo cheez trade miss kar rahi hai woh yeh hai: Day 1 ka Rs. 29.70 crore essentially ek pre-sold fanbase tha. Asli experiment Saturday se shuru hota hai. Agar general audience — jo Mirzapur kabhi nahi dekha — word-of-mouth par hall mein aati hai, tab yeh model replicable hai. Agar nahi aati, toh yeh ek loyal cult ki ek-baar ki celebration thi, sustainable theatrical franchise nahi. Doono results important hain — ek alag-alag reasons se.

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The OTT Gatekeepers Said No. Then ₹61 Crore Said Otherwise.

H Johal

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The OTT Gatekeepers Said No. Then ₹61 Crore Said Otherwise.

The OTT Gatekeepers Said No. Then ₹61 Crore Said Otherwise.

Studio CarryOnHarry Entertainment Desk | 5 September 2026

From Boardroom Rejection to Box Office Triumph

Not every blockbuster begins with a standing ovation. For Vishal Chaturvedi, the journey behind Hanuman Ansh — a spiritual drama inspired by the life and legacy of revered saint Neem Karoli Baba — started with a door firmly shut in his face.

The director has now opened up about a painful pitch meeting with an OTT platform, where executives reportedly used language he described as outright derogatory in dismissing his project. Despite the sting of those words, Chaturvedi pressed on — and the audience has since delivered its own resounding verdict.

₹61 Crore and Counting: The Numbers Tell the Story

Hanuman Ansh has quietly become one of the more remarkable box office stories of the year. After a slow opening, the film gradually found its footing and crossed the ₹61 crore mark within 27 days of release — a testament to strong word-of-mouth and the loyal devotion of audiences drawn to its spiritual subject matter.

Verified reports indicate the film has continued to build momentum, with some tracking sources suggesting the total could climb even further. For a modestly budgeted production rooted in faith and folklore, that trajectory is extraordinary.

The Film and Its Cast

Running at a substantial 2 hours 30 minutes, Hanuman Ansh features lead performances from Shobhinaw Satyaa and Vihaan Shedge, with Chandan Anand also noted among the principal cast in verified reports. The film leans into its devotional tone without compromise — a creative gamble that clearly paid off.

Why Rejection Is Part of the Filmmaker’s Journey

Chaturvedi was careful not to frame his experience as unique. He acknowledged that rejection is a routine part of any filmmaker’s life — but stressed that the manner of this particular rejection crossed a line. His candour has struck a chord with many in the industry.

  • OTT platform rejected the Hanuman Ansh pitch using what director called ‘derogatory’ language
  • Film went on to earn ₹61 crore in 27 days despite a slow theatrical start
  • Stars Shobhinaw Satyaa, Vihaan Shedge, and Chandan Anand
  • Runtime: 2 hours 30 minutes
  • Subject: Life and teachings of Neem Karoli Baba

What This Means for Indie and Spiritual Cinema

Stories like Hanuman Ansh’s journey are increasingly shaping the conversation around what kinds of films deserve a chance. For the latest in Bollywood’s top stories, the rise of faith-driven narratives at the box office is a trend worth watching closely.

Across the broader landscape, outlets providing entertainment industry coverage have noted a growing appetite among Indian audiences for films rooted in spirituality and cultural heritage — a space that mainstream OTT gatekeepers may be underestimating.

Studio CarryOnHarry Perspective

Hanuman Ansh is proof that passion projects built on conviction can outlast boardroom scepticism. The OTT platform that dismissed Vishal Chaturvedi’s vision with dismissive language now watches from the sidelines as audiences vote with their wallets. This is a wake-up call for streaming decision-makers who overlook India’s deep spiritual storytelling tradition. At Studio CarryOnHarry, we believe the gatekeepers need to listen more carefully — because clearly, the audience already knows what it wants.

– Entertainment Desk, Studio Carry On Harry

Background & Timeline

Hanuman Ansh is a devotional drama centred on the life and teachings of Neem Karoli Baba, one of India’s most beloved spiritual figures. Directed by Vishal Chaturvedi and starring Shobhinaw Satyaa and Vihaan Shedge, the film entered cinemas without significant fanfare but steadily built an audience through grassroots word-of-mouth. By day 27 of its theatrical run, it had accumulated ₹61 crore at the box office — a remarkable turnaround from its modest opening. The director’s revelation about an OTT platform’s dismissive rejection has added a compelling behind-the-scenes chapter to its underdog story.

Studio CarryOnHarry Perspective

At Studio CarryOnHarry, the Hanuman Ansh story resonates deeply. When an OTT platform dismisses a filmmaker’s sincere vision with disrespect, and audiences then deliver a ₹61 crore rebuke at the multiplex, it says something profound about where India’s cultural heart truly lies. Vishal Chaturvedi’s perseverance is a lesson for every creative who has faced a closed door. The gatekeepers may control the platforms — but they do not control the people. And in Bollywood, the people always have the final word.

What’s Next?

Watch for Hanuman Ansh’s final box office total as it continues its theatrical run — verified tracking suggests it may climb well beyond ₹61 crore. Director Vishal Chaturvedi’s comments about OTT gatekeeping are also likely to spark wider industry debate, with more filmmakers potentially coming forward to share similar experiences in the weeks ahead.

Editor’s Verdict

There is something quietly powerful about a filmmaker who absorbs a humiliating rejection and channels it into conviction rather than bitterness. Vishal Chaturvedi’s account matters not because rejection itself is unusual — every filmmaker has a drawer full of those — but because the manner of it reportedly crossed into contempt. That contempt, directed at a story rooted in devotion and Indian spiritual heritage, reveals a cultural blind spot that some OTT gatekeepers still haven’t corrected. Sixty-one crore rupees in 27 days, built almost entirely on word-of-mouth, is the market’s unambiguous reply. Faith-based cinema in India isn’t niche sentiment — it’s an underserved mainstream. Beyond the headlines, the real danger for streaming platforms isn’t backing the wrong film; it’s consistently misreading the room on what millions of ordinary Indians actually hold sacred.

Studio Ki Raye

OTT platforms ka yeh wala blind spot ab baar baar expose ho raha hai — aur Hanuman Ansh sirf latest example hai. Asli baat yeh nahi ki ek film reject hui; asli baat yeh hai ki algorithm-driven acquisition teams devotional aur spiritual content ka audience size consistently underestimate karti hain. Baahubali se leke The Kashmir Files tak, yeh pattern repeat hota raha hai — gatekeepers miss karte hain, aur phir scramble karte hain rights ke liye. ₹61 crore ka slow-burn collection actually zyada meaningful hai ek opening-weekend spike se, kyunki yeh genuine word-of-mouth hai, manufactured hype nahi. Streaming platforms ko yeh samajhna hoga ki India ka faith economy sirf Tier-1 urban audience tak nahi rukti — aur jo boardroom mein “niche” dikhta hai, woh aksar multiplex mein mass hota hai.


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