How a cohort of artistic directors of color, recently hired at major U.S. theatres, have confronted unforeseen upheavals.
Keen Company’s roving production of Joan Didion’s mourning memoir makes a good fit for Long Wharf’s itinerant programming agenda.
The partnership will grant paid internship opportunities to SCSU students.
Readers respond to a review of a book about making it bleed onstage, and a theatre leader takes issue with a recent report on a necessarily changing field.
What does it mean for a venerable 57-year-old regional theatre to become itinerant? The answer matters beyond New Haven.
The itinerant experiment at Long Wharf Theatre can be a model for other theatres that have lost connection with their communities.
From ‘In Love and Warcraft’ to ‘Queen,’ she’s one of the theatre’s busiest and most versatile playwrights, though her success has come with its share of pain and disillusionment.
The editors speak to the playwright of ‘Dream Hou$e,’ a new play about gentrification, sisterhood, and reality TV, now onstage at Long Wharf Theatre.
How Lloyd Suh’s ‘The Chinese Lady’ made it through 2 years of pandemic, protest, and anti-Asian hate to emerge as the nation’s most-produced and possibly most essential play.
The new year-long effort aims to support artistic development at and among Baltimore Center Stage, Woolly Mammoth, Long Wharf, and the Repertory Theatre of St. Louis.