Todd London's latest addition to his column, A Lover’s Guide to American Playwrights, is about his own personal resident playwright—Karen Hartman—and the “wilderness of mid-career.”
Airline Highway is about community. D’Amour focuses the play not on their pain, but on their joy and celebration of a life fully lived, using the “living funeral” as a landscape to highlight her nuanced characters and their complex relationships.
Activist and artist Yvette Heyliger shares her petition for new legislation mandating women artists receive equitable funding from nonprofit arts organizations and institutions.
David Copelin, self-identified member of the “cottontop demographic,” considers how his privilege might affect his artistic choices and his responsibility to that privilege.
Site-specific Theatre and the Politics of Public and Private Space
30 January 2015
In this installment, Kate Kremer discusses the difference between public and private space, and the kind of theatregoing experience one can have in situations with unfamiliar rules.
John Becker contemplates the difference between art and spectacle in today’s world, and is hopeful for artists to be noticed for their work, rather than a desire to be noticed.
Wendy MacLeod shares her experience at the Kenyon Playwrights Conference, a June intensive where students get to workshop their writing and learn from many people in the field.
Enrique's Journey, directed and adapted by Anthony J. Garcia, is based on Pulitzer Prize-winning book of the same name by Sonia Nazario. The third production of Enrique’s Journey took place at the LATC's Encuentro 2014, performed by Su Teatro.
A Perspective from a Regional Jewish Artistic Director
26 January 2015
Artistic director Diane Gilboa contemplates what could happen to Jewish theatre since the dismissal of Ari Roth, and shares her hopes for the field and colleagues.
