Organizational Models

Lisa Portes on the power of shared leadership and collective action as embodied by the Latinx Theatre Commons.

Godfrey L. Simmons, Jr. writes about the discoveries made by Civic Ensemble in Ithaca, NY.

Seth Lepore continues the conversation on entrepreneurship and the entrepreneurial mindset for artists.

The Lamplighter Productions collective describes their process for founding their company, and shares the lessons they’ve learned.

Playwright Carolyn Gage questions the accepted definition of a “new play” as one that is unpublished and unproduced, arguing that these standards punish entrepreneurial playwrights who choose to self-publish or self-produce.

In this installation, Seth Lepore compares theatre artists to metal bands, and realizes theatre artists have a lot they can learn.

Iulia Popovici examines the state of independent work in Hungary during dunaPart, an organized showcase of mostly theatre and dance.

Playwright and co-founder of Boston Public Works Theater Company John Greiner-Ferris discusses the rewards and challenges that have come with self-producing.

Brad Burgess reflects on artists working with service organizations, and how important it is for artists to come together to face economic challenges.

LA playwright Jon Caren discusses the theatrical Renaissance that’s currently happening in LA regardless of the 99-seat theater debate.

Seth Lepore talks about gaining the skills to self-produce and theatre artists as entrepreneurs.

In the first post of his series, Seth Lepore looks at crowdfunding, how to keep it relevant, who is actually donating, and the kind of immediacy it provides.

Deborah Salem Smith, playwright-in-residence at Trinity Repertory Company interviews Curt Columbus, Artistic Director of Trinity Rep.

All the Lights On is a history of the Twin Cities’ theatre company Ten Thousand Things. Published by the Minnesota Historical Society Press in association with HowlRound.

David Copelin, self-identified member of the “cottontop demographic,” considers how his privilege might affect his artistic choices and his responsibility to that privilege.

Seth Rozin says let large theatres do what they do best—be large—and encourage playwrights to cultivate relationships with mid-size and small theatres.

Dr. Joan Lancourt reflects on collaborating with Boston-based theatre board chairs to discuss eye-opening ideas and shared frustrations.

He fought two guys; beat the crap out of them. And I looked around, and everybody had just stopped training.. And I thought: oh, my god, this is the show. There’s that magnetic presence of the ring.

The keynote address delivered by Todd London at the Mellon Playwright Residency Convening on September 7, 2014.

Miranda Wright doesn’t want to be pegged – not yet. The theatrical environment that she’s creating is both local and global—theater for a world that is simultaneously more connected and isolated, more expansive, more community-oriented, more lonely. More than anything, she’s concerned with the present moment.

Trista Baldwin offers an overview of Workhaus Collective.