U.S. by State

Molly Smith reflects on the transformations of Areana Stage at the Mead Center for American Theater over the past year.

Erin Washington interviews Steven Sapp about his process with Universes, and their show Party People at Oregon Shakespeare Festival.

"I keep thinking about these orphaned plays, which were in fact once loved. Where do they fit in the new play lifecycle of American Theater?"

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.

As he becomes the President of the TCG Board of Directors, Philip Himberg shares his hopes for the impact and value new plays and playwrights can bring to America.

Mark Jackson, a theater maker in San Francisco, talks about the founding of Theater Salons, a series of informal talks about theater between differnet theatermakers in the area, and the lessons he has learned from them.

Deborah Cullinan and Jonathan Moscone discuss Ghost Light, a new play exploring his father — San Francisco Mayor George Moscone — and Supervisor Harvey Milk's assassination.

Dan O'Brien interviews Beth Henley about her play The Jacksonian, and what it means to be a playwright from the American South.

For Catherine Trieschmann, parenthood interrupted her playwriting process by taking up time that used to be spent daydreaming.

Composer and Sound Designer Robert Kaplowitz writes about the tendency in mainstream American theater to focus on servicing and clarifing one single idea.

Dramaturg Julie Felise Dubiner, rewrites all of America's constitutional amendments for the world of new play development.

Liz Engelman has turned to nature and the outdoors for inspiration and respite, finding joy and greater authenticity in her dramaturgical work.

Richard Montoya, of the theater group Culture Clash, delivers his theatrical manifesto; one of outside the lines, in every way.

Ronald McCants addresses the issues that disable up-and-coming playwrights in the Los Angeles theatre scene.

Vincent Delaney interviews Kate Whoriskey about her experience as an artistic director and the playwrights with whom she collaborates.

In this installment of the series From Scarcity to Abundance: Capturing the Moment for the New Work Sector, Anthony Werner interviews Neil Barclay of the National Black Arts Festival on the role of presenters in choosing work that will best connect with their community.

Playwright Lisa D'Amour considers the inherent differences between big institutions and grassroots theatres, and the possibilities that could arise were the two to collaborate.

Playwright Chinaka Hodge recounts her experiences producing her first play and how the collaboration process supported and enhanced the growth of her play.