At the time of Lindsay's offer, the theatre had not produced a play in over four years; it had virtually no operating capital, little ability to generate it, and no community of artists to energize the stages.
Mosher launched an innovative production schedule and revolutionized marketing efforts, discarding the traditional subscriber arrangement to seek a younger, less affluent, and more diverse audience.
These efforts, supported by a remarkable board and staff, and a freshly enthused giving community, quickly sparked theatrical life; the company's two houses were soon filled, and annual income rose within two years to nearly $45 million.
While many of the creators (such as Julie Taymor) were at that time relatively unknown in New York, others were legendary; Lincoln Center and Goodman audiences saw new work from Samuel Beckett, Tennessee Williams, Arthur Miller, Leonard Bernstein, Jerome Robbins, Elaine May, Stephen Sondheim and eventual Nobel prize-winners Wole Soyinka and Derek Walcott.
Among the most celebrated of Mosher's productions were John Guare’s Six Degrees of Separation, David Rabe’s Hurlyburly (starring William Hurt, Sigourney Weaver, Harvey Keitel and Christopher Walken, directed by Mike Nichols); the South African township musical Sarafina!, Mike Nichols' version of Waiting for Godot, James Joyce's The Dead (Tony Award for author Richard Nelson), numerous Spalding Gray premieres (including Swimming to Cambodia and Monster in a Box), David Mamet's Speed-the-Plow, John Leguizamo’s Freak, Anything Goes, the long delayed world premiere of Zora Neale Hurston and Langston Hughes’s Mulebone, and the widely acclaimed revival of Our Town, for which Mosher won his second Tony Award.
[citation needed] Lincoln Center Theater productions were adapted into a dozen feature films, presented in cast recordings, and on television for NBC and PBS.
In 2015, he traveled with a young company to perform Sophocles' "Antigone" in schools, community centers, and a juvenile prison in Nairobi and the Cape Town and Johannesburg townships.
[4] During the NEA "decency" debate of the early 1990s, Mosher, with the support of John Lindsay, was one of a very small group of arts administrators to decline the Endowment's annual grant.
[citation needed] Since its inception the Initiative has developed programs to enliven the arts on campus and to link the university's intellectual mission to New York's cultural life.