Careers

Diane Brewer on the red tape surrounding educational opprotunites and the elitism it unintenionally creates.

Lindsay Price offers a meditation about working as a professional playwright for the school market.

P. Carl affirms our need to democratize the theatre field, in the battle to define what constitutes good art.

Melanie Joseph, the Artistic Director of the Foundry Theater, examines what it means to be an artist and an active citizen.

James Blazsko reflects on his time as an intern, and the major lesson that he learned: maybe it's not the prestige of the internship, but what you get out of it.

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

Todd Lincon reflects on the aftermath of the Mike Daisey scandal involving his one man show The Agony and the Ecstasy of Steve Jobs, and the resulting scandal.

Mat Smart muses on what it means to be a playwright living in Antartica.

Michelle Carter meditates on the value of validation and criticism to an artist.

Annah Feinberg offers insight on her experiences as an intern.

P. Carl ruminates on the comparison between an ER and a rehearsal room, and the lessons we can lean as theater makers from both.

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.

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.

I started feeling the need to scare myself into doing something different. Not to simply feel something new, but to feel something deeper.

For Catherine Trieschmann, parenthood interrupted her playwriting process by taking up time that used to be spent daydreaming.

Why is it that we who wish to write the next wave of American theatrical masterpieces are so desperate to get into grad school?

Martin Zimmerman, an American playwright, discusses the use of the word "professional" as used in the theater community, and asks wheather this is indeed the right term to describe having a level of expertise in the theatrical world.

Playwright Mat Smart calls on the "emerging" playwrights to shed defeatist attitutes and challenge each other in regards to new work.

Writer Julia Brownell speaks on the benefits of playwrights working in the world of television.

Anthony Werner confronts the issue that faces many a young playwright: the crushing demand to develop a brand, a “Barton Fink Feeling”.

Ronald McCants addresses the issues that disable up-and-coming playwrights in the Los Angeles theatre scene.