New Play Development

Madilynn Garcia and Mahalia Dinglasan close out their series about The Cohen New Works Festival, sharing what they found and what questions still remain.

In the second installation of his series, Seth Lepore explores when an audience member gives feedback, even when it isn’t necessarily wanted.

The Latinx Theatre Commons Steering Committee invites you to attend Carnaval 2015, July 23-25 at the Theatre School at DePaul University in Chicago.

The twelve plays to be showcased at Carnaval 2015 are just the tip of the iceberg. The totality of the plays submitted for consideration represents the depth and breadth of artistic ambition within the Latina/o theatremaking community.

The author ruminates on two plays that recently concluded Off Broadway runs and their early development at the O’Neill Playwrights Conference. 

Madilynn Garcia and Mahalia Dinglasan continue in their sharing of The Cohen New Works Festival, explaining the use of specificity, context, and exploration.

The author on The Kitchen's production of The Evening by Richard Maxwell. 

Talleri McRae shares a conversation hosted by StageOne Family Theatre in Louisville, Kentucky about making theatre specific to a particular community.

In the first post of this mini-blog series, two students at the University of Texas at Austin share the excitement surrounding The Cohen New Works Festival.

Commons producer Jonathan Norton chats with Anne Bothwell about Stagger Lee: Making a Musical, a digital storytelling project tracking the development of Will Power’s new musical.

Andrew Saito explores what being a resident playwright has afforded his rewriting process as he works on Mount Misery, a world where Donald Rumsfeld and Frederick Douglass coexist.

In this installation, Liane Tomasetti explores how tricky a first reading of a new site-specific play is, and how important it is to listen to all the community members involved.

Patrick Gabridge gives a run down of the results of the New England New Play Alliance's study on new play development and attendance in the Greater Boston region. 

The Artistic and Education Director of Steppenwolf for Young Adults  explores the  choice to program This  Is Modern Art  and the ensuing public and critical debate in  Chicago. 

All the Lights On is a history of the Twin Cities’ theatre company Ten Thousand Things. Published by the Minnesota Historical Society Press in association with HowlRound.

Dreams on the open sea are part of a larger narrative as Natasha Lee Martin, an actress, director, and teacher, performs in Confessions of a Synesthetic Sailor at TheaterLab in New York City.

Martha Steketee explores the development and evolution of I'm Gonna Pray for You So Hard with playwright Halley Feiffer. The play spans five years and two opening nights, features substance abuse, plenty of familial debate, and one attempt at reconciliation.

Scena Theatre is small but ambitious, and in spite of its relatively low profile, it has thrived in Washington for twenty-seven years.  Founding artistic director Robert McNamara is tenaciously committed to bringing new work from around the world to D.C. audiences.

Enrique's Journey, directed and adapted by Anthony J. Garcia, is based on Pulitzer Prize-winning  book of the same name by Sonia Nazario. The third production of Enrique’s Journey took place at the LATC's Encuentro 2014, performed by Su Teatro.

Seth Rozin says let large theatres do what they do best—be large—and encourage playwrights to cultivate relationships with mid-size and small theatres.