Michael DeWhatley talks to several theatres, including Trinity Rep and the Guthrie, about how they define success and the benefits of a feedback process for talking about a show after the production is complete with artists and audience.

UK contributor verity healey looks at how Doorstep Arts is bringing access to the theatre arts to Torbay.

In this political moment, Genée Coreno considers the need for industry reform in the theatre.

Rosalind Grush discusses why salaries for many arts administrators are lower than they should be, and offers some solutions.

Sean Daniels writes about the successes and challenges of his first year as Artisitic Director of Merrimack Repertory Theatre. 

Michael Whatley writes about the importance of early-career staff members at large theatrical institutions.

An interview with Roberta Uno, director of Arts in a Changing America, by P. Carl.

The keynote address delivered by Todd London at the Association of Performing Arts Service Organization on April 6, 2016.

Lynn Mullin interviews Bonnie Vorenberg about her role with Senior Theatre Resource Center and her passion for working with seniors.

Thom Dunn makes a case for union protection for the marketers and fundraisers and other theatre administrators who all play important roles, working long hours for little pay or glory.

Piper Anderson discusses the dual roles of diversity officers and advocates the need for leadership training.

Seth Lepore discusses why artists and producers can’t depend purely on ticket sales for revenue, using one of his tours through the Midwest as an example. 

Seth Lepore lays out the pros and cons of fiscal sponsorship versus becoming a non-profit for small arts groups or individuals.

Elena Muslar offers her take on providing greater access to, creating more opportunities for, and showcasing arts administration as a viable career for people of color.

Carlton Turner's address on the state of the arts in Mississipi from the Mississipi Performing Arts Summit, held February 15-16, 2015 in Jackson, MS. 

Boston’s new Chief of Arts and Culture, Julie Burros, took time recently to talk with P. Carl about her new role and the significance of being chief.

Cape May Stage is a small Equity theater in Southern New Jersey—about as far south as you can go before your hat floats. Geographically, we are isolated from our colleagues in neighboring cities like New York, Philadelphia, and Washington, D.C. Yet, because our audiences routinely come from those places, we are forced to compete with larger theaters with larger budgets. That demands a creative solution.

The fall of communism in 1989 ledway to the democratisation of art. Ioana Tamas gives the breakdown of how arts management had to be developed to make this transition successful.

I have trust issues. This is an important realization for me, especially when I’m managing artistic and organizational development. So I’ve decided to dedicate this month’s blog to process my thoughts about how trust factors into my development of This Is Water Theatre.

Adara Meyers gives an overview of her artistic journey navigating as a producer and playwright. 

After working with Theater Mu for twenty-one years, Rick Shiomi reflects on the art of saying farewell. 

Clayton Lord shares insight on the value of diversifying theatre institutions.

P. Carl compares and constrasts the rhythms of institutions and artists.