Why some theatres—and their loyal audiences—keep eagerly boarding the repertory merry-go-round, season after grueling season.
Is the American playwriting glass half full, or half empty? Drink up this special issue before you answer.
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.
Robert Askins’s profane yet profound ‘Hand to God’ is the No. 1 play of the season.
August Wilson is the No. 1 playwright in America this season, but San Francisco playwright Lauren Gunderson isn’t far behind.
Women wrote just 26% of plays in the coming season, and men 63%, and new plays are outperforming old.
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.