The Company Way: What Happened to the Acting Ensemble Ideal
When the resident company model was more prevalent in U.S. theatres, actors had the chance to put down roots in a community. Is that dream over?
When the resident company model was more prevalent in U.S. theatres, actors had the chance to put down roots in a community. Is that dream over?
How the season’s theatre festivals are faring amid rising costs, fickle audiences, and the warming planet.
After serving as Woolly Mammoth Theatre’s interim managing director, DeLong now joins a leadership team that includes Mica Cole and PJ Powers.
After three years at TheatreWorks, Bond will return to OSF as of Sept. 1.
The artistic director’s departure caps a 4-year period of extraordinary promise, crisis, and controversy, while the festival seeks help with its next steps.
Lorraine Hansberry’s long-awaited sophomore effort was greeted coolly, even confusedly, in 1964, but ambivalence—about art, activism, and their fraught intersection—has always been in the play’s DNA.
The symposium ‘Sound & Color: The Future of Race in Design’ invited young designers of color to imagine a future that is only just beginning.
Managing director David Schmitz will depart, with artistic director Nataki Garrett taking the role of interim executive artistic director and Anyania Muse chief operating officer.
From the Public Works ‘As You Like It’ to upstart crow’s ‘King John’ at Oregon Shakes to ‘Mother Lear’ at Brooklyn Botanic Garden, the Bard remains powerful currency; it’s how it’s spent that matters.
After a year as director of the theatre’s director of inclusion, diversity, equity, and access (IDEA), she will move up to both oversee a wider variety of operations and to infuse IDEA values throughout the organization.