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?
The beloved New York play development center announced its closure last fall after 27 years, citing ‘pandemic-related crises,’ but its staff tells a different story.
An acclaimed director known for nurturing new work, she returns to a company that helped shape her, and that she in turn helped to shape.
He leaves behind an organization dedicated to nurturing new plays and playwrights; his replacement will be announced next month.
Finalists for the two-year residency include Nikki Brake-Sillá and A.A. Brenner.
Sam Chanse, Dipika Guha, and Dave Harris have been selected for the two-year fellowship.
Chosen by the Lark out of 286 applicants, she’ll embark on a two-year fellowship to develop a new play.
The fellowship for disabled writers includes a two-year residency and $40,000.
Olivia Dufault, Mike Lew, and Susan Soon He Stanton will develop new plays as part of the inaugural fellowship.
Nakissa C. Etemad and Morgan Jenness are recognized for their dramaturgical work.