Process

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.

In this first installment, Deborah Cullinan gives an overview of San Francisco's theatre scene and its players.

Meiyin Wang contrasts Electricity, Originality, and Authenticity in the context of the 2012 Under the Radar Festival, and how selected productions challenge these concepts.

Musical theatre composer Dave Malloy questions why musical theatre has become uncool and makes a case for authenticity in the theatre.

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

Lead Producer Stephanie Ybarra writes about her role in creating We Play for the Gods, with Women's Project Theater and the group's process.

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.

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.

After 24 years, Florida Stage — one of the largest LORT theatres dedicated to new and developing works — filed for Chapter 7 bankruptcy. Nancy Barnett, who served as Managing Director, reflects on how the company fell in the wake of the 2007-2008 economic recession.

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

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.

David Dower, the Co- Artistic Director of ArtsEmerson, wrestles with the role of being a producer for a new play.

Composer and Sound Designer Robert Kaplowitz writes about the tendency in mainstream American theater to focus on servicing and clarifing one single idea.

Deborah Stein breaks down her experience in collaborative theatre settings to its specific characteristics, revealing the agony and ecstasy of creating in an ensemble.

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.

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.

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.

Puppetry is the bastard nephew of so-called legitimate theater. Yet puppetry stubbornly persists, even flourishes, in our digital age as an intentionally Luddite approach to an emphatically live art.

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

Keith Josef Adkins speaks on his experience working to "diversify within our diversity" and provide fresh black narratives to the canon of American theatre.

Lisa Peschel considers her experience adapting a comedic play written by survivors of the Holocaust and the way in which its humor translates to audiences today.

Dan Wolf discovers the artistic legacy of his ancestors and uses that as inspiration to deepen his own artistic vision.

Jayne Benjulian considers the rightful place of a playwright in the rehearsal room as the executive producer of his or her own work.