New Play Development

Paul Meshejian challenges the idea that compensation in theater is something to be taken for granted. Instead, shouldn't we expect to not make much for our art?

W.M. Akers reviews Marie Antoinette at Soho Rep. What is to be gained by following the notorious queen past her glamour and into the hour of her death?

Dani Snyder-Young reviews Steven Simoncic’s Broken Fences at 16th Street Theater, and highlights the play's message... and how audiences have failed to recieve it.

Outside of Phoenix, the reading of Harvey Girls at Arizaon’s Performing Arts Center tackles the question of what, who and where is Arizona’s culture other than a "wasteland." 

The world has gone dark, and no one will ever watch The Simpsons again. This is where Anne Washburn begins Mr. Burns: a post-electric play.

Dani Snyder-Young reviews Janine Nabers' Annie Bosh is Missing at Steppenwolf Theatre Company.

As a young artist, it is inevitable that there will being learning curves including learning how to navigate new works and the delicate relationships of the new work process.

Taylor Gruenloh writes about the importance of producing your friends' work, and how it just might be the future of new play development in the United States.

With one actor playing to one audience member, Garret Jon Groenvelt sought to create a play that entices the audience member to interact with the material.

Alice Reagan, with the help of Chiori Miyagawa, explores the necessity of parting ways and coming back together through revamping the process of creating plays.

Courtney Sale offers an overview of the new play development conference, Write Now.

Brian Otaño explores the physical and metaphorical implications of what a reunion provides for us in our journey of being.

Chiori Miyagawa continues her series on her play I Came To Look for You on Tuesday. This edition: the concept of reunion and the help of friends.

For the next two Thursdays @HowlRound will be taking a summer break, but in the mean time post your topics in the comments section here that you want to talk about and/or possibly moderate for future conversations.

Adam Szymkowicz writes of the frustrating mystery confounding many playwrights: why do their productions continue to fall through?

Allison Vanousewrites about the premiere production of Adam Roberts' Giver of Light, an opera based on the life of the 13th-century Persian poet Rumi.

Stephen Spotswood found that self-dramaturgy can illuminate personal themes and motive deeper analysis of the purpose of the work.

Norman Allen shares insight into writing a play about Isadora Duncan's life in Bolshevik Russia through the eyes of her adopted daughter Irma.

Inspired by the Adele’s song for Skyfall, the artists of the new play By and By collaborated with the band The Kilbanes to reframe the experience for the audience members.

Vanessa Garcia shares an overview of working on a devised theatre piece.