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.
Citing a financial ‘perfect storm,’ the organization’s board has opted to close the 27-year-old organization.
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.
With apprenticeships on hold, the inequities of the model face fresh scrutiny.
This season’s year-long residency has been awarded to Zora Howard and Edison Ventura Mata Diaz.
Waring is the company’s former general manager and current director of operations.
The festival, which has developed works by Dominique Morisseau and Larissa FastHorse, will feature five new works.
Moving work from one language to another is an art unto itself, and adapting it for the stage only adds layers of challenge and meaning.