Recent Essays

Harvey Young writes about his experiences in graduate school and how the relationships he formed there trumped the academics in many ways - professional and personal.

Caleb Winebrenner shares why he believes the Libertarian voice is important in theatre. 

California Shakespeare Theater, under the direction of Jonathan Moscone, has changed route from classic work to new work that explores the diverse culture and artistry of the Golden State.

Elliot B. Quick examines what it means to be a dramaturg, and what role the MFA has in determining those definitions.

This week's topic is: How do current social and political events impact our role as artists? and will be moderated by Dominic D'Andrea @DominicDAndrea and Gus Schulenburg @GusSchulenburg.

Emily Mendelsohn shares insight into her experience directing Cooking Oil written by Deborah Asiimwe in Uganda.

Daniel Jones examines the critical reception of Rapture, Blister, Burn, and invites us to look more closely about how the gender of the critic effects the fate of the new play.

We need to stop asking to find space for artists of color and instead give them the space. This starts by looking at what plays we are and are not presenting.

The Canadian premiere of Sarah Ruhl’s Passion Play, which probes faith, brought together a group of strangers for an immersive four hour play resulting in the possible confirmation of faith in community.

Julie Felise Dubliner writes about her experience as a dramaturg, and examines the role of the MFA in the world of literary management.