Monthly Archives: April 2011

Casting Myself

Posted on April 27, 2011 by smiller

It wasn’t that I had always or ever longed to write a solo play for myself. It was simply that the thing I was working on had its own demands. I just did what was required.
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Theater, Twitter, and Revolution

Posted on April 24, 2011 by gsuilebhan

Malcolm Gladwell may believe the revolution will not be tweeted, but (with all due respect to a man I otherwise admire who I think missed the mark on that front) Twitter itself seems to be the revolution.
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Interview with Kent Thompson

Posted on April 20, 2011 by mlowe

My experience with new play development is you need to support writers with commissions and you need to have a commitment to producing new plays.
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The Value of the Slow

Posted on April 17, 2011 by jtobiessen

You pay graduate programs to give you the experience of being a successful playwright. The experience of being a struggling playwright you get for free.
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The New Black Fest

Posted on April 13, 2011 by kadkins

I believe this is truly one of the most exciting times in theater. Playwrights are actually sitting center stage with decision-makers talking about the relevancy of new play development, and, more important, the future of American theater. I, for one, believe this conversation couldn’t come at a better time. On
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Notes on Generosity in the Theater

Posted on April 10, 2011 by Polly Carl

As theater makers what are the threshold gifts we can give? How can we avoid becoming the “done-for dead?”
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Translating Laughter: A Cabaret from the Terezín Ghetto

Posted on April 6, 2011 by lpeschel

In a country where the use of humor in works about the Holocaust has been controversial (the reaction to the film Life Is Beautiful provides just one example), how would audiences react to humor in works from the Holocaust—in a cabaret written by prisoners themselves?
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The Tuedelband Plays On

Posted on April 3, 2011 by dwolf

The first time I walked into a theater, I knew it was where I wanted to spend my life. But I hadn’t ever had to grapple with the relationship between my legacy and my work as an artist. What would you do if your entire family history fell into your lap? How do you even make sense of that?
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