Political Theatre

Jamil Khoury talks about the importance and necessity for Arab American theatre to create narratives that are complex and unifying.  

Kyna Hamill investigates the implications of addressing war on stage and shares a brief overview of Theatre of War.

Keith Josef Adkins recounts the verdict of Mark Zimmerman's trial, discussing how New Black Fest commissioned playwrights across the country to write ten-minute plays addressing race and privilege.

The Weekly Howl is a peer-produced, open-access discussion about theater culture and contemporary performance that happens in real-time on Twitter using the hashtag #newplay.*

Join us Thursday, July 25 for the Weekly Howl on hashtag #newplay at 11am PDT – 12pm PDT (Los Angeles) / 1pm CDT – 2pm CDT (Austin) / 2pm EDT – 3pm EDT (New York) / 18:00 GMT – 19:00 GMT / 7pm BST - 8pm BST (London) / 8pm CEST - 9pm CEST (Berlin). Click here for an automatic conversion into your local time.

This week's topic: "Realism: Friend and Foe"

Caleb Winebrenner shares why he believes the Libertarian voice is important in theatre. 

This week's topic is: How do current social and political events impact our role as artists? and will be moderated by Dominic D'Andrea @DominicDAndrea and Gus Schulenburg @GusSchulenburg.

Emily Mendelsohn shares insight into her experience directing Cooking Oil written by Deborah Asiimwe in Uganda.

Victoria Tucci reflects on her time producing queered adaption of Romeo & Juliet, Juliet & Romeo, in the wake of the Marc Carson murder.

Christopher W. White reports on his visit to the provincial city of Omsk, Russia.

NoPassport collaborates with The Vicious Circle for Gun Control Theatre/New Media Action Week to keep the dialoge through art alive on the subject of gun reform globally

By examining audience and leadership demographics, Rebecca Stevens draws a comparison between the GOP and American theatre.

Jacob Juntunen writes about the moral implications of turning fact into fiction – and the different ways we measure the ethical impact of these decisions based on medium.

Alex Ates writes of a production of Love's Labour's Lost during the Boston Marathon Bombing, and the healing and cathartic qualities of community theater.

It was a cold and familiar shift. This group, when introduced to my six-foot-tall, African American, Ivy League–educated, world-traveled self, had perceived me as one thing. I could see they were now reassessing me as someone very different. My status as an outsider quickly solidified.

In this meditation, Karen Malpede offers an investigation of torture and how it can be imitated onstage.

Nia Witherspoon writes on the importance of unicorns in the American theatre: the importance of being different, resilient, and with one's hooves permenantly stuck in the dirt.

This week's Howl questions the relationship between guns and violence in theatre, and violence in the real-world

Randals writes about theatre created by women who have personal relationships with America’s criminal justice system who seek to inform their audiences to incarceration’s effects.