Massachusetts

Playwright Melinda Lopez shares her experience buying tickets to see Hamilton, and addresses the cost of watching a Broadway show versus the cost of caring for her mother.

Anchuli Felicia King on the Second Stage production of Lydia R. Diamond’s Smart People in New York.

Sara Katzoff writes about Kickwheel Ensemble Theater’s creation of Passage, a physical theatre comedy. 

In this installment, Damon Krometis discusses the Boston premiere of An Octoroon by Branden Jacobs-Jenkins, and the ways this production positioned the audience as both spectators and participants.

Rebekah Bryer shares her theatre background and advocates an interdisciplinary approach to working in the field.

Artistic Directer Peter DuBois and Melinda Lopez express why their partnership has been both so natural and so successful.

Melissa Bergstrom and Kate Marple share their process of creating the documentary theatre piece Big Work.

Playwright Pat Gabridge describes the experience of seeing the same production of his play in Massachusetts and Maryland.

Charlotte Meehan and Adara Meyers sit down with playwrights Deborah Lake Fortson and Amy Merrill, director Robbie McCauley, and law enforcement and community stakeholders to talk about youth sex trafficking and The BODY & SOLD Project.

In this installment, Damon Krometis discusses Natasha, Pierre, and the Great Comet of 1812 and the relationship between watching and being watched for theatregoers.

Noe Montez kicks off a new Café Onda series with this post detailing how he had students in his Latina/o Theatre and Film class at Tufts University create Wikipedia pages for Latina/o theatre artists.

Producer Teresa Fisher details the season selection process for New Plays for Young Audiences at Provincetown Playhouse.

Peter Holm addresses the rise to prominence of club theatre and its suitability to the digital age.

HowlRound Senior Creative Producer Jamie Gahlon reveals the most-shared NewCrit pieces of the past year, and a few of her own favorites. 

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

Julie Hennrikus, Executive Director of StageSource in Boston, MA, writes about initiatives toward gender parity in New England.

Trip Venturella outlines a process for theatremakers to build their own theatres.

Critic Fabiana Cabral advocates the need for more accessible training for writing theatre criticism.