6,634 stories from HowlRound
By Natalie Gershtein. Independent producer Natalie Gershtein considers the playwright-producer relationship. Where she once thought that playwrights were waiting and hoping for a first produ…
By David Dudley. David Dudley interviews Joan Schirle, Founding Artistic Director of Dell'Arte International, about their unique School of Physical Theatre.
By HowlRound TV. Double Nickels Theatre Company in Washington, DC hosts a Fierce Angels Feast livestreaming on the global, commons-based peer produced HowlRound TV network at howlround.tv on…
By Lavina Jadhwani. Chicago director Lavina Jadhwani follows up on her previous HowlRound article about color-conscious casting, discussing how to create a safe space while color-conscious d…
By Jonathan Mandell. Jonathan Mandell reflects on a recent experience at a Grateful Dead concert, and asks if theatres can adopt some similar strategies for audience engagement.
By HowlRound TV. Suzan-Lori Parks livestreams Watch Me Work from the Public Theater in New York City on Monday, November 16 at 2pm PST (Vancouver) / 4pm CST (Austin) / 5pm EST (Toronto) / 22…
By John McEwen, Andy Donald. John McEwen, Executive Director of the New Jersey Theatre Alliance, introduces the New Jersey Performing Arts Center Stage Exchange and talks with the three part…
By Catherine Trieschmann. Playwright Catherine Trieschmann discusses tracking her writing output, and her daughter tracking her reading.
By Andrew Bailes. Andrew Bailes encourages theatre artists to embrace sincerity in their work, rather than cynicism or irony.
By Piper Anderson. Piper Anderson discusses the dual roles of diversity officers and advocates the need for leadership training.
By HowlRound TV. The Martin E. Segal Theatre Center in New York City presents Fassbinder and the Stage livestreaming on the global, commons-based peer produced HowlRound TV network at howlro…
By Michael Dixon. Michael Bigelow Dixon introduces the Monsters on Stage Project from Translyvania University.
By Robert Moskowitz. Robert Moskowitz discusses the needs for and advantages of creating a local theatre cooperative.
By Rebecca Stevens, Marcus Gardley. Part interview, part photo essay, part play excerpts, Rebecca Stevens goes in-depth with playwright Marcus Gardley on his two recent productions at Victor…
By Michael Lueger. In the fourth installment, Michael Lueger interviews Archivist Morgen Stevens-Garmon about the intersection of theatre and museum archives in her career.
By HowlRound TV. Temps d'Images Festival / Independent Performing Arts Platform in Cluj, Romania presents She's a Good Boy by Compania 28, Cunthate [ură] by BÉZNÄ‚ Theatre, and Dom…
By Ira Gamerman. Ira Gameraman, writer for podcasts Dangerously Unqualified and Radiotopia's The Truth addresses the possibilities for playwrights in podcasting.
By Daniel B. Thompson. Daniel B. Thompson addresses the common practice of theatre companies misclassifying their workforce as independent contractors for tax purposes.
By Holly L. Derr. Holly L. Derr on Destiny of Desire by Karen ZacarÃas, Animal by Claire Lizzimore, Queens Girl in the World by Caleen Sinette Jennings, Women Laughing Alone with Salad by…
By HowlRound TV. Emerson College presents the panel discussion Comedy and Campus Culture livestreaming on the global, commons-based peer produced HowlRound TV network at howlround.tv on Frid…
By Joseph D'Ambrosi. Playwright Joseph D'Ambrosi advocates the need for Christian theatre artists to reevaluate censoring plays for the sake of faith-based themes.
By Erin Butcher. Erin Butcher writes about the difficult experiences she faced producing a show in a public park with an all-female cast and crew.
By Kitty Felde. Playwright Kitty Felde discusses the challenges of producing her play The Luckiest Girl , which features the Dutch character Zwarte Piet.
By Gardiner Comfort. Actor Gardiner Comfort discusses his experiences as a performer and audience member with Tourette Syndrome, and how it has inspired aspects of his solo show The Elephant…
By Amy Brady. On Albert Camus's birthday, scholar Amy Brady reviews an article that was published in Theatre Arts Magazine in 1960 reflecting Camus's reasons why he worked in theatre.
