Directing

Director Cristy Andrea Altamirano seeks thoughts on an upcoming production of The Tempest.

Josh Platt reflects on Boston-based director Summer Williams’ interpretation of Bootycandy by Robert O’Hara, in light of her recent direction of An Octoroon by Branden Jacobs-Jenkins.

In this third installment, Victoria Masteller discusses her experience as Associate Director and examines how space informed the production of Love Sonnets.

In this first installment, Director Caitlin Bailey shares her directorial process for Love Sonnets: Things Women Say, a compilation of monologues for women written by Chuck Mee.

Arianna Soloway writes about her struggle to self-define as a director when she works full-time as a real estate agent.

Holly L. Derr deconstructs a new dynamic in her theatre department.

JD Caudill writes about his personal experiences navigating Chicago as an early career director, and asks how the field can better support such artists.

Olivia Rubino-Finn on the Broadway production of Arthur Miller’s A View from the Bridge, directed by Ivo van Hove. 

Monty Cole addresses ensembles who say they want to diversify, and his recent experience directing The Hairy Ape.

Andrew Bailes interviews director Monty Cole about his all-male, all-black production of Eugene O’Neill’s The Hairy Ape in Chicago, Illinois.

Translator Henning Bochert talks with playwright Andrea Stolowitz who was recently in residence in Berlin at the English Theatre Berlin.

Patrick Walsh discusses his work within the prison Two Rivers Correctional Facility and how it revived him and his commitment to theatre.

Andrew Bailes reviews Theater Oobleck’s production of There Is a Happiness That Morning Is by Mickle Maher.

In this installment, Dan Fine discusses his background in directing and offers suggestions for directors working with media designers.

Monciella Elder, director of Past Prime Players, answers some common questions about Senior Theatre.

In this fourth installment, Director Damon Krometis discusses the implications of spatial relationships between performers and audiences.

Chicago director Lavina Jadhwani follows up on her previous HowlRound article about color-conscious casting, discussing how to create a safe space while color-conscious directing.

Director Lisa Bohn discusses her experience collaborating with designers for a production of You’re a Good Man, Charlie Brown.

Are you born to be a theatre artist? A three-year study on theatre artists compares how this group stands out from the average population.

Emily Daly writes about being a Hyphenate—someone with multiple artistic identities.

Michael Lueger on Gordon Edelstein’s production of A Moon for the Misbegotten at the Williamstown Theatre Festival in Massachusetts.

Haven Theatre Artistic Director Josh Sobel describes the gap in opportunities he seeks to fill with the new program The Director’s Haven. 

Director Lucy Gram muses on the challenges and joys that come with being an emerging theatre artist.