Recent Essays

From Horton Hears a Who, Jeni Mahoney connects the world of Dr. Seuss' book to the theatre world, drawing a line from Jo-Jo and Whoville to playwrights and artists.

Marshall Botvinick traces the history of theatre’s connection to community and advocates that theatre artists and companies to go local.

Following up to a piece for the Brooklyn Rail on Gesamtkunstwerk, playwright Lydia Stryk contrasts the German practice with contemporary American theatricality and collaborative practices.

Following the 2011 Literary Managers and Dramaturgs of the Americas Conference, Aaron Malkin formulates how theatre artists can exceed “excellence” and make a commitment to “awesomeness”

Deborah Stein breaks down her experience in collaborative theatre settings to its specific characteristics, revealing the agony and ecstasy of creating in an ensemble.

Playwright Gwydion Suilebhan discovered that his insomia created oppertunity to get writing done, but as his schedule changes he wonders how his writing will be affected.

Todd London's series of tributes to American playwrights continues.

Playwright John Olive looks at what theatre for young audiences (TYA) can learn from video games.

Dramaturg Julie Felise Dubiner, rewrites all of America's constitutional amendments for the world of new play development.

Dissecting his playwriting process and the self-criticism that goes with it, Chuck O'Connor offers the "Gartner Hype Cycle" as an antidote for creative angst.