Introducing a new podcast to American Theatre’s network: the Subtext, where playwright Brian James Polak interviews playwrights about what makes them tick.
Writing is a solitary pursuit, but not for a week each year on this idyllic Midwestern campus.
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?
How this dedicated follower of no fashion and avatar of alternatives to the well-made play keeps it weird.
Tim Federle, author of ‘Better Nate Than Ever,’ talks about his journey from chorus boy to cowriter of the musical ‘Tuck Everlasting.’
Retiring from a creative calling that never really paid my bills has been much harder than I’d imagined—but it seems to have already happened anyway.
The 150 featured plays, by scribes ranging from Emily Mann to Will Eno, represent a stirring spectrum of dramatic voices.
In ‘The Train Driver,’ South Africa’s master dramatist wrestles with the fate of a poor family and what it means to him.