Organizational Models

Michael DiFonzo explains L3C (low-profit limited liability comapny) and why theatre companies should adopt it as their business platform.

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.

Rob Handel, co-founder of 13P, explains why the playwrights' collective needed to implode after its final performance. The answer? It simply couldn't happen any other way.

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

P. Carl on the process, and consequences, of defining the insitutional truth in Non-for-Profit Theaters in the United States.

Ayad Akhtar responds to the train of thought he began in his previous essay Dialogue and the Age of Industrial Storytelling (Or, A Defense of the Theater) by critiquing the thought processes which go into creating the mass produced story.

Michael Marinaccio, the Producer of the Orlando Fringe Festival, on busniess models for Fringe Festivals, and how to define that tricky little term.

Cory Tamler suggests innovation in the conversation with, to, and how playwrights create will spur development in Pittsburgh’s new works theatre scene.

Christian Parker on the necessity of a hard "no" in the new play development process.

Jason Loewith discusses the opportunities at work that are making mid-size theaters the home for effective new play development.

Sha Cage talks about the Twin Cities, and what does (and doesn't) make it an ideal climate for artists.

The HowlRound City Series continues with this look at the Twin Cities of Minneapolis and St. Paul

Jaan Whitehead addresses the revolutionary attitude necessary for artists to reclaim the theatre from the institutions that produce it.

Aaron Malkin debriefs on TEDXBroadway, and ponders the "what" of Broadway's future.

Theatre should stop serving the function of making money, for which it has never been and never will be suited, and start serving the revelation and shaping of the process of living, for which it is uniquely suited, for which it, indeed, exists.

The Workhaus Playwrights Collective — which disbanded in 2016 — came from a desire to create a playwright-driven theatre company, where no administrative infrastructure chooses the plays or plans the seasons.

After 24 years, Florida Stage — one of the largest LORT theatres dedicated to new and developing works — filed for Chapter 7 bankruptcy. Nancy Barnett, who served as Managing Director, reflects on how the company fell in the wake of the 2007-2008 economic recession.

From social media posts from interns, to the "important stuff" institutional leaders handle, what in orgnizational culture needs to change, so aspiring and creative minds are not stifled by rigid hierarchies.

Marshall Botvinick traces the history of theatre’s connection to community and advocates that theatre artists and companies to go local.

P. Carl describes the social traps that befall those who work in non-profit theater, and advocates for the introduction of more breathing and thinking time into insitutions.

Martin Zimmerman, an American playwright, discusses the use of the word "professional" as used in the theater community, and asks wheather this is indeed the right term to describe having a level of expertise in the theatrical world.

Responding to the From Scarcity to Abundance Convening, Jim Lasko questions the deeper problems of elitism and relevance theatres face today.

Jonathon Moscone, an American theatre director, examines the question of what purpose do theatres serve, and advocates for the abandoning of fear in governing theatrical choices, and the embracement of unease, so that we can create theatre that takes the real time to listen to the current of our lives.

Jayne Benjulian considers the rightful place of a playwright in the rehearsal room as the executive producer of his or her own work.