Playwriting

Playwright and scholar Julie Taiwo Oni reflects on the experience of casting an actor with albinism for her play Chisel, and discusses why authentic casting is worth the work.

Playwright Lauren Gunderson offers other writers lessons on dramatic structure, building characters, and crafting a powerful ending.

Noe Montez interviews ensemble members from New York's Pregones Theatre on Dancing in My Cockroach Killers, which ran from 7 June to 1 July 2018 at the GALA Theatre in Washington, DC.

Lisa Portes' remarks from the opening of the Latinx Theatre Commons Carnaval of New Latinx Work in Chicago, Illinois. 

Heather Jeanne Denyer interviews Cameroonian playwright Edouard Elvis Bvouma about the country’s theatrical landscape, touching on topics like the low number of companies that regularly produce work, female artists in the field, and building public interest in the art form. / Dans cet entretien, Heather Jeanne Denyer discute avec le dramaturge camerounais Edouard Elvis Bvouma de la scène théâtrale dans son pays, en abordant des sujets tels que le manque de compagnies, la création par les femmes, ainsi que le développement et l’intérêt du public pour cet art.

Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

Amelia Parenteau explores the value of bringing theatre and the humanities into the medical field through the collaboration between Philadelphia’s Lantern Theater Company and the Sidney Kimmel Medical College.

Playwright Lauren M. Gunderson add to her video series "Why Theatre?" by discussing why theatre still matters in the age of filmed storytelling.

Emily Snyder encourages playwrights to write juicy, complex characters for people who have not historically been cast in leading roles.

Writer Warren Hoffman dives into the history of God of Vengeance, the Yiddish play from 1907 that inspired Paula Vogel's Indecent, and the questions around language and sexuality the play raised and continues to raise.

Leilani Squire explores the healing power of writing through her experience of working with veterans to write a play about their time at war and sharing their stories with the community.

Playwright Renée Darline Roden talks about her travels to Israel and Palestine to gain inspiration for a new play and encountering what Chimamanda Ngozi Adichie calls “the danger of a single story.”

Journalist and filmmaker Michelle Memran reflects upon the easy beginning, the messy middle, the focused concluding months, and MOMA premiere screening of her documentary dreamscape film The Rest I Make Up about her great friend, the beloved playwright and teacher María Irene Fornés.

Playwright Paco José Madden explores what it means to be produced by student-run theatre companies: the pros and cons, what factors to consider, and how a playwright can make the best of their experience in a similar setting.

Playwright Michelle Tyrene Johnson and director Claire Syler discuss their collaboration on The Green Duck Lounge, a play that delves into Kansas City, Missouri’s civil rights history.

Elana Gartner, founding co-chair of the International Centre for Women Playwrights 50/50 Applause Award, interviews Chilean playwright Sally Campusano about women in theatre in her home country.

Todd London celebrates playwright Carlyle Brown, who recently won the William Inge Theater Festival’s award for Distinguished Achievement in the American Theater.

Robert Goodwin and Mary Kathryn Nagle discuss decolonizing Western theatre, linear narrative structures, the historic silencing of underrepresented voices, Shakespeare, and more.

The Latinx Theatre Commons Carnaval of New Latinx Work announces the six plays featured in this year's festival!

Announcing the Celebrando Fornés/Celebrating Fornés initiative, a year-long event to raise awareness of Maria Irene Fornés’s impact on theatre and preserve the legacy of her work.

Benjamin Viccellio reflects on the Kenyon Playwright’s Conference in Ohio, as the program nears its fifth anniversary.