Playwriting

Catherine Castellani continues her exploration of what it means for a play to be considered “feminist.”

Playwright Abbey Fenbert on the new mandate for theatre artists.

Robert Ruffin considers how Aristotelian construction can be viewed through the lens of the laws of thermodynamic exchange, or the marriage of physics and dramaturgy.

Todd London’s ode to Sarah Ruhl, on the occasion of her winning the Harold and Mimi Steinberg Distinguished Playwright Award.

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. 

Playwright Jacob Juntunen remembers Edward Albee’s generosity toward other playwrights.

Allison Raynor talks with playwright Melinda Lopez about women on stage: who she writes, how she writes them, and who she’d like to see.

Charlotte Canning discusses gun violence in theatre, and film, taking a close look at safety policies and regulations for firearms on set.

David Dudley interviews playwright Howard Barker about writing for live actors versus marionettes.

In this first installment, Playwright Maggie Sulc shares her experience working and living in Canada, reflecting on successes and challenges.

US playwright Jen Silverman talks with Latvian playwright and dramaturg Jānis Balodis about the similarities and differences in their work and how their work responds to the political climate in their countries and the world.

Katie Pearl interviews Michelle Memran about María Irene Fornés and The Rest I Make Up, a documentary that captures the legendary playwright’s creativity as she ages.

Jaclyn Backhaus writes about her residency at Clubbed Thumb.

Rachel Bonds writes about her residency at Ars Nova.

Chisa Hutchinson writes about her residency at Second Stage.

Paola Lázaro writes about her residency at The Atlantic.

Jenny Rachel Weiner writes about her residency at Roundabout Theatre Company.

Caroline V. McGraw writes about her residency at Page 73.

In this installment, Irene Loy discusses how characters receive desire versus defend themselves against unwanted desire, delving into the difference of consent and dissent.

Kate Langsdorf on why she believes being a writer is the best theatre job for a person with a physical disability.

Playwright Carlos Murillo writes about how he and Adventure Stage Artistic Director Tom Arvetis created an original play for and about the young people of Chicago’s West Town neighborhood.

Two more of “Max’s” plays receive different responses than Mya’s did, leading her to affirm her belief that bias is at work in the submission process.