New Play Development

Jamie Gahlon examines The New Play Map, and how it can help us rewrite the trajectory of new plays and new play development in the U.S.

This weeks Howl is going to be our attempt at an "idea hackathon" to brainstorm how the theatre community at large can share resources and infrastructure

David Copelin writes about being a dramaturg and a playwright, and the frustrations and gifts of self-critique.

Alex Barron on the challenge of finding leadership to make collectives like 13P work.

David Dower traces the landscape for playwright residencies in the American theatre, advocating the need for redefining what success looks like in these programs.

Deanna Downes on her experience assisting in the development of Party People, and the lessons she is carrying into her own work as a director.

Todd London on playwright Stephen Adly Guirgis.

Kimberly MacCormack writes about the idea that young playwrights don't just have something to say – they have the ability to speak to experiences they've yet to have through the art of voyeurism.

Maria Goyanes on the conscious imploding of 13P, death, endings, choice and the lessons to be learned from the closing of a curtian.

Adam Versenyi propses a national effort in the US to translate plays into English, and what this initation would look like

Playwright Jen Silverman interviews her friend and collaborater Lisa Henieman about her stillbirth, the collaboration they embarked on to tell Lisa’s story, and the lessons they leaned from that experince.

Introducing Barton Booth, a place for writer and collaborators to get noticed in the hopes of getting produced.

James J. Hodge examins our societys relation to the future through the lens of the new musical Futurity by the Lisps.

Andy Donald talks about Tuesdays@9, Naked Angels' iniative to welcome playwrights to a truly open submissions policy, where they can have a shot at getting their work produced.

Heather Violanti profiles Horse Trade Theater Group, a bold proposal for how to make theater more accessible to entry-level artists.

Playwright Kirsten Greenidge reflects on her impulses to rewrite, and how she learned to stay connected to her work.