Associate Producer Ramona Ostrowski and Fellow JD Stokely reflect on how HowlRound made the Theatre in the Age of Climate Change Convening on 8-10 June 2018 our greenest convening yet.

Olivia D’Ambrosio, Producing Artistic Director of Bridge Repertory Theater in Boston, Massachusetts discusses how the company's early ambitions led to challenges, and how they're learned to course-correct.

Artistic Director Kristin Marting discusses how developmental programs can better meet the needs of artists and shares best practices from HERE’s multi-year artist residency program in New York City.

Zach Donovan addresses the shortcomings of nonprofit theatre, the glut of self production, and considers Pop Theatre as an alternative theatrical vehicle.

Cassandra Snow writes about the challenges and opportunities involved in producing theatre in non-traditional spaces.

Iulia Popovici writes about independent theatre in Romania.

In this final installment, Ricky Young-Howze reflects on self-producing new work in a “theatre desert,” and acknowledges the importance of learning, wisdom, and respect.

In this installment, Ricky Young-Howze discusses the importance of having archival footage of new work, which serves as a historical document.

In this installment, Ricky Young-Howze discusses the importance of choosing the right venue for productions.

Matt Opatrny writes about ensemble company Blessed Unrest and the lack of affordable space for small companies in New York City.

Edward Einhorn reflects on the failures of the current awards system for independent theatre in New York, and proposes a solution. 

In this installment, Ricky Young-Howze discusses the complex nature of producing and shares what he learned about the art of delegation. 

Catherine M. Young reflects on the closing of the musical Shuffle Along. 

Marcina Zaccaria discusses Rolando Sanz’s role in producing and presenting the opera I Am Anne Hutchinson/I Am Harvey Milk by Andrew Lippa.

In the kick-off to this new series, Christopher Diercksen, Artistic Director of Team Awesome Robot, share’s the company’s process for producing their second show. 

In this second installment, Milta Ortiz discusses her role as the project’s coordinator, and overviews the production process of Barrio Stories.

Playwright Josh Inocéncio shares his experience self-producing and touring his autobiographical solo show Purple Eyes.

Playwright Donna Hoke writes about an opportunity that allowed her to develop a new play on its feet in advance of a world premiere.

In the second installment, Ronee Penoi defines her role as a Creative Producer and shares lessons she’s learned in her process. 

Artistic Director Bill English discusses the ephemeral, yet perpetual process theatre artists experience while working on productions.

Independent producer Natalie Gershtein considers the playwright-producer relationship. Where she once thought that playwrights were waiting and hoping for a first production, she now comes across playwrights who want to hold out for a larger company.