Process

Matthew Gushick explains the necessity of having a sense of play in creating any kind of theater, and how it is the vital key in creating ultimate captivation in an auidence.

Kristen Palmer discusses the collaborative process behind the creation of We Play for the Gods.

Playwright Kirsten Greenidge reflects on her impulses to rewrite, and how she learned to stay connected to her work.

Elissa Adams offers a roadmap to those first jumping into the field of Theater for Young Audiences.

Aaron Landsman on the purpose and process on the collaborative piece City Council Meeting.

Seattle-based playwrights Delaney and Guindi discuss the theatrical climate of Seattle, development oppertunities, and the American theatre scene.

Brant Russell offers some rules and philosophy on post-show discussions, building off five years of experience at Steppenwolf Theatre.

Christian Parker on the necessity of a hard "no" in the new play development process.

Natsu Onoda Power writes about the role of coincidence and fate in her career, and how the "choices" we make in our artistic journeys are hardly a matter of choice at all.

Caridad Svitch writes about travel, simplicity, plugged in and plugged out life and the way that the environment, both physical and environmental, informs her writing.

Michelle Carter meditates on the value of validation and criticism to an artist.

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.