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  • Where Broadway At?: Meditations On the Closing of the Tupac Musical. Idris Goodwin
    Is a successful jukebox musical featuring rap music possible? I think it’s inevitable, but not without a certain amount of consideration towards rap’s unique and specific position in the music sphere. Also, I am doubtful of its ability to be successful using the same formulas of other more successful jukebox musicals.
  • A Borderless Future Luis Alfaro
    It has been fifteen years since I have gone to a TCG conference. I always liked them, but for this playwright of color, they were always lonely affairs. This used to be a conference mostly for artistic directors (missing in woefully obvious numbers this year) and staff from theaters. One could count the artists and people of color on one hand back then... What happened?
  • Protecting, Distributing, and Monetizing Your Work Online Sean Patrick Flahaven
    The #RightsWeek Series on HowlRound: What is the state of intellectual property? What are the rights of theatre artists and new work? In this series, Samuel French, Inc. asked four professionals in the theater industry to share their thoughts on this subject. (Please note that the presented opinions are those of the author, and do not necessarily represent those of Samuel French.)
  • Welcome to #RightsWeek: Identifying & Sharing Intellectual Property Amy Rose Marsh
    Our community needs to come together for a broader discussion on the rights of playwrights and theatermakers. #RightsWeek: Identifying & Sharing Your Intellectual Property will be a week of articles and panels that examine a variety of topics surrounding the creation and ownership of work. We’ll be exploring issues surrounding the ownership and licensing of devised work; new, digital models of publishing; rights and ownership between collaborators and developers of new plays; and how piracy has changed in the age of online sharing.
  • Cino Nights: Raw, Scrappy, and Full of Possibility Daniel Talbott
    I believe that theater at its heart is a peasant’s art form. It’s an art form of the dirt, the ocean, fire, air, and animals. It grows out of the elements and the very active nature of life, as well as the hearts, imaginations, and even magic of the group of folks who are coming together and making it. It’s universal. And when it’s at its best, theater is free in the most perfect and truest sense of the word, no matter how much or how little was spent on it.
  • Carlos Murillo and Henning Bochert: Playwright, Text, and Director in US Theater Carlos Murillo, Henning Bochert
    I attempt as best as I can to embed the way I “hear” the language in the way it’s shaped on the page. In my experience with the plays, it seems to have the counterintuitive effect of liberating the actor. In a sense, by writing this way, I provide a “score”—a clear progression of thought that gives the actors some solid foundation on which to hang their hat, and more readily dive into a different, deeper kind of exploration.
  • Women, Leadership, and Parity: Interview with Julie Crosby Polly Carl, Julie Crosby
    With all of the conversations about gender parity, I have been thinking a lot about women and leadership and the particular problems that pertain to women at the top. Then I heard news of Julie Crosby’s departure from Women’s Project Theater under a cloak of secrecy and rumors. It felt important to me in this moment of heightened awareness of the role of women in our profession, and amidst the swirling gossip around what happened, to hear from Julie about her work over the last nine years. And so I asked Julie Crosby if she would sit down with me and talk about leadership and gender parity and Women’s Project Theater in the hope of bringing to light the person and her thoughts about these important issues.
  • Bloodlines/Song Lines Caridad Svich
    Writing for the theater is an act of resistance. It is also an act of folly, daring, and one that asks of its makers and emancipated spectators alike to consider potentialities of being beyond the quotidian and sometimes, yes, beyond nation and state. Making theater is a spiritual endeavor. Its religion is not organized, but rather assembled from kinships with theater tribes across time.
  • Queer Narratives in Theater for Young Audiences: A Call to Action Gabriel Jason Dean, Lindsay Amer
    The aim of this article is not to point fingers. Though we were both angry at being censored, the director of the Purple Crayon Players production, Lindsay Amer, and I decided to catalyze the incident as an opportunity to have a public conversation both for our own development as artists and as a hopeful contribution to the field of Theater for Young Audiences (TYA). We hope this ignites a broader discussion about the popular and problematic phrase “risky play,” how we can address homophobia in our field, and how we can ally together to be more inclusive of and to generate new stories with queer characters, narratives and perspectives.
  • The Kilroys Were Here: Moving Female Playwrights into Production Joy Meads, Carla Ching, Annah Feinberg, Kelly Miller, Polly Carl
    On June 11, 2014, The Kilroys, an independent Los Angeles-based advocacy group of female playwrights and producers, released THE LIST, the results of the first annual industry survey of excellent new plays by female-identified playwrights nominated by 127 industry representatives. THE LIST is intended as a tool for producers committed to ending the systemic underrepresentation of female voices in the American theater. A few days ago, I had a chance to sit down with four of the Kilroys—Joy Meads, Carla Ching, Annah Feinberg, and Kelly Miller—to talk about how THE LIST was generated and responses since it was released.

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