Organizational Models

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.

In this installment, Ricky Young-Howze discusses the importance of choosing the right venue for productions.

Sean Daniels writes about the successes and challenges of his first year as Artisitic Director of Merrimack Repertory Theatre. 

In this first installment, Maurice Decaul discusses the inspiration and beginning stages of Veterans and Theatre Institute, a program that trains military veterans in the various aspects of theatre. 

Playwright Mia McCullough discusses how teaching classic plays in high school alienates future young audiences, and advocates for contemporary playwrights to craft comprehensive anthologies of their work. 

Artistic Director Gideon Lester discusses Emma Rice leaving Shakespeare’s Globe, and ruminates on the tension between artistic and administrative priorities.

Deborah Randall, founder of Venus Theatre, writes about the need for theatrical spaces that support women's voices.

Matt Opatrny writes about ensemble company Blessed Unrest and the lack of affordable space for small companies in New York City.

The second dispatch from Team Awesome Robot on producing independent theatre in New York City.

Michael Whatley writes about the importance of early-career staff members at large theatrical institutions.

Artistic Director Joan Lipkin discusses the inspiration and process for “Dance the Vote,” a voting registration campaign in St. Louis, Missouri that included performances by local artists. 

Theatre marketing consultant Alli Houseworth calls for marketing and audience engagement to come together, the first in a series of articles about Triple Play, a project with Theatre Development Fund and Theatre Bay Area exploring the relationship between playwrights, theatres, and audiences.

Andrew Jacobs discusses his senior theatre project in college, sharing his observations about what it means to create and maintain a socially responsible theatre on a local level. 

Kimmothy Cole discusses strategies for theatre companies to invest in the local communities they serve.

The work and life of Zelda Fichandler permeate the values and purpose of HowlRound. She was a significant inspiration for how we imagined our intervention into the theatre. Her rigorous thinking and her visionary artistry will continue to influence how we move forward. We republish her words in honor of her memory and as a celebration of her brilliance.—HowlRound

Madeline Sayet, a 2016 TED Fellow, shares insights from other TED Fellows with applications for theatre practice.

In this installment, Ricky Young-Howze discusses his experience marketing his play Last Hope for Twenty Miles, and what he learned for future reference.

Artistic Director Kimmothy Cole discusses gender fluidity and advocates the need for creating more opportunities transgender, gender-queer, androgynous, and other non-binary actors.

Trevor Boffone and Roxanne Schroeder-Arce on the Cara Mía Theatre Company and Dallas Theater Center coproduction of the new play Deferred Action in Dallas, Texas.

Laura Brueckner reports on the recent Arts in a Changing America’s REMAP Bay Area convening.

Eric Kildow looks at the letter written by Doug Wright of the Dramatists Guild in the wake of casting conflicts and at the cease and desist letters sent to the creators of thatswhatshesaid in the context of what they mean for the nature of collaboration and collective control of the means of production. 

Justin Taylor on reframing rejection.