Playwriting

Richard Nelson, author of the Apple Family cycle, is interviwed by Aaron Malkin about the imputus and process behind the latest play in the cycle, Sweet and Sad.

Deborah Cullinan and Jonathan Moscone discuss Ghost Light, a new play exploring his father — San Francisco Mayor George Moscone — and Supervisor Harvey Milk's assassination.

I started feeling the need to scare myself into doing something different. Not to simply feel something new, but to feel something deeper.

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.

P.Carl meditates on the power of saying Yes instead of No to new ideas.

Dan O'Brien interviews Beth Henley about her play The Jacksonian, and what it means to be a playwright from the American South.

Taylor Mac discusses actor professionalism, and trusting rather than auditioning them.

For Catherine Trieschmann, parenthood interrupted her playwriting process by taking up time that used to be spent daydreaming.

Playwright Anne García-Romero writes about the LoNyLa Writers Lab, which uses live video streaming to facilitate script development workshops for one play, in three cities.

Playwright Gwydion Suilebhan discovered that his insomia created oppertunity to get writing done, but as his schedule changes he wonders how his writing will be affected.

Todd London's series of tributes to American playwrights continues.

Playwright John Olive looks at what theatre for young audiences (TYA) can learn from video games.

Dissecting his playwriting process and the self-criticism that goes with it, Chuck O'Connor offers the "Gartner Hype Cycle" as an antidote for creative angst.

Playwright Cory Hinkle interviews Steve Epp to discuss his process devising performances which are often rooted in an exploration of history.

What is the difference between an artistic and scientific process? One may seem unstructured and the other deductive, but playwright Monica Byrne finds they both work the same way.

Hal Brooks interviews playwright Annie Baker about her recent work and playwriting process.

The playwright James Still mueses on creativity, the role of the inner and outer creativity, and finding happiness in unlikely places in the journey of creating new work for his keynote adress at the Cohen New Works Festival at the University of Texas at Austin on March 28th, 2011.

Todd London celebrates the vast scope of Julie Taymor's body of work which draws on influences from all over the world.

Playwright Max "Bunny" Sparber attributes his playwrighting style to artists throughout history who use misbehaviors to captivate their audience.

Susan Miller speaks on the collision of the playwright's personal and the public, and the beauty found in performing these stories themselves.

"All the hand-wringing about tweeting in the theatre is really nothing more than a distraction from the far more important, positive, and legitimate ways in which Twitter is changing our art form."

"I was used to having a play produced every year and I assumed that the next production would come easily. I wasn’t expecting the lull that followed."

Playwright Mat Smart calls on the "emerging" playwrights to shed defeatist attitutes and challenge each other in regards to new work.

Writer Julia Brownell speaks on the benefits of playwrights working in the world of television.

Anthony Werner confronts the issue that faces many a young playwright: the crushing demand to develop a brand, a “Barton Fink Feeling”.