Recent Essays

For Catherine Trieschmann, parenthood interrupted her playwriting process by taking up time that used to be spent daydreaming.

Playwright Anne García-Romero writes about the LoNyLa Writers Lab, which uses live video streaming to facilitate script development workshops for one play, in three cities.

David Dower, the Co- Artistic Director of ArtsEmerson, wrestles with the role of being a producer for a new play.

Sean Daniels dishes on the role of the associate artistic director, legendary poker player Marc Masterson, and being the sheriff/Interim Artistic Director of Actors Theatre Louisville.

Composer and Sound Designer Robert Kaplowitz writes about the tendency in mainstream American theater to focus on servicing and clarifing one single idea.

From social media posts from interns, to the "important stuff" institutional leaders handle, what in orgnizational culture needs to change, so aspiring and creative minds are not stifled by rigid hierarchies.

From Horton Hears a Who, Jeni Mahoney connects the world of Dr. Seuss' book to the theatre world, drawing a line from Jo-Jo and Whoville to playwrights and artists.

Marshall Botvinick traces the history of theatre’s connection to community and advocates that theatre artists and companies to go local.

Following up to a piece for the Brooklyn Rail on Gesamtkunstwerk, playwright Lydia Stryk contrasts the German practice with contemporary American theatricality and collaborative practices.

Following the 2011 Literary Managers and Dramaturgs of the Americas Conference, Aaron Malkin formulates how theatre artists can exceed “excellence” and make a commitment to “awesomeness”