In this installation, Liane Tomasetti explores how tricky a first reading of a new site-specific play is, and how important it is to listen to all the community members involved.
Caridad De La Luz talks about her personal journey becoming Betsy, and the inspiration she has encountered in this play and in these mountains.
Lindsay Cummings looks at the issue of empathy in BETSY!, reexamining its definition, and argues that the play successfully acknowledges gaps and attempts to understand them.
Jonathan Bradshaw looks at the music of BETSY!, and how the banjo and cuatro—both distinct instruments in Mountain music—come together for the work of cultural engagement.
Stephani Etheridge Woodson explores why companies like Roadside and Pregones are underutilized resources, what they do for stories, and how they develop communities of abundance.
Elise Santora explores the women of BETSY!, her experience portraying so many of them, and the poetry with which she is now embracing her own story.
Ben Fink explores why the collaboration between Pregones and Roadside works, and what it could mean for the community he works with in southern New Jersey.
Patrick Gabridge gives a run down of the results of the New England New Play Alliance's study on new play development and attendance in the Greater Boston region.
Catherine Trieschmann tackles what happens when she leads storytelling exercises with her daughter’s Girl Scout troop, and almost all of them write about boyfriends.
Carlton Turner's address on the state of the arts in Mississipi from the Mississipi Performing Arts Summit, held February 15-16, 2015 in Jackson, MS.
In this first installment of his series, Jay Ruby outlines what spectacle-based drama is, and how it—and stilts—have become crucial to the performances his ensemble The Carpetbag Brigade makes.
Lia Romeo explains the advantages of being a playwright working in literary management, and how her job has improved her writing and other important skills.
Are you looking for some hands-on experience to continue your education? Are you interested in a bird's eye view of not-for-profit theatre? Consider becoming the next HowlRound Fellow!
Cecilia Copeland explores what her play R Culture brought up for her as a playwright, as well as what a play about “rape culture” means for her community at large.
HowlRound is thrilled to announce the addition of our new team member, Ramona Ostrowski!
In this last post in his series, Stephen Spotswood reports on the piece of theatre his students devised, and muses on its successes and everyone’s willingness to participate.
The Artistic and Education Director of Steppenwolf for Young Adults explores the choice to program This Is Modern Art and the ensuing public and critical debate in Chicago.
In the first post of his series, Seth Lepore looks at crowdfunding, how to keep it relevant, who is actually donating, and the kind of immediacy it provides.
In his last installment, Brendan McCall talks with Nicolai Khalezin, one of the founders of Belarus Free Theatre about art, exile, and if theatre has any impact on politics.
In this last installment of her series, Mikhael Tara Garver explores sight, memory, and what happened to her when a literal wall came down on her.