U.S. by State

Allison Vanouse reviews a performance by Jeffrey Gibson and Patty Chang at Boston's Museum of Fine Arts, and responds to other critics of the piece.

The term “collaborative” for me conjures up the idea of a loose group of artists with a shared Asian American identity and purpose, working together to produce a wide range of projects, from workshops, readings and short performances to full productions. If this process is successful, I believe it would be possible that within a three to five year period, there could be a significant Asian American presence in the Philadelphia theater community and a real demand for their work.

Srila Nayak shares an overview of Pulitzer prize-winning dramatist Ayad Akhtar's career. 

In accepting the single story that "God’s Work" does not belong in a downtown Chicago theater, do we contribute to the silencing of the voices of our youth? I believe "God’s Work" is just as worthy of embodiment on stage as "Our Class" or any other current Chicago production, regardless of the age of the ensemble members telling it.

Lily Janiak discusses the world premiere of Stuart Eugene Bousel's adaptation of Rat Girl, a memior by Kristin Hersh, lead singer of Throwing Muses.

Dani Snyder-Young writes about the Chicago-based Albany Park Theatre Project, a youth theatre ensemble. She reviews APTP's 2014 remounted production of God's Work, at the Goodman Theatre.

“You did what?” This is the question I’m asked by colleagues in the field when I tell them that I’ve recently moved to Dallas. So, here are the reasons why I moved, and why Dallas is such an exciting place to be when it comes to making theater.

Jonathan Mandell looks at the phenomenon of "snubs" in theatre awards today and throughout history, touching on the complexities of nominating committees.

Holly L. Derr gives an overview of new and professionally-tied graduate theatre programs in Los Angeles.

A couple of months ago, HowlRound hosted a discussion about parenting and theater on Twitter hashtag #newplay, and perhaps the most interesting question to emerge from the discussion was simply: "Should I bring my kid to rehearsal?"

We produced "A Christmas Carol" and adapted our own versions of "Peter Pan" and "The Lion, The Witch and the Wardrobe". The students reveled in the attention from their sold-out audiences. These children weren’t just spectators; they were the stars of the show. To a child who is constantly told, "You won’t be able to do that," by teachers or medical professionals, this was an unexpected feat.

We usually consider a fight choreographer’s job to be staging the fights so that they are safe. Certainly safety is essential: actors should not be getting hurt in the exercise of their art. But a violence designer is far more than a mere “safety foreman.” Like any other artist working in the theater, the violence designer’s primary role is doing interpretive work: making choices that help tell the story. Not the story of Hamlet, but the story of this Hamlet: that is to say, the story that this production of Hamlet is telling.

Alice Stanley Jr. writes about an event she attended, responding to the suspension of an Arizona high school drama teacher that included Albee's who in his curriculum.

Founder Rick Dildine tells the story of Shake38, a city-wide Shakespeare interpretation and performance festival.

Jonathan Mandell overviews five eclectic works by Texas playwright Kirk Lynn.

Sara Guerrero shares the process and successes behind South Coast Repertory’s Hispanic Playwrights Project, a bilingual theatre project to gather and tell the stories of the Santa Ana Latino community.