Playwriting

Playwright Rachel Bonds reflects on being a working artist since the birth of her son, and maps out tips for theatres working with other parent-artists.

Playwright Abraham Johnson reflects on the 2018 Lambda Emerging LGBTQ Voices Retreat, and the importance of supporting emerging Queer playwrights.

Playwright Caridad Svich reflects on the economic reality of working in theatre.

Yasmin Zacaria Mikhaiel talks about the importance of “good” criticism through the lens of Kristiana Rae Colón’s play Tilikum.

Leslie C. Lewis looks at how playwrights are working together and building community with Rough Draught Playwrights in Denver, Colorado.

Ishmael Hope (Tlingit) writes about why we need to support Native playwrights.

Playwright Lucas Rowley (Inupiaq) reflects on navigating expectations of Western theatre while also balancing his Inupiaq traditions and community responsibilities.

Vera Starbard (Tlingit/Dena’ina) introduces the series on Alaskan theatre through the lens of Alaska Native performance and storytelling.

Using three different plays—M. Butterfly, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and QPH—playwright Massi Monfiletto examines theatre’s revolutionary potential.

Writer and performer Rob Onorato explores what makes the Chicago Neo-Futurists so special.

Katherine Swimm discusses New Rep Theatre’s Boston production of Ripe Frenzy, and the innovative collaboration between playwright Jennifer Barclay and projection designer Jared Mezzocchi.

Regan Postma-Montaño reports on the 2018 Latinx Theatre Commons' Carnaval of New Latinx Work, which took place on 19-21 July in Chicago, Illinois.

Playwright and scholar Julie Taiwo Oni reflects on the experience of casting an actor with albinism for her play Chisel, and discusses why authentic casting is worth the work.

Playwright Lauren Gunderson offers other writers lessons on dramatic structure, building characters, and crafting a powerful ending.

Noe Montez interviews ensemble members from New York's Pregones Theatre on Dancing in My Cockroach Killers, which ran from 7 June to 1 July 2018 at the GALA Theatre in Washington, DC.

Lisa Portes' remarks from the opening of the Latinx Theatre Commons Carnaval of New Latinx Work in Chicago, Illinois. 

Heather Jeanne Denyer interviews Cameroonian playwright Edouard Elvis Bvouma about the country’s theatrical landscape, touching on topics like the low number of companies that regularly produce work, female artists in the field, and building public interest in the art form. / Dans cet entretien, Heather Jeanne Denyer discute avec le dramaturge camerounais Edouard Elvis Bvouma de la scène théâtrale dans son pays, en abordant des sujets tels que le manque de compagnies, la création par les femmes, ainsi que le développement et l’intérêt du public pour cet art.

Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

Amelia Parenteau explores the value of bringing theatre and the humanities into the medical field through the collaboration between Philadelphia’s Lantern Theater Company and the Sidney Kimmel Medical College.

Playwright Lauren M. Gunderson add to her video series "Why Theatre?" by discussing why theatre still matters in the age of filmed storytelling.

Emily Snyder encourages playwrights to write juicy, complex characters for people who have not historically been cast in leading roles.