Playwright Luis Alfaro on mental health, his playwriting process, and Vicodin.
Ash Nichols writes about stage managing Cornerstone Theater Company’s California: The Tempest and the connections made on the road.
Trevor Boffone interviews playwright Josefina López about CASA 0101, the theatre company she founded fifteen years ago, and how she’s become a leader in her community.
Ben Gassman discusses the LIT Fund’s grant lottery system and the concept of radical transparency.
In the second installment, Regina García profiles Costume Designer Courtney Flores, who discusses her working relationship with Campo Santo.
In an attempt to make it even easier for everyone to have their voice heard in the HowlRound journal, we’ve recently made some changes to the way we collect pitches.
Critic Fabiana Cabral advocates the need for more accessible training for writing theatre criticism.
Wier Harman writes about being part of the National Arts Strategies Chief Executive Program, and the “Organization as Citizen” project.
Jennifer S. Ponce de León interviews playwright Virginia Grise about her plays, her process, and her vision for the future of Latino/a theatre.
Matthew Gray interviews performer Kristolyn Lloyd about choosing ethics and principles over panic when building your career, the importance of shaping your own education, and developing new work.
Jonathan Mastro responds Don Aucoin’s recent Boston Globe article about audible audience responses.
In the third installment of his series, Damon Krometis explores how much agency to give audiences during an interactive performance.
In the third installment of her Sustainable Artistry series, Jess Pillmore discusses the importance of having a clear sense of identity, and how to make that happen.
David Dudley interviews Joan Schirle, Founding Artistic Director of Dell’Arte International, about their unique School of Physical Theatre.
Jonathan Mandell reflects on a recent experience at a Grateful Dead concert, and asks if theatres can adopt some similar strategies for audience engagement.
Playwright Catherine Trieschmann discusses tracking her writing output as her daughter tracks her reading.
Andrew Bailes encourages theatre artists to embrace sincerity in their work, rather than cynicism or irony.
Piper Anderson discusses the dual roles of diversity officers and advocates the need for leadership training.
Robert Moskowitz discusses the needs for and advantages of creating a local theatre cooperative.
In the fourth installment, Michael Lueger interviews Archivist Morgen Stevens-Garmon about the intersection of theatre and museum archives in her career.