And it never has been, say pros who relish their assistants’ creativity and appetite for knowledge.
Assisting is a rite of passage for many artists. Are they getting ahead—or just getting coffee?
In Jan. 2012’s “Approaches to Theatre Training” issue, we ask directors, actors, and writers what it means–and how it feels–to be an assistant.
As theatres and audiences face a brave new digital world, 12 of the nation’s most influential theatre critics talk about their towns and their changing roles.
When theatre artists and military personnel come together, assumptions on both sides are transformed.
An ancient story wins hearts and minds at the world’s most controversial military base.
In the midst of publishing two definitive books about his lyrics, the musical theatre master ponders his accomplishments, his way of working, and the form and future of the American musical.
On the stage she and her husband founded, Alaskan artists and themes are right at home.
How the many facets of one theatre artist—adaptor, actor, artistic director—have forged a major playwriting voice.
From Lecoq and Laban to Michael Chekhov and Suzuki, U.S. movement training derives its strength and purpose from abroad.