Gregory Mosher, director of the current Broadway revival of Arthur Miller's “A View from the Bridge” (Tony Award winner for Anything Goes and Our Town), talks about how he initiated the production himself, personally approached Liev Schreiber and Scarlett Johansson about appearing in it, then brought the project to a producer after 17 years away from directing on Broadway. Mosher also discusses his journey through three institutions of higher education, including the acting program at The Juilliard School -- all without once graduating; his failed efforts post-college to even get unpaid employment in New York or at the country's major regional theatres; his migration to Chicago, where as assistant to William Woodman at The Goodman Theatre, he did everything from casting to producing their Stage 2 season; his ascension to artistic director and the challenges he faced securing the rights to new plays at a time when Chicago theatre wasn't yet "on the map"; his working relationship with David Mamet on the original production of “American Buffalo” and other plays -- as well as the one Mamet play he rejected and how that turned out; his tenure as artistic director of the new regime at Lincoln Center Theater beginning in 1985, including his early pilgrimage to meet with Peter Brook to understand how to make the Beaumont stage "work" and the LCT show that proved most surprising and rewarding in its success; what prompted his departure from LCT in the early 90s; his unsuccessful attempt to revitalize Circle-in-the-Square in 1997 and the 1998 season that was planned but never produced; and his leadership of the Columbia University Arts Initiative, how that program came to be and how to measure its success five years in.