The #TonyAwards has valiantly tried multiple ways to present the Best Play nominees -- decontextualized excerpts, elevator pitches, benign neglect. What if the nominated playwrights wrote something new and short and self-contained for the awards show and the cast performed it?
I don’t want to produce my own plays in order to work as a playwright any more than I’d want to open and run my own hospital in order to work as an anesthesiologist.
A front-page New York Times story about how playwrights’ work is getting cancelled by school theater departments for political reasons, that mentions almost none of the playwrights by name, is the most playwrighty thing that’s ever happened
Rust Belt Rep regrets to report that due to financial realities our upcoming season, which had been reduced from 6 shows to 3 and then reduced again to 1, has now been reduced yet again to -2. If you're a subscriber this means we're taking away two shows you've previously seen.
Starting to have anxiety about our production of Hamilton where Burr lectures Alexander about the virtues of becoming one of our theater's sustaining donors.
A musical about a writer who's an usher at A STRANGE LOOP on Broadway writing a musical about a writer who's an usher at A STRANGE LOOP on Broadway. It's A STRANGE STRANGE LOOP LOOP, opening 2024.
Some parts of being a playwright can be a drag. Spending a few hours in a room trying out material with a bunch of brilliant, generous, hilarious actors isn’t one of them.
People ask why we charge playwrights to submit plays but we don't charge designers to apply for gigs. But to that we have a very logical and reasoned response: because playwrights will pay.
To those who would seek to tear down this local theater for charging its playwrights submission fees, I would just point out that $30 is not exorbitant: that's like eight bags of peanuts, one cup of coffee, four bananas and a jar of hot sauce. Shame, shame.