Recent Essays

In part two of their conversation, Vera Starbard and Pearl Cleage—playwrights-in-residence at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—talk about different cultural practices, the white gaze, moving away from anger, and more.

In part one of their conversation, playwrights Vera Starbard and Pearl Cleage talk about their respective residencies—at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—race and representation at their institutions, not writing for a white audience, and more.

Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to witness staged readings of six French Caribbean plays in English translation. / Amelia Parenteau parle du festival Actions Caribéennes Théâtrales (ACT), qui a rassemblé des francophones, francophiles et gens de théâtre de partout dans le monde pour assister aux lectures publiques de six pièces franco-caribéennes traduites en anglais.

Kristin Leahey, PhD explores the impact of the Colorado New Play Festival and its accompanying conference.

Loren Noveck discusses the Oregon Shakespeare Festival’s Play On! project, which commissioned thirty-six playwrights to translate the entire corpus of Shakespeare into contemporary modern English.

Matthew McMahan talks to playwright Herbert Siguenza about branching out as a solo writer after years as a member of Culture Clash, writing bilingual comedy, and more.

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Jamie Gahlon, director of HowlRound, reflects on the past year of conversations, convenings, livestreams, and more—all in the name of creating a more equitable, just, and progressive theatre field—and looks forward to 2020.

Amanda Shank, associate artistic director of California’s CalArts Center for New Performance, talks about bringing an international, cross-cultural collaboration to life with Warsaw’s STUDIO teatrgaleria.

Kate Busselle talks about the invisible emotional labor inherent to teaching theatre and how, while leading a six-week summer intensive, she was able to establish professional boundaries and delegate some of the labor.