Plays Are Meant to Be Seen, Not Heard
In the early 2000s, some major U.S. theatres dedicated spaces in their buildings to producing new work by new playwrights. Where are those programs—and those writers—now?
In the early 2000s, some major U.S. theatres dedicated spaces in their buildings to producing new work by new playwrights. Where are those programs—and those writers—now?
What has he learned after leading Minneapolis’s flagship theatre for the last 11 years, and what’s next? Plus: a Pittsburgh check-in with Sharon Eberson.
Execs from more than 40 of the country’s largest regional theatres gathered in Wisconsin last week to share practical advice for an industry that is ‘exceptionally strained.’
A roundup of prizes, fellowships, and other recognitions.
As his popular two-hander makes the rounds of U.S. theatres in the coming season, playwright Lloyd Suh reminisces on the play’s development and continued resonance in an anti-immigrant climate.
As tireless as he was eccentric, this great designer pushed himself and his colleagues to dazzling heights, and his work was never done.
The flagship theatre memorably mounted Shakespeare’s popular history plays in 1990, and now they’re back for another repertory rotation.
The theatre also named Krista Matthews their new director of development.
Their new play for the Guthrie is a comedy, in large part because that’s what the Native community in the Twin Cities asked for.
In this excerpt from his new book about running the Pasadena Playhouse for 2 decades, Epps arrives at the intersection of its history and his.