Recent Essays

P.Carl, a founder of HowlRound highlights some quotes from articles published in the first year of HowlRound.

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

Erika Chong Shuch, a dancer, choreographer, director and theater maker dishes on the seeds of her passion for performance, her creative process, and her experiences collaborating with other artists.

Theatre should stop serving the function of making money, for which it has never been and never will be suited, and start serving the revelation and shaping of the process of living, for which it is uniquely suited, for which it, indeed, exists.

Lead Producer Stephanie Ybarra writes about her role in creating We Play for the Gods, with Women's Project Theater and the group's process.

This is a transcipt of Claudia Atkin's "catalyst speaker” speech she delivered on August 14, 2011 for NET’s National Ensemble Summit 2011: Rowdy, Radical, and Relevant!, using musical accopmiment.

Like farmers who rotate crops to ensure that the soil contains a variety of nutrients, if I only direct, then my only perspective will be the director’s perspective.

P. Carl on the decline of public discourse and the relationship between artists, institutions, and the percieved Haves and Have-Nots.

I am a director. I am a playwright. It has taken me many years of hard work to come to appreciate what each of those professions require and to experience them both independently and combined.

Richard Nelson, author of the Apple Family cycle, is interviwed by Aaron Malkin about the imputus and process behind the latest play in the cycle, Sweet and Sad.