ALL ARTICLES

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.

In October 2017, we were proud to honor Ken Ludwig with the Sustained Excellence in American Theatre Award. Don’t miss Emily Mann’s (Artistic Director of McCarter Theatre) tribute to him here.

Adam Bock looks life straight in the eye. The truth has got to be there somewhere, doesn’t it?

In this piece, we chat with our Social Media Manager about all things social, nationwide collaboration with theaters, and how we want to work with you in the future.

We’re thankful for theatre all year round, but this November we took a moment to ask our staff just why they are grateful for this art form we love so dearly.

Ryan McGlone discusses the enduring relevance of Harvey Fierstein’s unflinching Torch Song Trilogy.

As submissions for the 43rd annual OOB festival prepare to open on November 18th, we sat down with Festival Literary Manager Garrett Anderson to hear all things short play.

Artistic Associate of Remy Bumppo Theatre Company, Nick Sandys, discusses the series of events that oddly aligned with a production of The Skin of Our Teeth and reminds us of the wisdom of Thornton Wilder.

Arib Arbus observes Wilder’s prescience in 2017.

In this reprint from Wilder Moments, director, Dámaso Rodriguez, discusses how he encountered The Skin of Our Teeth and the challenges & surprises of wanting to direct it.

As revelations of abuses by men with disproportionate power make national headlines, the cast and production team of ADDING MACHINE ponder a telling and troubling comment expressed by a man following one of their performances.

A play set a world away has themes that ring true to audiences in Saint Paul Minnesota where Park Square theatre works towards their mission of serving broader audiences with a variety of different viewpoints.

Jenny Rachel Weiner reveals what she learned writing Kingdom Come.

President and Artistic Director of The Human Race Company, Kevin Moore, discusses their production of 26 PEBBLES by Eric Ulloa.

The Dramatists Guild Foundation has programs that are designed to help theatre thrive by giving playwrights, composers, lyricists, and bookwriters what they need to make their best work. Learn more.

Very few plays come to mind that explore the professional world of sports, even fewer that delve into the specifics of the business poised on making money off of the literal blood and sweat of other people. Fernanda Coppel’s King Liz does just that, without pulling any punches.