Hired by the Texas theatre just 2 years ago, Schultz cites ‘structural issues’ as the reason for her departure.
Our current political moment both evokes theatrical analogies and provokes theatrical responses.
The key word here isn’t ‘best’ but ‘practices,’ emphasis on the plural.
Diversifying personnel is important, but a more fundamental step might be to change the ways we teach theatre.
Moving from Baltimore’s Center Stage to the Repertory Theatre of St. Louis, Sharif gives impressions of both cities and the work ahead.
How did an Irish playwright put an American icon’s music on the stage? It helped to think a bit like a songwriter.
The dark tide we’re facing may break, though perhaps not before it’s managed to break things.
The momentum behind gender parity in the American theatre seems unmistakable, with 30 percent of all plays and 40 percent of new ones written by women.
The artistic director of St. Louis’s flagship dramatic theatre reflects on a three-decade career focused on excellence and his audience.
Currently the head of new-works incubator New York Stage and Film, Pfaelzer will succeed longtime a.d. Tony Taccone.