U.S. by State

Derek McCormack reports on the ongoing trend in productions that are avant-garde reimaginings of old texts in particular at BAM’s New Wave Festival.

Mark Krawczyk writes about the experience his students at Boston Conservatory at Berklee had during a semester of working with artists from Double Edge Theatre. 

On the eve of the inauguration of Donald J. Trump, Jonathan Mandell looks at how the political resistance of theatre artists is playing out on and off stage in New York.

Amelia Parenteau deconstructs the use of technology in The Builders Association’s production of Elements of Oz, an adaptation of The Wizard of Oz, presented at 3LD in New York City.

Playwright Catherine Weingarten writes about her fatigue with the Strong Female Character, and pushes playwrights to strive for real nuance.

Playwright Tiffany Antone discusses Little Black Dress INK’s “We’re Not Playing” initiative, advocating the need for theatrical protest for social change.

Playwright Chisa Hutchinson and Artistic Director Wesley Frugé discuss the current climate for work by playwrights of color, and advocate producing more work by women writers of color.

Saheem Ali, a steering committee member for The Ghostlight Project, outlines the inspiration for and aims of the initiative, and suggests action steps for individuals and institutions. 

Cherry Lou Sy reports on the first day of 2016 NOW AFRICA Playwrights Festival, which included a panel discussion and performances addressing connection across the African Diaspora.

Hailey Bachrach reflects on Phyllida Lloyd’s The Tempest, the final installment of her Shakespeare trilogy featuring all-female casts, produced by the Donmar Warehouse at London’s King’s Cross Theatre.

The process of creating two works, as part of the UCLA School of Theater, Film and Television’s participation in Google's Glass Creative Collective, that use audience's and actors' locations, identities, and choices as pivotal elements of their storytelling structures and investigating the simultaneous processes of dramatic writing/devising and writing code.

Jonathan Mandell reflects on what makes immersive theatre, through the lens of Inside the Wild Heart, Group .BR’s immersive show about the late Brazilian writer Clarice Lispector.

Emily White writes about how her research on posttraumatic growth informs her belief that theatre can be an important tool to help America unite and heal.

Rick Shiomi discusses the Philadelphia Asian Theater Project, sharing his process working with local theatre companies and organizations to promote Asian American theatre artists.

Teresa A. Fisher discusses International Playwrights’ Intensive, a new play development program that facilitates international collaboration for theatre for young audiences. 

Catherine Trieschmann’s daughter is mis-cast as the lead in the Christmas pageant.