Directing

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.

Mncedisi Baldwin Shabangu writes about his career as an acclaimed actor and director in South Africa, and the decisions that led him to currently work exclusively in a rural village.

In this installment of his series on positive practices and principles for theatremakers, Phil Weaver-Stoesz discusses how directors can sometimes be the most effective managers by giving their collaborators space to work.  

Jayne Benjulian sits down with director and actor, and now, author, Jeff Zinn, to talk about acting and his new book The Existential Actor.

Meghan Healey breaks down what designers do.

Jody Christopherson shares the piece she has been devising about Clove Galilee—what it was like for her to grow up around Mabou Mines, and the legacy of women generating work.

Scholar Magda Romanska presents an overview of contemporary women directors in Poland.

In the last installation of the Native Voices series, Madeline Sayet explores how we can use story to build bridges between worlds.

Director Seth Barrish talks about the process of directing a solo show.

Yet after reading about staged readings and their role in play development, I hit a roadblock. I couldn’t come up with a definition that addressed every possible scenario. More vexingly, I couldn’t figure out how to negotiate concrete meanings for words like “minimal” and “basic” that are often used when discussing staged reading elements. Despite the many points of agreement found when looking at various discussions, there are too many differences in definition to develop a clear picture of what exactly a staged reading is or how it should look.

Director Will Davis shares his experience navigating theatre spaces as a queer person.

I offered to cut "Henry IV, Part One" down to ninety minutes, schedule two rehearsals and one performance, and find a part for anyone who wanted to participate. Eighteen actors jumped on board, and I was determined to not direct them in this play.

One of the stereotypes about the post-Grotowski Polish ensemble theaters is that their processes are rigidly closed and their rehearsal rooms are treated like devotional spaces. There is often a way through a more closed door, but you may have to put on your sweatpants.