Harriet Leve - Career

Career

Leve is currently a producer of the long-running New York and touring productions of Stomp, and the critically acclaimed large format motion picture Pulse: A Stomp Odyssey.

Leve is also producing a new one-woman show celebrating the life and accomplishments of former Texas governor Ann Richards. The play, entitled Ann, is written and performed by Emmy Award-winning actress Holland Taylor. Ann opened on Broadway at Lincoln Center on March 7, 2013.

With the Raise the Roof partnerships, Leve is now co-producing Nice Work If You Can Get It, a new musical featuring some of George and Ira Gershwin's most beloved songs. The show, which opened on Broadway in April 2012, stars Matthew Broderick and Jessie Mueller. Previously with Raise the Roof, Leve has co-produced several Broadway shows including The Mountaintop starring Samuel L. Jackson as Dr. Martin Luther King Jr., Superior Donuts by Tracy Letts, Stephen Sondheim’s A Little Night Music starring Catherine Zeta-Jones and Angela Lansbury, the La Cage Aux Folles Tony Award winning production starring Kelsey Grammer and its subsequent national tour, and Burn the Floor (Broadway and national tour).

Leve is also co-producing the War Horse National Tour that kicked off at the Ahmanson Theater in Los Angeles in June 2012.

Additional productions include: The Broadway and Toronto productions of War Horse; Theresa Rebeck's Dead Accounts starring Katie Holmes and Norbert Leo Butz; the Broadway production of One Man, Two Guvnors; Alfred Hitchcock's The 39 Steps; the Broadway production of Coram Boy; Martin McDonagh's The Lieutenant of Inishmore; the Broadway and national tour productions of Eve Ensler's The Good Body; August Wilson's Ma Rainey's Black Bottom starring Whoopi Goldberg and Charles Dutton; Arthur Miller's The Crucible starring Liam Neeson and Laura Linney; Hedda Gabler starring Kate Burton; The Diary of Anne Frank starring Natalie Portman and Linda Lavin; Twilight: Los Angeles, 1992, written and performed by Anna Deavere Smith; and the Olivier Award winning production of Kat and the Kings.

Off-Broadway productions include: Beebo Brinker Chronicles; Sherry Glaser's Family Secrets; Shockheaded Peter; Eve Ensler's Necessary Targets; Alan Ayckbourn’s Communicating Doors starring Mary-Louise Parker; and Alan Zweibel’s BUNNY BUNNY Gilda Radner: A Sort of Romantic Comedy.

In Las Vegas, Leve co-produced STOMP OUT LOUD at the Planet Hollywood Hotel and Casino.

Her Los Angeles productions include Larry Kramer’s The Normal Heart starring Richard Dreyfuss, Kathy Bates, and Bruce Davison; Wendy Wasserstein’s Isn’t it Romantic; Sam Shepard’s Curse of the Starving Class; the original production of Sherry Glaser’s Family Secrets; Dinah Manoff’s Telegram from Heaven starring Renee Taylor; Mark Rothman’s Excess Baggage starring Larry Miller; and Claire Chafee’s Why We Have a Body.

Leve was Director of Development for Tony Bill Film Productions and taught film workshops at the American Film Institute in Los Angeles. She is a member of the Broadway League. Leve was on the Board of Directors of New York Stage and Film for four years.

Read more about this topic:  Harriet Leve

Famous quotes containing the word career:

    Work-family conflicts—the trade-offs of your money or your life, your job or your child—would not be forced upon women with such sanguine disregard if men experienced the same career stalls caused by the-buck-stops-here responsibility for children.
    Letty Cottin Pogrebin (20th century)

    What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.
    Arlie Hochschild (20th century)

    I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.
    Ruth Behar (b. 1956)