U.S. by State

Carlton Turner's address on the state of the arts in Mississipi from the Mississipi Performing Arts Summit, held February 15-16, 2015 in Jackson, MS.

Are you looking for some hands-on experience to continue your education? Are you interested in a bird's eye view of not-for-profit theatre? Consider becoming the next HowlRound Fellow!

HowlRound is thrilled to announce the addition of our new team member, Ramona Ostrowski!

The Artistic and Education Director of Steppenwolf for Young Adults  explores the  choice to program This  Is Modern Art  and the ensuing public and critical debate in  Chicago. 

The question from TEDxBroadway 2015: What ideas about theatre can we learn from people who may never have been inside one?

Scholar and theater practitioner Erin Mee, considers how by giving time-space to the sensoria, immersive, and interactive productions are inherently rasic.

There is a sense that this piece somehow transcends theatre even as it embodies it—or, as Hamilton puts it: “This is not a moment, it’s a movement.”

In this installation, David Dudley interviews Christopher Shinn of The New School’s MFA playwriting program about how this educational option works.

Martha Steketee speaks with playwright Sean Cunningham about Here’s Hoover! The Historic Herbert Hoover 2014 Comeback Special, which recently concluded a brief run in New York City. Herbert Hoover’s return, replete with leather, works like gangbusters.

All the Lights On is a history of the Twin Cities’ theatre company Ten Thousand Things. Published by the Minnesota Historical Society Press in association with HowlRound.

Aditi Kapil's playwriting residency is helping to formulate Mixed Blood's organizational narrative through social media, press materials, and show imagery.

Christopher K. Morgan explores what it is to feel at home in a place he’s never lived, and how to use art to cure his need for home.

Dreams on the open sea are part of a larger narrative as Natasha Lee Martin, an actress, director, and teacher, performs in Confessions of a Synesthetic Sailor at TheaterLab in New York City.

Martha Steketee explores the development and evolution of I'm Gonna Pray for You So Hard with playwright Halley Feiffer. The play spans five years and two opening nights, features substance abuse, plenty of familial debate, and one attempt at reconciliation.

Randy Reinholz shares his experiences as producing artistic director of The Autry—the only Equity theatre dedicated to Native playwrights.

Native voices week continues! August: Osage County’s Kimberly Guerrero explores her work on the show, and what lesson the American theatre can learn from it.

P. Carl and outgoing artistic director of Steppenwolf Theatre, Martha Lavey, in conversation.

Martha Steketee looks at The Players, an 125-year-old club for actors and those that love them, and spends some time with all its history and archives.