Theatre Artists With Disabilities Are Ready, Willing, and, Yes, Able
Obviously theatres should give priority to disabled actors in roles defined as disabled. The next step: to consider them for all roles.
Obviously theatres should give priority to disabled actors in roles defined as disabled. The next step: to consider them for all roles.
Operas, musicals, and classic plays are among the performances offered during the California university’s academic year.
The University of Michigan celebrates the 100th birthday of its pioneering theatrical alumnus.
The new play, a collaboration between Roundabout, playwright Daniel Robert Sullivan, and nine New York City teenagers, began its rolling national premiere last week.
At a coffee shop near you, the Dramaturgy Open Office Hour Project offers a user-friendly intro to the sometimes elusive art form.
In the final installment of this follow-up with the Harvard acting class of 1995, former colleagues find meaning on and off the stage, together and apart.
As young actors at Harvard, they formed a kind of de facto theatre company. Then they hit the pavement in New York. Here’s the story of their last 20 years.
Gentle but passionate, as handy with farce as with tragedy, the late director brought together the Bay Area’s disparate theatrical tribes like no one else.
Jeremy Gable’s ‘The 15th Line’ gathered attention as a Twitter play in 2010. Now Erin Mee is bringing it back.
What happens when writers accustomed to grown-up audiences aim younger? The results can be rich and rewarding for all concerned—though there are pitfalls.