Choice notes from an extraordinary theatregoing career, documenting trends and artists of the late 20th-century stage.
Theatre ought to grow our moral imagination in a time of crisis. How do we get there—and who is ‘we’?
Poetry by two giants of the Black Arts Movement infuses ‘UniSon’ and ‘GIRL Shakes Loose.’
From the births of lighting designer Stanley McCandless and playwright Velina Hasu Houston to August Wilson’s last play, May was a memorable month for theatre.
An award for John O’Neal and a stirring keynote from Anna Deavere Smith began the conference at the intersection of civil rights and theatre.
African American theatre is distinct, distinguished, and fully deserving of the kind of funding and respect too often reserved for white culture and institutions.
In igniting fierce debates about casting, funding, and racial equity, August Wilson’s 1996 keynote anticipated many of the arguments we’re still having.
Why reprint a 20-year-old speech? Less to show how far we’ve come (or not) than to marvel at what a great artist still has to say to us now.
In this special edition of Offscript, we have a 10-minute audio recording of August Wilson delivering his seminal speech, ‘The Ground on Which I Stand,’ followed by a discussion among leaders of two black theatres, Penumbra’s Lou Bellamy and National Black Theatre’s Jonathan McCrory.
August Wilson’s widow is poised for new generations to reimagine the American Century Cycle.