U.S. by State

P. Carl interviews Julie Crosby on leadership, gender parity, and Women’s Project Theater. 

Director Guillermo Aviles-Rodriguez discusses his thoughts about the identity affinity groups at the 2014 TCG Conference, questioning how safe is a segregated space?

My feelings are more complicated than merely wishing my children would share my love of theater, however, because what I really want is for my children to love the theater, to appreciate all their access, but have absolutely no desire to pursue it as a career.

Bertie Ferdman writes about her experience at Speakeasy Dollhouse, and the context of the production's creation.

Playwright Gabriel Jason Dean and Director Lindsay Amer discuss "risky plays", queer characters and narratives, and young audiences.

Dani Snyder-Young writes about the 2014 Chicago Home Theater Festival, which places participatory performances inside private homes.

Martha Steketee interviews dramaturg Jill Rafson about the process of developing The Mysteries, described as “48 playwrights and 54 actors retelling the entirety of the Bible in a single night.”

Alice Stanley Jr. writes about Red Planet Respite by Katherine Harroff a play about "the first luxury space vacation to Mars in 2044" and the balance of its value as entertainment and as encouragement for audiences to engage with science and education

The Los Angeles Theatre Center (LATC), in association with the Latinx Theatre Commons (LTC), is proud to announce the 2014 LATC Encuentro: A National Latina/o Theatre Festival. This groundbreaking festival will be the largest national Latina/o theater festival in over twenty-five years, bringing together 100 artists from across the country to explore the aesthetic, thematic, and cultural diversity in the field.

Robert Kaplowitz offers insight on theatre awards. 

Last night there was an outpouring of disgust, sadness, confusion, anger, and frustration over a decision to again treat our field as though we are not as important as the rest of the team. This rush of emotion comes because this is not new to us at all. The amount of work in order to be validated by the Tony Awards as a category, which was instated in 2008, seems to have meant nothing at all if it suddenly goes away. It’s not about an award. It’s not about the spotlight—most of us work very hard to go unnoticed during a performance (unless we need to be noticed). It’s about validation for the work that we do and how hard it is to do this work.

Chris Garza reviews Theatre Unbound’s Silkworms (a nun play) and takes a look into the director Isabel Nelson's devising process.

Theater for students of color is needed in the University: to speak about these issues and at the same time to break the “Berkeley Bubble” by showing that issues students study about in their classes—including, race, class and gender—have a real impact on campus life.

Hayley Finn writes on the creative partnership between playwright Kira Obolensky and Artistic Director of Ten Thousand Things Michelle Hensley.

Jonathan Mandell looks at the 2013-2014 Broadway season and the six productions which featured men cross-dressing