When interviewing a local dramaturg and several Artistic Directors (ADs) about their process for selecting a theater season, I assumed the formula might go like this: a comedy, a musical, a classical piece, something tragic, and something almost edgy, but not quite controversial. What does Baltimore want? More importantly, what will people pay to see?

Center Stage’s dramaturg Gavin Witt jokingly refers to their play selection committee as the "Brain Trust." This five-member team asks four important questions. Have we done it, or anything like it? Does it excite and challenge our AD? Does it ask hard political or social questions? Is there a balance between potency and humor? Witt acknowledges that a devoted subscriber base affords Center Stage the financial stability to pursue a credible artistic range.

While Center Stage holds auditions as far away as L.A., Everyman Theatre maintains a high caliber resident company. "Truthfully, I loathe the selection process. So few factors are artistic," confides Everyman AD Vincent Lancisi. Lancisi reveals that company members' strengths have the most influence on the end result: "I believe that if you take everything else away, you can still have a strong performance with just two actors on stage."

Spotlighters’ AD Bob Russell also relies on artists in selecting their ambitious ten-show season. "You can’t always pick a hit. Sometimes great plays just aren’t enough." Russell turns to his directors. "When a director is passionate about a play, that energy affects every aspect of the production. If you select a play and then find a willing director, the results just aren’t the same."

In contrast to the more traditional theaters, the 14 Karat Cabaret is a "cultural laboratory" that offers experimental performances exploring new forms in sound and action. If it can’t be found anywhere else, hostess Laure Dragoul wants it! Scheduling is one of the most important factors for the curator of this "crazy quilt," as she attempts to slot lesser-known artists in with more popular cabaret stars.

Balanced somewhere between the Cabaret’s avant-garde stylings and Everyman’s dramas, Theatre Project connects audiences with a diverse range of music, dance and theater. AD Anne Fulwiler sees herself as "a curator that has an innate sense of what feels right in the space." She recruits high-level international professionals and places them alongside reputable touring or local companies. Theatre Project offers local talent resources at low prices, enabling performing troupes without a permanent venue to develop an audience base, while creating fringe performances that complement their main season.

So, far from uniformity, a range of theater is taking place here. Market demand influences every season, but that is the reality of our economy. Does anyone really want a Wal-Mart of theaters—a company that tries to be all things to all people? I’ve found an appreciation for the specialty shops, which pursue their own passions, and consequently, provide space for many preferences.