U.S. by State

Peggy Wright-Cleveland on the FSU production of Seminar by Theresa Rebeck.

Matthew Minnicino discusses what canonical works of theatre we can turn to in light of the current political situation in the US.

Rachel E. Diken on Aglio e Olio, a “kitchen theatre” piece written and performed by Meg Persichetti and produced and directed by Laura Gilkey in Maplewood, New Jersey.

Rosalind Grush discusses why salaries for many arts administrators are lower than they should be, and offers some solutions.

Rob Oronato on Taylor Mac’s A 24-Decade History of Popular Music, a “communal, intelligent, erotic, participatory, spectacular performance art concert; a marathon survey dedicated to destroying through exposure the racism, patriarchy, supremacy, and fascism suppressing the fabulosity of all our country’s different beleaguered Others over the years.”

Peter Nachtrieb talks to nine other Bay Area-based playwrights about their connection to where they live.

Donald Sanborn, III reports on the New York Musical Festival, discussing the landscape of original musicals.

Catherine Trieschmann considers how to talk to her children about the US presidential election results.

Matthew Clinton Sekellick unpacks the crediting dispute over the Broadway production of Natasha, Pierre, and the Great Comet of 1812, and the implications for the relationship between non-profits and commercial producers.

Mya Kagan announces a new project: the Future Is Female Festival.

A new play takes cues from funk music to explore bisexuality, biphobia, and polyamory in 1990s Brooklyn.

Catherine Castellani continues her exploration of what it means for a play to be considered “feminist.”

Playwright Abbey Fenbert on the new mandate for theatre artists.

Jose Delgado celebrates Luis Valdez being awarded the National Medal of Arts and reflects on the work they've done together.

David Dudley talks with Mary McCann about the unique training opportunities available at the Atlantic Theater Company.