Broadway Needs Producers, Not Just Investors
Whatever contribution I’ve made to the theatre repertoire has been because I took risks on great material and got backers to trust me with it.
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Whatever contribution I’ve made to the theatre repertoire has been because I took risks on great material and got backers to trust me with it.
The theatre in Portland, Ore., joins the organization for national profile—and local leadership on wages.
What nonprofit managers and commercial producers can learn from each other, and pass on.
For many small theatres, the leap to midsize, and from renting to owning, can be a make-or-break deal.
The theatre subscription model may seem creaky, but maybe all its needs is an upgrade—a monthly, recurring upgrade.
Richard Nelson’s newest cycle of plays views the presidential election through a painfully personal lens.
This site-specific Chicago project takes audiences back to school, where the lessons aren’t all on the syllabus.
In a new memoir, the Guerrilla Girl recounts a life as an art provocateur and a reluctant feminist haunted by abuse.
Like Bob Dylan’s songs, Fo’s plays gave voice to his times and continue to live most fully in the moment of performance.
Russians, who’ve begun to develop a taste for American-style musicals, recently downed a shot of Broadway.