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'''Bill Rauch''' (born 1962) is an American theatre director. He was named the inaugural artistic director of the [[Ronald O. Perelman Performing Arts Center]] (PACNYC) at the World Trade Center in 2018.<ref>{{Cite news|url=https://www.nytimes.com/2018/02/16/arts/world-trade-center-arts-space-gets-a-lease-and-a-leader.html|title=World Trade Center Arts Space Gets a Lease, and a Leader|last=Cooper|first=Michael|date=February 1, 2018|work=The New York Times|access-date=October 3, 2019|language=en-US|issn=0362-4331}}</ref> The Perelman was the final piece of the plan to revitalize the World Trade Center site.<ref>{{Cite news|url=https://www.nytimes.com/2019/07/11/arts/music/world-trade-center-arts-perelman.html|title=World Trade Center Arts Project Finds New President|last=Coleman|first=Nancy|date=July 1, 2019|work=The New York Times|access-date=October 3, 2019|language=en-US|issn=0362-4331}}</ref>

'''Bill Rauch''' (born 1962) is an American theatre director. He was named the inaugural artistic director of the [[Ronald O. Perelman Performing Arts Center]] (PACNYC) at the World Trade Center in 2018.<ref>{{Cite news|url=https://www.nytimes.com/2018/02/16/arts/world-trade-center-arts-space-gets-a-lease-and-a-leader.html|title=World Trade Center Arts Space Gets a Lease, and a Leader|last=Cooper|first=Michael|date=February 1, 2018|work=The New York Times|access-date=October 3, 2019|language=en-US|issn=0362-4331}}</ref> The Perelman was the final piece of the plan to revitalize the World Trade Center site.<ref>{{Cite news|url=https://www.nytimes.com/2019/07/11/arts/music/world-trade-center-arts-perelman.html|title=World Trade Center Arts Project Finds New President|last=Coleman|first=Nancy|date=July 1, 2019|work=The New York Times|access-date=October 3, 2019|language=en-US|issn=0362-4331}}</ref>



Previously, Rauch served as the fifth artistic director of the [[Oregon Shakespeare Festival]] (OSF), from June 2007 through August 2019, where he commissioned several critically acclaimed, diverse plays that transferred to Broadway including [[Lynn Nottage]]’s Pulitzer Prize-winning [[Sweat (play)|''Sweat'']], [[Paula Vogel]]’s [[Indecent (play)|''Indecent'']], [[Robert Schenkkan]]’s Tony Award-winning [[All the Way (play)|''All The Way'']], the Go Go's musical [[Head Over Heels (musical)|''Head Over Heels'']], and Robert Schenkkan's ''All The Way'' sequel, ''The Great Society.''

Previously, Rauch served as the fifth artistic director of the [[Oregon Shakespeare Festival]] (OSF), from June 2007 through August 2019, where he commissioned several critically acclaimed, diverse plays that transferred to Broadway including [[Lynn Nottage]]’s Pulitzer Prize-winning ''Sweat'', [[Paula Vogel]]’s ''Indecent,'' [[Robert Schenkkan]]’s Tony Award-winning ''[[All the Way (play)|All The Way]],'' the Go Go's musical [[Head Over Heels (musical)|''Head Over Heels'']], and Robert Schenkkan's ''[[All the Way (play)|All The Way]]'' sequel, ''The Great Society.''



Rauch is also the founder of the Cornerstone Theater Company, a traveling company that brought theatre to rural communities across the United States before settling in Los Angeles to work with urban communities. He has been an Associate Artist at [[Yale Repertory Theatre]] since 2002 and at [[South Coast Repertory]] since 2004. Rauch has been described as an "interpretive director," one who “believes in creating ‘dynamic… twenty-first century’ productions that are ‘mined’ for various points of view."<ref>{{cite book |last1=Ney |first1=Charles |title=Directing Shakespeare in America: Current Practices |date=2016 |publisher=Bloomsbury Arden Shakespeare |page=30}}</ref>

Rauch is also the founder of the Cornerstone Theater Company, a traveling company that brought theatre to rural communities across the United States before settling in Los Angeles to work with urban communities. He has been an Associate Artist at [[Yale Repertory Theatre]] since 2002 and at [[South Coast Repertory]] since 2004. Rauch has been described as an "interpretive director," one who “believes in creating ‘dynamic… twenty-first century’ productions that are ‘mined’ for various points of view."<ref>{{cite book |last1=Ney |first1=Charles |title=Directing Shakespeare in America: Current Practices |date=2016 |publisher=Bloomsbury Arden Shakespeare |page=30}}</ref>

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