Rachel Grossman and Kirk Lynn announce the JUBILEE, a year-long nationwide festival in 2020/20201 that asks companies to commit to producing a season of work by artists who have been traditionally excluded from the American theatre.
Howard Shalwitz, co-founder of Woolly Mammoth, talks with Carey Perloff, longtime director of American Conservatory Theater, about their decades-long tenures at their respective companies, covering everything from the throughline of founding manifestos, to the five- to six-year cycles companies go through, to how lonely it is to be an artistic director, and more.
May Antaki speaks with Brendan Healy, the new artistic director of Toronto’s Canadian Stage, about leadership changeovers happening across Canada, how his approach to being an AD has shifted over the years, his desire to cultivate curiosity inside audiences, and more.
Alexis Frasz and Holly Sidford of Helicon Collaborative share the case study they wrote on HowlRound. Alexis and Holly believe HowlRound’s story is particularly resonant for this moment in time, and has potential to influence thinking and shift practice in the theatre sector and beyond. This essay shares a few thoughts on why they think HowlRound’s story matters in today’s political and economic context.
Olivia D’Ambrosio, Producing Artistic Director of Bridge Repertory Theater in Boston, Massachusetts discusses how the company's early ambitions led to challenges, and how they're learned to course-correct.
Towards Cultural Access and Participation in Portugal
29 March 2018
Maria Vlachou, Executive Director of Acesso Cultura | Access Culture, a not-for-profit that promotes access to cultural participation in Portugal, writes about work being done in the country to break down structural and geographical barriers to arts and culture.
In a second installment about results of a survey of theatregoers to consider best practices to market lesser-known plays, Meghan Randolph discovers commonly held assumptions about segmenting audiences are wrong.
Michael DeWhatley talks to several theatres, including Trinity Rep and the Guthrie, about how they define success and the benefits of a feedback process for talking about a show after the production is complete with artists and audience.
Ambassador Cynthia P. Schneider, who attended the AsiaTOPA Performance Festival in Australia, reflects how as the United States devalues diversity and imposes restrictions on immigration, Australia recognizes the value of its relationship with its Asian neighbors, and of its own diverse population.