Playwriting

Woolly Mammoth's Miriam Weisfield introduces us to The Carnegie Mellon Entertainment Technology Center, an exciting new iniative where technology and playwriting team up to engage audiences in ways never before seen.

P. Carl breaks down how the aesthetics, complexities, and high stakes in a play like Lisa D’Amour’s Detroit, create disruptive theatre.

Matthew Ocks examines the question of a playwright's duty to write a "topical" play.

Literary Manager Amrita Ramanan interviews Playwright Lydia Diamond about her play Stick Fly.

Emily Cicchini draws parallels between the process of making a new play to designing a new website, and offers inspiration on how that comparison can serve future new play development.

Playwright Catherine Trieschmann examines the clash between her theatrical taste for sinner and her real life taste for saints.

P.Carl, a founder of HowlRound highlights some quotes from articles published in the first year of HowlRound.

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

I am a director. I am a playwright. It has taken me many years of hard work to come to appreciate what each of those professions require and to experience them both independently and combined.

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.