The Company


Tilted Windmills is a theatrical producing partnership between New York theatre veterans David Carpenter and John Arthur Pinckard. Our mission is to be a disruptive innovator at the intersection of the popular and performing arts.

We present work that is fresh, unexpected, and engaged with the current cultural moment to a wide range of consumers, from traditional theatre-goers to the millennial audiences of tomorrow. We apply this creative philosophy not only to our content but also to our business model.

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Our Team



David is a fifteen year Broadway veteran, with prominent involvements as producer and/or financier in Tony Award winning shows Clybourne Park, Matilda, War Horse, The Curious Incident of the Dog in the Nighttime, Billy Elliot, One Man Two Guvnors, All the Way, and American Idiot.

David most recently served as associate producer at Dede Harris Productions, supervising over $1 million in annual investments across multiple productions and spearheading the office's intellectual property acquisitions.

Prior, David was Head of Sales at DreamWorks Theatricals, overseeing single and group ticket sales to Shrek, the Musical, and reporting directly to Jeffrey Katzenberg. He has also served as Director of Sales & Marketing for Group Sales Box Office, Manager of Ticket Center Operations for the Broadway League, Sales and Marketing Associate for the national tours of 42nd Street, Urinetown, Blast!, and Peter Pan starring Cathy Rigby.

His independent productions include Have A Nice Life, winner of 6 NYMF Awards, and the sold out world premiere of But I'm A Cheerleader: the Musical, winner of the NYMF Audience Award.


John is a two-time Tony Award winning producer and inaugural recipient of the T Fellowship for Creative Producers. He was last represented on Broadway and on tour by the Tony, Drama Desk, and Outer Critics Circle Award winning best musical, A Gentleman's Guide to Love & Murder, which he helped develop. John’s other Broadway credits include Clybourne Park (Tony Award and Olivier Award for Best New Play, Pulitzer Prize for Drama), HAIR, Green Day’s American Idiot (Tony nomination) and Slava’s Snowshow on Broadway (Tony nomination). Off Broadway credits include Silence! the Musical (Lortel nomination), 5 Lesbians Eating A Quiche, and Never Swim Alone.

As an inaugural recipient of the T. Edward Hambleton Fellowship for creative producers, he was trained in the development of new musicals by Harold Prince, the most successful producer and director in Broadway history. John’s notable collaborators include Tony winners Greg Kotis & Mark Hollman (Urinetown), Drama Desk winner Ed Sylvanus Iskandar, international music sensations the Scissor Sisters, and renowned author Armistead Maupin, among others.

Prior to his work on Broadway, John worked in the risk department of the investment bank at J.P.MorganChase & Co. He is a frequent guest lecturer and speaker, with engagements including Columbia University, the Commercial Theater Institute, and the University of Florida, which named him an Outstanding Young Alumnus in 2009 and named him to the Alumni Advisory Council for the Arts in 2014.


Colin coproduced the original run of Puffs at The Peoples Improv Theater. He is currently one of its associate producers at New World Stages. Additional credits include SERIALS (The Flea), Kapow-i GoGo (The PIT), Stupid Face (The PIT), and being an associate producer on Our House in Concert (The Savoy, London, dir. Matthew Warchus).


Charlie joined Tilted Windmills after working with Nouveau Productions on various galas and concerts at Lincoln Center. He is currently producing a devised piece inspired by the Daedalus & Icarus myth. His play, This Way Front, was recently seen at Dixon Place, and his collaboration with Katie McGeorge, Simon vs. Garfunkel, ran at Puppet Playlist and Int'l Puppet NYC Fringe this summer.

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Live theatre is famously a high risk, high reward investment.

However, it can be far less risky than widely believed.

For example, it's widely quoted that only 10-20% of shows recoup their investment.
However, since the 2000-2001 season, 35% of all commercially produced shows broke even or turned a profit.

Prior to forming TWT, the partners had a combined success rate of 65% of their shows meeting or exceeding their projected financial goals.

They now apply their sophisticated risk management strategy to TWT's investments to ensure the best potential for maximum return.

Please contact us to learn more about our proprietary investment methodology and how you can participate in the opportunities ahead of us.

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