Sydney Isabelle Mayer discusses the importance of terminology when it comes to “trigger” warnings, how artists can best offer warnings for their shows, and what it means to create a responsible theatremaking process.
How to Model a Healthier Professional Culture That Benefits Marginalized Artists and Administrators
1 May 2019
Carl(os) Roa offers thoughts on how organizations can create healthier workspaces, weaving in ideas from artists at Philadelphia Young Playwrights and Applied Mechanics.
Owais Lightwala talks about how Toronto’s Why Not Theatre grew from a scrappy startup to an institution in their own right—which came with a greater responsibility to tackle some of Toronto theatres’s biggest challenges: space, childcare, and diversity.
Mora V. Harris offers suggestions for what organizations can do if they can’t afford the travel costs associated with bringing an artist from out of town.
The Future of Crowdfunding for Theatre Artists of Color
An online conference hosted by Advancing Arts Forward
Friday 1 March 2019
Video Conference
Advancing Arts Forward and HowlRound Theatre Commons presented the panel The Future of Crowdfunding for Theatre Artists of Color livestreaming on the global, commons-based peer produced HowlRound TV network at howlround.tv on Friday 1 March at 11:30 a.m. PST (San Francisco) / 1:30 p.m. CST (Chicago) / 2:30 p.m. EST (New York) / 7:30 p.m. UTC +0 (London).
Joe Melillo, BAM’s outgoing executive producer, talks to Rob Orchard about his thirty-five-year-long time at the company, continuing his work with emerging artists, and more.
Kim Whitener, the former executive director of HERE, and theatre producer and consultant Mara Isaacs sit down to talk about moving from institutions to the freelance world (and vice versa), the generosity of other theatre creators, work-life balance, and more.
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.
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.
Five of the women producers from the 2014–2016 WP Lab report on producing the Pipeline Festival in partnership with a Lab playwright/director/producer team.
