For decades, André Bishop has been that rare bird in the American theater: a producer with a fixed address. First, and very happily, Bishop ran Playwrights Horizons, the seedbed for hot-from-the-typewriter American drama. In 1992, hugely to his surprise, he got shanghaied by Lincoln Center Theater, the nonprofit citadel whose crown jewel is that almost-in-the-round Broadway mainstay, the Vivian Beaumont Theater. If your idea of a Broadway producer is Max Bialystock or Leo Bloom in the Mel Brooks film or musical, you’re probably no further from the mark than most people. Ask Jerry Zaks, one of Bishop’s most-favored directors. No one outside the room knows what a director does, Zaks has said, which is to look after everybody in the moonshot that is a show. Who, though, looks after the director? That would be the producer, and per directorial royals like Susan Stroman, Bartlett Sher, and Jack O’Brien, the soft-spoken, laser-sharp Bishop ranks as the best of the best. In Bishop’s telling, his method is just to let his own taste be his guide. His hits span the theatrical spectrum, from Shakespeare (Henry IV, graced by Kevin Kline’s Falstaff straight off a Rembrandt canvas) and Stoppard (Arcadia, The Coast of Utopia) to Rodgers and Hammerstein (Carousel, South Pacific, The King and I) and Adam (Light In the Piazza, Floyd Collins) Guettel—not to forget Wendy Wasserstein’s epoch-defining The Sisters Rosensweig, Spaulding Gray, and some enchanted Monday evenings with the incomparable ex-ingénue Barbara Cook. Crowning LCT’s 40th-anniversary season, the Ruby Jubilee Gala honors Bishop’s reign as producing artistic director with a concert of musical moments reflecting the company’s whole dazzling gamut of achievement. Jason Danieley directs an all-star cavalcade of songsters including Christian Borle, Victoria Clark, Marc Kudisch, Nathan Lane, Kelli O’Hara, Andrew Rannells, Ted Sperling, Leslie Uggams, and many more. —Matthew Gurewitsch