Why New Plays Now? A Case for Supporting the Unimaginable
One of the nation’s most prolific living playwrights celebrates the theatre that has sustained him, and asks that it recommit to, and expand, its support for new work.
Opinion
Who Will You Inspire?
A reflection on the influences who led me to become the theatre artist and educator I am today—and to be that influence for others.
Why My Journey With ‘KPOP’ Feels Like a Broadway Homecoming
For the show’s associate music director/lyric dramaturg, ‘KPOP’ brings together 2 things that are precious to her: the Broadway musical, and contemporary Korean and Korean American culture.
I’ve Got a Beautiful Feeling About the Future of Hammerstein’s Farm
The 5-acre farm in Doylestown, Pa., where Oscar Hammerstein II wrote his epochal musicals is being turned into a museum and education center.
What Is a Non-Binary Play?
A playwright reflects on the plethora of joys, pains, ownerships, references, anxieties, comforts, languages, forms, and more to be found in non-binary plays.
A More Intentional Era for American Regional Theatre
The itinerant experiment at Long Wharf Theatre can be a model for other theatres that have lost connection with their communities.
How We Found the Musical That Found Us
On the closing weekend of ‘Dear Evan Hansen,’ its lead producer looks back at an unforgettable journey that opened a window into a mental health movement.
One Scarf Vs. Siberia: What Can ‘Fiddler’ Teach a Parent in a Dangerous World?
A beloved musical about refugees, and a new one about current U.S. border policies, hit unexpectedly hard in a newly unsettled time.
Funny Girls, Money Men: The Complications of Jewishness on Broadway
Using ‘Funny Girl’ and ‘The Lehman Trilogy’ as jumping-off points, 2 theatremakers tackle the often cross-cutting challenges of Jewish representation, and explore why casting alone can’t save problematic material.
Wake Up, Theatres: Do You Think They’ll Stop With Book Bans?
The forces attacking the human rights and free expression of the most marginalized among us know exactly what they’re doing, but we have a way to fight back: the stage.
