Lend Me Another Tenor (or Two)
I never thought I’d write a sequel, but then I had an idea—and now I have ‘A Comedy of Tenors,’ in which Tito and company get an encore.
I never thought I’d write a sequel, but then I had an idea—and now I have ‘A Comedy of Tenors,’ in which Tito and company get an encore.
One audience member trying to plug his phone into a Broadway set is not the end of civilization—nor should a ‘why not’ attitude be entirely unwelcome in the theatre.
A response to Dana Dusbiber’s wrongheaded ‘Washington Post’ column arguing that dead, white Shakespeare shouldn’t be taught anymore.
At an April conference in Toronto, we came up with a plan for change that can take root and grow into a more equitable future for female theatre artists.
As she retires from leading the Hunter College MFA playwriting program, I’m grateful for what she taught me about plays—and about life.
Two new one-woman plays dramatize the unique stress and ethical pitfalls of fighting in the Chair Force.
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.
Failure can be a gateway to new scenes, new ideas—even a brand new writing identity.
Learning how to fail well is as crucial a part of a writer’s craft as putting words on a page. With other kinds of failure, you have less control.
Fighting for freedom of expression in high school theatres can be a complicated cause, but it’s clearly a fight that matters for all theatre artists.