Recent Essays

A Good Death examines how those who might be termed “professionals” of death matters (hospice care workers) strive to make the unthinkable into something good.

The day after the opening, I get an email from a lawyer friend who says: “Okay, Pearl, you’re the expert. Explain the second act of that play we saw last night.” I sigh and put on the coffee. My hands hover over the keys. I’m not sure what to say or how to say it. Not sure where to find the intersection of honest critique, institutional loyalty and sisterhood solidarity, I plunge in, hoping for the best.

If you have an idea for a topic or if you want to moderate the discussion, contact us on Twitter @HowlRound or post a comment here. Our next Howl will be on Thursday, December 5 at 11am PST/ 1pm CST/ 2pm EST/ 19:00 GMT.

Ira Gamerman offers his insight and a strategy to becoming a successful playwright.  

Meron Langsner compares his knowledge of the sports combat and stage combat to better articulate the purposes of stage combat.  

Adam Burnett and Jud Knudsen imagine a world without arts funding and wonder: could that actually be the impetus we need to rethink how and why we make theater?

I have trust issues. This is an important realization for me, especially when I’m managing artistic and organizational development. So I’ve decided to dedicate this month’s blog to process my thoughts about how trust factors into my development of This Is Water Theatre.

Allison Vanouse writes about Pere Ubu, and how their experimental rock channels the ghost of Ubu Roi.

This initial conversation between Artistic Director Jack Reuler and Playwright-in-Residence Aditi Brennan Kapil examines the artistic case for a theatre in Minneapolis to charge no admission, program ambitious new work that stretches its aesthetics, capacity, and resources, and perhaps more importantly, why this matters?

Matt McGeachy writes about To Russia with (Gay) Love, and how artists can find solidarity in the struggles of those from which they are isolated.