How to Learn to Forget What You’ve Learned
Each new play requires a new playwright, in a sense. So how many writers can I be?
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Each new play requires a new playwright, in a sense. So how many writers can I be?
The transition from writing for nothing to writing for a paycheck has been smooth. But is stage work now a dream, or just a daydream?
Why did the Pinter estate demand that press be kept from the Wooster Group’s L.A. staging of ‘The Room’?
With Yako 440, Israel’s new show at the BRIC, accompanied by a retrospective exhibit, both mourns and celebrates his jazzbo dad, steven ben israel.
Rehearsal room squabbles aside, the questions raised by Tonya Pinkins as she departed CSC’s ‘Mother Courage’ deserve a closer look.
The writer shares her experience of spending 10 months in Blue Lake, Calif., at the Dell’Arte International School of Physical Theatre.
New stagings of ‘All My Sons,’ ‘A View From the Bridge,’ and ‘Incident at Vichy’ don’t just remind us of the playwright’s grand ambitions; they realize them.
How a seemingly normal night at the theatre led to an altercation with a patron over microaggressions and white privilege.
Lloyd Suh and Katori Hall offer the latest teaching moments in race-conscious casting.
While ‘On Your Feet!’ is conquering Broadway, the promising, musically vibrant ‘Cuba Libre’ bows in Portland.