Yes, I write wishes for what I hope other people will do in the new year, instead of resolutions for myself. Anyway, here are 10:

…that Center Theatre Group returns to its tradition of generating exciting new theater. OK, the current Palestine, New Mexico is hardly an auspicious indicator of CTG’s prowess in that department. Behind the scenes, however, CTG now appears to be building a model that somewhat resembles the theater-nurturing system that was created by former artistic director Gordon Davidson – and then mostly dismantled by current artistic director Michael Ritchie.

CTG has a new, three-year, $1 million grant from the Andrew W. Mellon Foundation for the creation of “non-text-based work.”  Its DouglasPlus series offers readings and workshops of new plays. A Writers’ Workshop salon allows writers to interview experts on the subjects of their in-progress projects.

True, there is no sign that the ethnic-specific and disabled-specific programs of the past will be revived. And none of this new activity has yet reached the status of regular productions for the public – but that’s probably only a matter of time. For CTG’s official word about these programs, go here.

I especially hope to see the documentary musical about the L.A. porn industry that’s being developed by the Civilians (best known here for This Beautiful City) and the new musical-in-development Los Otros, also set in Southern California. A full production of just one of these would multiply the amount of CTG’s recent work that relates directly to the company’s home base.

Although CTG calls itself “L.A.’s Theatre Company,” the closest its regular programming got to indigenous L.A. content in the last two seasons were The Little Dog Laughed in 2008 and Frost/Nixon in 2009 – in other words, not very close at all. So far, none of CTG’s regular programming in 2010 is set in L.A., although the new Randy Newman musical Harps and Angels might qualify – it will at least offer “I Love L.A.”

But that’s not enough even by the standards of CTG’s own “artistic vision” statement on its web site, and I quote: “The organization is committed to producing theatre that reflects and informs our own community. We hope to attract new audiences to our theatres through stories inspired on our own streets as well as through plays that transport our audiences lifetimes away.”

Here’s another line worth quoting, from a famous screenplay: “There are eight million stories in the Naked City.” Let’s hope that we’ll soon see a few of them in CTG productions about our own Naked City.

…that Center Theatre Group also returns to its more recent plan to give other companies chances to move their smaller, L.A.-generated shows to the Kirk Douglas. This was the consolation that Ritchie offered when he axed most of the Davidson-era play-development programs, mentioned above. As a result, smaller productions of Permanent Collection and Dogeaters were re-assembled and appeared at the Douglas in 2006 and 2007. Ritchie later collaborated with East West or Deaf West in three productions at the Taper and the Douglas, even though those shows never played in smaller venues. Nothing like any of this has been announced for 2010.

…that someone in L.A. produces Rolin Jones’ The Intelligent Design of Jenny Chow, which triumphantly premiered at South Coast Repertory in 2003 and went on to great acclaim elsewhere. Why hasn’t it been produced in the county where it’s set?

…that Geffen Playhouse finds another gem in the L.A. smaller-theater world as rewarding as Louie & Keely Live From the Sahara. Plucked from Sacred Fools and the Matrix, the musical spent much of 2009 at the Geffen. Let’s see more of this kind of cross-community-building. Speaking of which, here’s a related wish:

…that Broad Stage in Santa Monica also shops for shows from existing L.A. theater companies. For more on this, see this earlier edition of LA Stage Watch.

…that the Pasadena Playhouse justifies its slogan “Leading the Way in L.A. Theatre” with some truly groundbreaking theater. 2009 was an undistinguished year at the playhouse, from most critical vantage points – although Pasadena, like the Geffen, deserves cross-community-building credit for co-producing Crowns with the new Ebony Rep. In 2010, Pasadena will stage two premieres after three revivals, and $200,000 in grants will fund the Hothouse at the Playhouse readings series. Will any of this “lead the way”? Might some of the edgy energy of the newly-Equity-contracted Furious Theatre Company, occupants of the playhouse’s second space, infiltrate the mainstage occasionally?  I’m not sure if either company wants it at this point, but the possibility intrigues.

…that L.A.‘s middle tier of theaters continues to grow – especially the dozen-plus companies that regularly use Equity contracts in midsize or smaller venues. May they garner more awareness and respect from the theater community and more support from audiences. For more of my thoughts on this subject, go here .

…that A Noise Within raises enough money to build and open its larger new theater in east Pasadena – and that it offers as much intimacy as ANW’s current home.

…that Latino Theater Company comes closer to fulfilling its initial pledge of presenting 150 performances per year in each of the Los Angeles Theatre Center venues.

…that Ben Bradley rests in peace. The Fountain Theatre director and audience development director, who was murdered last week, was directing the West Coast premiere of The Ballad of Emmett Till for a February premiere. May the production survive as a fitting way to remember his gentlemanly spirit.