Jackie Sibblies Drury Explores the Role of Art in ‘Really’
The playwright discusses why the New York production was unique, the role of race in her play, and why she doesn’t consider herself a career playwright.
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The playwright discusses why the New York production was unique, the role of race in her play, and why she doesn’t consider herself a career playwright.
Emily Mann, Bill Pullman, Will Eno, and Gregory Boyd recall a playwright they respected, occasionally feared, and deeply loved.
He loved to visit my graduate theatre class, always unannounced, and scatter pearls of wisdom. My students took notes.
There’s no shortage of exciting new writing for the stage. But are we in a Golden Age of playwriting?
Move over, NYC. From Oregon to Miami, theatres around the country are home to the nation’s most fertile new-play incubators.
Can a play get made without a production? At a few indispensable development hubs, that’s the only way.
For tips on what’s new and noteworthy on U.S. stages this season, who better to ask than literary managers and dramaturgs?
Loosely modeled after playwrights collectives before them, the D.C. group passes the torch.
As Charles Kopelman and Sarah Douglas of Abrams Artists Agency explain: They talk, the playwrights write.