Is there space for hope in climate crisis theatre? What happens when teachers are just as terrified as their students? These questions and others reverberate through Emily K. Harrison’s reflection on the process and performance of an intergenerational, devised work exploring the (potential) collapse of the Anthropocene.
The leadership team of Pink Fang reflects on the company’s renaming and new directions at the end of a three-year transition period that began with the retirement of Ping Chong and Bruce Allardice.
It only took ten days for ODIN HOME to upend Melvin Ningyao Yen’s approach to making theatre. They detail what they learned at Odin Teatret and the tools they took home that gave them a new way to start.
In Florida, state and local arts funding has become the site of an ideological battle. Zachary Rivera discusses the impact of these funding cuts—and the work of Floridian theatremakers who know that art is precious enough to fight for.
This month’s diarist is a playwright and director with a teenage son. He’s juggling a full-time job and all sorts of appointments, yet he somehow finds time to finish writing his play.
HowlRound is officially launching Learning Circles! Ashley Malafronte introduces the program and shares learnings from its pilot phase, including reminders to center presence, intentionality, and action.
Berkeley Shakespeare Company’s site-responsive The Tempest took over the Point Montara Lighthouse Youth Hostel. Nicole Gluckstern explores the ways the location informed production elements and created a communal experience for actors and audiences.
Clown Gym applies the openness and responsiveness of clowning to its organizational structure. In this instructional guide, Michael Amendola explores Julia Proctor’s efforts to build a brave, inclusive, and joyful performance community.
Playwright Enid Brain explores the artistic and political potential of the closet drama as an alternative to restrictive new play development processes.
Amid flareups of anti-immigrant sentiment in South Africa, The Last Country offers a much-needed platform for migrant voices. Tonderai Chiyindiko discusses the production, its origins in oral history data, and the conversations it generates.
