Teaching Performing Arts During the Pandemic
A Playwright’s Guide to Self-Producing: Part I
Artists In a Time of Global Pandemic (ASL & Captioned)
Livestreaming Coping with COVID: Livestreaming for Artists
This is a repository of written content, sorted by most recent to oldest. Enjoy!
Writing for the Moon (and other adventures in object theater)
Puppetry is the bastard nephew of so-called legitimate theater. Yet puppetry stubbornly persists, even flourishes, in our digital age as an intentionally Luddite approach to an emphatically live art.
A Lover's Guide to American Playwrights
Todd London celebrates the vast scope of Julie Taymor's body of work which draws on influences from all over the world.
Interview with Marissa Chibas
Daniel Alexander Jones interviews Marissa Chibas, an actor and writer, on the need for aesthetic diversity on contemporary American stages.
Playwright Max "Bunny" Sparber attributes his playwrighting style to artists throughout history who use misbehaviors to captivate their audience.
Interview with Hal Brooks
Adam Szymkowicz interviews director Hal Brooks about his process and aspirations as a director.
Zombies Limping in Circles, or An Argument for a Taxonomy of NPD Technique
Aaron Carter and Erik Ramsey suggest a taxonomy for new play development techniques to serve as a reference for playwrights and developers to avoid the "zombification" of new plays.
Susan Miller speaks on the collision of the playwright's personal and the public, and the beauty found in performing these stories themselves.
Theater, Twitter, and Revolution
"All the hand-wringing about tweeting in the theatre is really nothing more than a distraction from the far more important, positive, and legitimate ways in which Twitter is changing our art form."
Interview with Kent Thompson
Michele Lowe interviews Kent Thompson, Producing Artistic Director of the Denver Center for the Performing Arts, about his mission to cultivate lasting relationships between playwrights and audiences.
The Value of the Slow
"I was used to having a play produced every year and I assumed that the next production would come easily. I wasn’t expecting the lull that followed."