Titles

The 1975 screen adaptation of Richard O‘Brien’s The Rocky Horror Show is a undeniable cult classic. Here are our top 10 freaky and fabulous facts about the film The Rocky Horror Picture Show.

Tragic yet musically upbeat and joyous, read about playwright Lauren Yee’s Cambodian Rock Band.

Director Richard Hess discusses bringing Todd Almond’s coming-of-age drama to life at the Cincinnati College-Conservatory of Music.

Contributor Katie Coryell explores little-known facts about Kander & Ebb’s Chicago.

Director Martha Banta discusses an enduring playwright-director relationship with Lori Fischer.

British agent Alex Armitage shares invaluable advice from a career producing Me and My Girl.

Theatre writer Jonathan Mandell shares the revelation that is experiencing Runaways four decades after its creation.

Director and Actor Ken Webster shares the joy of Will Eno’s contributions to theatre.

Lawrence Haynes interviews Max Vernon, the composer, lyricist, playwright, and performer behind Off-Broadway hits The View UpStairs and KPOP.

Stacey Boone and Melissa Leftwich are Theatre Arts and Art teachers at Jay M. Robinson Middle School in Charlotte, North Carolina. Having completed performances of Rock of Ages: Middle School Edition last year, they share tips and some of their favorite moments of the show!

Contributor Nikki Przasnyski analyzes Bryna Turner’s Bull In A China Shop.

An excerpt from Leslie Odom, Jr.’s new memoir, Failing Up.

A play’s influence on a theater’s journey to greater inclusion.

Turtle Soup is currently being staged in a workshop production and famed play publishers Samuel French—located in New York City—is in talks with Rosary O’Neill about publishing the script.

Writer-Composer Frank Lazarus tells the story of bringing A Day In Hollywood / A Night In The Ukraine to Broadway.

Contributor Katie Coryell describes her connection to the title character, Gordon, and how, with Lapine and Finn, lightning can strike twice.

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

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.

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.

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.

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.

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.

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.

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

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

Arib Arbus observes Wilder’s prescience in 2017.

Jenny Rachel Weiner reveals what she learned writing Kingdom Come.

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.