ALL ARTICLES

New Dramatists, Tony Honor recipient and the nation’s premier playwright development laboratory, will honor Tony and Academy Award-winner Denzel Washington at its 69th Annual Spring Luncheon tribute.

Director Coryn Carson, who staged a production of 26 Pebbles in Orlando, Florida in 2017, offers suggestions for engaging your community when presenting this and other challenging works of documentary theatre.

Playwright Adam Bock’s perspective on the presence of life

For one night only!

Read more to find out about Ted Curry’s experience with Theresa Rebeck’s O BEAUTIFUL and why it is an important story to tell.

Playwright Sarah Ruhl’s personal experience with Peter Pan

“It is for the older folk to see the symbolism and philosophy that lies behind [Peter Pan], the pathos of Peter, the utter sadness of the Never, Never Land.”

Jennifer Alden remembers her father, Jerome Alden, during the writing of his play, Bully.

The Old Globe’s Literary Manager and Dramaturg, Danielle Mages Amato, chats with playwright Ken Ludwig about the many different versions of Robin Hood, his love for this mythic hero, and bringing the story to life on stage.

Tomorrow in the Battle beautifully highlights society’s struggle to find harmony between how isolated we seem to feel and society becoming increasingly interconnected. Read more about Allison Threadgold’s experience with the show.

Just in time for Valentine’s Day, contributor Katie Coryell shares her favorite shows about love.

Playwright Diana Amsterdam breaks down writing comedy.

Tana Sirois, co-founder of Dirt [contained] Theatre Company, interviews playwright Kieron Barry.

Communications director of Intrepid Theatre Company Tiffany Tang discusses a production of FATHER COMES HOME COMES HOME FROM THE WARS (PARTS 1, 2 & 3) and how they created an environment where dialogue could be developed, encouraged, and introduced in a safe way.

Kate Powers speaks with several directors who have worked on the play, focusing on their collaborations with Wilder, their production experiences, and why they feel this play remains one of the most universal texts in the American theatre canon.

When you pick up a play by A. Rey Pamatmat, it won’t take long for you to become fully engrossed by his characters. Learn more here.

We are delighted to share an interview with one of Canada’s most sought-after playwrights, Hannah Moscovitch, who speaks about her life experience, womanhood and the three plays she has written so far…

Our Town began its journey to Broadway with a one-day stop at McCarter Theatre Center in Princeton, NJ on January 22, 1938. To mark the 80th Anniversary Our Town’s world premiere, Noah Befeler speaks with Emily Mann, the current Artistic Director.

There is no single paramount challenge to leading a one-person collegiate theatre department. 

Helen Schultz observes the disparity between unproduced and produced plays by women, about young women, and envisages a future filled with “bustling teenage brilliance”.

“Louder, faster, funnier” is a phrase that has infiltrated many rehearsal spaces, and it is one that has not always gained the desired effect from the user of said phrase. Annie Baker’s The Flick teaches us quite the opposite.

In this beautiful, thought-provoking piece, playwright Sarah Ruhl discusses the search for a “happy ending” as well as the eternal plight of women writers who have children sharing their journey with the world.

It’s a new year, which means it’s time for new reads!

As the year quickly comes to a close, we’ve chosen some of our favorite new plays that Samuel French has published over the past 12 months.

Jamie Boller’s account of the journey from page to stage in her work playing the fierce heroine Viola de Lesseps in SHAKESPEARE IN LOVE.

The magic of The Belmont Theatre makes room for everyone to have a special place. Learn more about the history and how every role from audience member, to stage hands, are crucial components to the operation of this theater.

Read about Becca Schlossberg, a Samuel French licensing representative & playwright based in Brooklyn, and her experience of seeing Heathers The Musical at Drew University.

I was watching television coverage at my grandmother’s when Lee Harvey Oswald was murdered before our eyes. Like many Americans, that image ripped into my memory. I would see it in my dreams. I remember my grandmother said, “I don’t care whether he lives or dies.” That moment is in Act Two of Mama’s Boy.

With the task of directing the musical that gave him hope, see how Bert Bernardi gave this production a big heart without the benefit of a big space or a big budget.

Read more about Patrick Barlow’s Ben Hur and its production at the Tricycle Theatre in the UK from Jennifer Bakst.

Read more about Dominique Morisseau’s deep connection to the Detroit Public Theatre and how here universal plays shine a light on those of Detroit.

In October 2017, we were proud to honor Dominique Morisseau with the Impact & Activism Award. Don’t miss Kamilah Forbes’ tribute to her here.