Recent Essays

Peter Nachtrieb talks to nine other Bay Area-based playwrights about their connection to where they live.

Donald Sanborn, III reports on the New York Musical Festival, discussing the landscape of original musicals.

Paco José Madden presents fifteen points for a play or other theatrical work to be considered feminist.

Playwright Carolyn Kras discusses The Subject Project, in which her period play, The Subject, serves as a tool for addressing sexual assault in both past and contemporary society and culture.

Matthew Sekellick argues that identifying as entrepreneurs is not merely a survival strategy, but a false consciousness that alienates us further from our fellow artists and artisans. As theater artists, what we have to do is … imagine a world outside the confines of the present: a world beyond the horizon of entrepreneurship.

Catherine Trieschmann considers how to talk to her children about the US presidential election results.

Mya Kagan announces a new project: the Future Is Female Festival.

Matthew Clinton Sekellick unpacks the crediting dispute over the Broadway production of Natasha, Pierre, and the Great Comet of 1812, and the implications for the relationship between non-profits and commercial producers.

A new play takes cues from funk music to explore bisexuality, biphobia, and polyamory in 1990s Brooklyn.

Catherine Castellani continues her exploration of what it means for a play to be considered “feminist.”