His title is executive producer of Pittsburgh CLO, but Van Kaplan might just as well be called CEO of CLO Inc.

The heart of the business is the six-show summer season at the Benedum Center, but CLO Inc. extends to a year-round cabaret theater, a performing arts school, a construction center that builds sets for other companies, and the management of shared investments in new works in development, in pre-Broadway production, on Broadway and on tour, with interests overseas as well.

The business is so complex you might forget what's at the heart of it, but this summer, with no "enormous project to launch" (as he anticipates in 2009 or 2010; no specifics given), Kaplan gets to do what he says he loves but can rarely fit into his schedule: direct one of the CLO's six shows, the season-ending "West Side Story" (Aug. 5-17). He's working with choreographer Mark Esposito, who also did CLO productions of "Guys and Dolls" and "She Loves Me," the other shows Kaplan has had time to direct in his 11 seasons at the helm.

Putting together the six-show summer seasons is No. 1. Asked what most excites him this year, he picks "Annie Get Your Gun" (July 22-Aug. 3) and especially its star, Jenn Colella, whom he calls "unbelievable -- it's going to be a joy."

As to "West Side Story," he chose to direct it because "I just love the story. It's moving, passionate and timely," and although a lot of the creativity is in the dance, the show is also centered in the scene work, the director's focus.

But even as he talks about the creative challenge, Kaplan's focus shifts to producing, explaining that there's about to be a big "West Side Story" revival on Broadway and the CLO has to keep one step ahead, because that could tie up the rights for years. Similarly, he has managed to do productions of "The Pajama Game" and "South Pacific," among others, just before Broadway revivals shut down the rights.

He's also excited about the combination of the evergreen Cathy Rigby and Tom Hewitt in "Peter Pan" (June 21-July 2) with Glenn Casale, who directed the last Broadway revival. For continuing drama backstage, there's "Mame" (July 8-13), for which there's still no star, although the excellent Donna Lynne Champlin ("one of the funniest people in the world") will play Gooch.

"Smokey Joe's Cafe" (July 5-20) is currently leading the single-ticket sales pack, along with "West Side Story" and "Peter Pan."

As to the season-opening "The Color Purple" (June 3-15), its Broadway success further enhances the CLO, which has been one of its investors from the beginning -- which is why it arrives in the CLO season, not the PNC Broadway series.

"We're in a lot of things," Kaplan says of CLO's investments. The key is to diversify and multiply the bets. The industry in general needs new works. But it also helps to be seen as a player on the national stage. In funding new works, the CLO nurtures relationships with other producers as well as artists. "The more we can do globally," Kaplan says, "the more talent we can bring here, by being a player in the industry."

CLO has at least four ways to invest in new shows and tours. One is CLO New Works, sometimes running developmental workshops in collaboration with Carnegie Mellon. In this sector have been "Copacabana," "Casper" and "Dr. Dolittle," shows that didn't make the hoped-for impact but are still earning royalties. Others in the pipeline include "Time After Time," "Letters From 'Nam" and "The Mystery of the Dancing Princesses."

Through Five Cent Productions, a partnership with the Pittsburgh Cultural Trust and arts centers in four other cities, the CLO backs Elephant Eye Theatricals, led by Disney veteran Stuart Oken and producer Michael Leavitt, which in just over two years has generated such promising shows as "The Addams Family," "Bruce Lee: Journey to the West" and "Saved," adapted from the teen movie set in a fundamentalist high school.

With about 40 others, CLO is also part of the Independent Producers Network, which had a hand in such financial successes as "Color Purple," "Spamalot" and "Thoroughly Modern Millie," as well as Broadway shows whose eventual profitability is still to be proven. Those include "Curtains," "Legally Blonde," "Bombay Dreams" and the Def West "Big River," plus Broadway-bound "9 to 5" and some of the CLO new works listed above.

CLO also has participated in other Broadway shows (e.g. "Flower Drum Song") and has been a partner or co-producer on a number of tours, including "Parade," "Wizard of Oz," "Camelot" and, as lead producer, "Joseph ... Dreamcoat."

It adds up to a substantial business for CEO Kaplan to manage.

The CLO's criteria for investment include the work's suitability for a Pittsburgh audience, the business it might bring its construction center and its value to the art form. But first off, it should be good: "I see a lot of shows," to discover what matches the CLO criteria, Kaplan says. "I actually see the shows we're thinking of investing in, unlike a lot of producers. I see a lot."

For example, last year he was in San Diego maybe five times, to see work premiered at the Globe or La Jolla. Mention almost anyone in the business and Kaplan has a tale of their connection through one project or another -- more proof that Pittsburgh CLO is a player.