Not-For-Profit Theatre and Commercial Theatre

Following the success of The Wolves, Helen Schultz looks at why are there so few dramas about teenage girls on stage and compiles a short list of plays about teenage girls by women playwrights.

Matthew Clinton Sekellick discusses moving beyond awareness with action, advocating for theatre artists and administrators to join forces with existing social justice movements.

A collectively authored essay by leading artists, academics, and theatre advocates about Paula Vogel’s Indecent and Lynn Nottage’s Sweat on Broadway amid a conversation about critical bias toward women playwrights and playwrights of color.

Matthew Clinton Sekellick unpacks the crediting dispute over the Broadway production of Natasha, Pierre, and the Great Comet of 1812, and the implications for the relationship between non-profits and commercial producers.

Thom Dunn makes a case for union protection for the marketers and fundraisers and other theatre administrators who all play important roles, working long hours for little pay or glory.

Manuel Betancourt on the development journey of Tony-winning Broadway musical Fun Home by Lisa Kron and Jeanine Tesori.

Aaron Hunt on new musical development in Chicago, Illinois.

Jonathan Mandell on  the intersection of not-for-profit and commercial  theatre, and how to  affordably see  Broadway's best  of 2015. 

In the last couple of seasons I’ve become aware of a ticket scheme already practiced by some of our larger regional theaters, and currently under consideration at some where my plays are produced. And this practice goes by a very catchy and newfangled name. It’s being called “dynamic pricing.” But it’s not a new practice. It’s actually quite old, and has a more familiar name. It’s called "scalping".

Allison Vanouse writes about Disney Theatrical Enterprise's approach to theatermaking, and how high art and children's theater meet in their regional theater collaboration: The Jungle Book.

Jonathan Mandell writes about the inclusion of off-Broadway theaters in the Regional Theater Tony Award, and why we should end the rhetoric of us vs. New York.

Daniel Burmester reflects on "In the Intersection" and the call for more artists who are looking at the big picture of the American theatre – not just from production to production.

Todd London shares why prioritizing the ideals of theatre companies—particularly not-for-profit theatre—is essential. 

The topic for this week's Howl will be Best & Worst Practices in Commercial/Not-for Profit Theater Partnerships: What's working well? What needs to change? We'll be using Tory Bailey's article Response to In the Intersection as a starting point.

Tory Bailey shares her experiences working in not-for-profit theatre.

Alisa Solomon shares the complex history of A Trip to Bountiful's journey to Broadway.

Diane Ragsdale summerizes her report on the meeting between US Non-Profit and Commerical Theater Producers in Washington, DC in 2011, and what she learned there.

Clayton Lord discusses changing theater's model for measuring impact from an econonic to  intrinsic. 

Miriam Weisfeld ruminates on whether art should hurt, examining the dynamics of visual art, theatre, and American culture.