NOTES FROM JEN ROWE

When I first moved to Portland in 2004, the theaters each had distinct mission statements that

clearly set them apart, creating niche offerings. One place focused on Greek theater, another on

Shakespeare, one only produced a single playwright each season, others specialized in modern

works, Jewish-inspired theater, traditional classics, new works, large-scale musicals, or regional

productions fresh off the New York stage. But now, it’s become difficult to find much variety

between well-resourced theater companies. When every theater is trying to program works that

cater to every community and interest, what truly distinguishes them from one another?

When I founded The Theatre Company, my goal was to prioritize community above all

else—over programming, even. Of course, I can’t help but strive for excellence in my art; many

would attest to my undeniably high standards. But when it came to producing and establishing a

nonprofit, I had to ask myself:
What sets my work apart as a professional nonprofit from the other professional theater companies?

My interest was in pursuing the thought:
How can I let the idea of community service take the lead in my choices as a producer.

As a freelance actor and director in Portland, I grew frustrated with the reliance on the insularity

of gala culture to fund programming. I became tired of hearing theater administrators complain

about high production costs and low ticket sales. What frustrated me most was the lack of

innovation in addressing these issues and the comfort that leaders found in clinging to outdated

methods, even when they weren’t working. I can’t operate that way—I find it shameful. If theater

teaches you anything, it’s that adaptability is everything.

Once I realized that Portland already offers the environments I need for my art, it became both

simple and incredibly inspiring to start curating spaces where stories could unfold without the

heavy burden of production costs or major transformations. Alongside that, for me, being of

service to the community means actively engaging with it—venturing into neighborhoods to

create a constellation of events, ensuring that no area is without access to a project.

As an artist, I delight in the ability to move around the different areas of Portland - and beyond -

to bring people together in their neighborhoods just as much as I enjoy being able to contribute

towards the financial health of the local business sector from an administrative perspective.

But what inevitably happens as a result of all this is even more exciting. Cross-pollination.

Because when people connect with the work you create, they’re willing to take the leap into

spaces they might not have explored before. They trust you to deliver an exceptional

experience—one that includes the unique magic of witnessing a live show in a new venue,

where the design seamlessly complements the aesthetic of the performance.

This gives my work an added educational dimension. Each project I’ve created has introduced

audience members to spaces they hadn’t previously known, the businesses operating within

them, and the entrepreneurs who are dedicated to ensuring their long-term success.

Ideally, audience members learn about the places we inhabit and simultaneously develop an

interest in their future. The future of the art gallery, the local business, the office space, the

music venue, the bakery, the climbing gym, the art studio, the cafe, the hostel, the ballroom, etc.

Going out into the community creates opportunities for me to build access points where theater

can be enjoyed and appreciated by new audiences. I can’t count how many times I’ve had

conversations with business owners and their clients, excited to host a professional

performance in their space. These conversations often start with their limited awareness that

professional theater even exists in Portland. That’s because the professional theater scene here

is mostly confined to a few venues in or near downtown, with high ticket prices and a tendency

to cater to audiences who already have a connection to traditional theater.

In practice, this democratization of professional theater has been personally invigorating. It’s the

key to helping me create from a place of true abundance. It deepens my appreciation for the

many individuals pouring their time and energy into making Portland a unique and vibrant

community. That enthusiasm now infuses every project I take on. Because I’m now constantly

gathering new recommendations for places to visit, learning the fascinating stories behind local

businesses, and discovering countless people dedicated to enriching the city.

This model takes me back to the ecosystem I first fell in love with when I moved to

Portland—one that nurtures a shared sense of mutual support, where neighbors help each

other's unique passions and pursuits flourish.

THE SERIES OF EVENTS THAT LEAD TO TODAY

June of 2019: Jen Rowe and Brandon Woolley founded The Theatre Company over drinks at The Solo Club

August of 2019: The Theatre Company sets out to make professional theatre in non-traditional spaces.

March of 2020: Inaugural production at Taborspace shut down one week from opening in anticipation of national lockdowns due to Coronavirus.

June of 2020: Pivoted to new works and new forms. Approached 6 local and national playwrights. Asked them to be part of a new project for TTC, The Playwright Initiative: Solo Works, a commissioning series of new work produced for film by a hybrid of theater and film artists.

September of 2020: Received the rights from Caryl Churchill and Jen Silverman to do environmental podcast recordings of originally planned first season. Recorded them safely in person at The Hallowed Halls and released THE MOORS and VINEGAR TOM in fall of 2020.

July of 2021: Released first film of PI:SW, THE BROKEN HEART SPREAD by Claire Willett, with Psychic Sister

August of 2021: Jen Rowe becomes sole Producing Artistic Director of TTC

September of 2021: Released second film of PI:SW, CAPAX INFINITI by DeLanna Studi, with The Center for Native Arts and Cultures

November of 2021: Invited community members to create short films at The Pickle Factory

April of 2022: Premiered Shorts at THE PICKLE FACTORY SERIES LIVE EVENT in partnership with
The Village Ballroom, Oregon Public House, Fused Creative, and Untapped Trivia.

May of 2022: First live show THE THIN PLACE by Lucas Hnath in partnership with KEX Portland.

Oct of 2022: Remount of THE THIN PLACE by Lucas Hnath at KEX Portland

Jan of 2023: Released 3rd film of PI:SW, THE CUT-UP by Yussef El Guindi, with Block 17 Apts

March 2023: Filming wrapped for the 4th piece in PI:SW, IMPROVEMENTS by Emily Gregory.

June of 2023: West Coast Premiere of live production CALIFORNIA by Trish Harnetiaux at ADX Portland,
originally commissioned and developed at Clubbed Thumb in NY.

October of 2023: Remount of West Coast Premiere of CALIFORNIA by Trish Harnetiaux at ADX Portland,
originally commissioned and developed at Clubbed Thumb in NY.

March of 2024: Double Feature of THE CUT-UP by Yussef El Guindi and IMPROVEMENTS by Emily Gregory
at Cinema 21 in NW Portland

August of 2024: Live full workshop of IMGONNAWANNA by Jen Rowe at the Siren Theater on Mississippi, North Portland

September of 2024: Demo of LIVE GAME the SHOW at Alberta Rose Theater, NE Portland

February 2025: IMGONNAWANNA tours to Los Angeles to perform at The Whitefire Theatre

February 2025: Screening of IMPROVEMENTS at the McMinneville short Film Festival

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Thank you to our founding Donors of 2019:

Additional 2020, 2021 Support and Funding provided by the following institutions: