Recent Essays

Tamilla Woodard, co–artistic director of Working Theater in New York, talks about why she makes theatre and offers several “what if” thoughts about how the field should move forward.

Earlier this year, Mark Valdez, hungering for public discourse around the future of the American theatre field, prompted three arts leaders with the question, “What is our purpose now?” This piece kicks off the series of responses.

HowlRound’s cultural strategist, Vijay Mathew, offers a part two to his guide on how to produce a livestream, this time focusing on the commons-based OBS Studio.

Michael Rohd shares an edited version of a recent talk he gave at the Clarke Forum, Dickinson College, on the role of art and artists today.

Carrie Klewin Lawrence and Amy Clare Tasker have a conversation about devising online, if that’s considered “theatre” or not, audience participation, and more.

Dr. Ayshia E. Stephenson revisits the 2016 Signature Theatre production of The Death of the Last Black Man in the Whole Entire World, which she believes stands as a testament to why Black theatre matters and is essential to resisting white supremacy.

Sophia Skiles talks about the momentum of unprecedented acclaim and agency for Asian American Pacific Islander (AAPI) theatremakers this spring, which quickly transformed into an inverse rise of AAPI-directed bigotry and bias for the global pandemic.

Jean Tarbox discusses Wesleyan University’s Zoom adaptation of The Method Gun as a radical invention that invited audiences to see and interpret reality on a deeper, more perceptual basis.