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EXPLOREMY LIBRARY
Culture & Literature
AMERICAN THEATRE

AMERICAN THEATRE

January/February 2020

THE ONLY NATIONAL MAGAZINE THAT PROVIDES COMPREHENSIVE COVERAGE OF THE WORLD OF THEATRE BOTH IN THE U.S. AND ABROAD. INCLUDES 5 COMPLETE PLAYSCRIPTS EACH YEAR, ARTIST PROFILES, AND MUCH MORE. TWO SPECIAL ISSUES PUBLISHED EACH YEAR "THEATRE TRAINING" (JANUARY) AND "SEASON PREVIEW" (OCTOBER).

Country:
United States
Language:
English
Publisher:
Theatre Communications Group
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10 Issues

In this issue

1 min.
american theatre

Published by Theatre Communications Group EDITOR-IN-CHIEF Rob Weinert-Kendt MANAGING EDITOR Russell M. Dembin SENIOR EDITORS Diep Tran Allison Considine PHOTO EDITOR Caitlyn Halvorsen EDITORIAL INTERN Amelia Merrill CREATIVE DIRECTOR Kitty Suen Spennato GRAPHIC DESIGNER Dedra Bailey PLAYSCRIPT DIRECTOR Kathy Sova DIRECTOR OF ADVERTISING Carol Van Keuren DIGITAL ADVERTISING MANAGER Marcus Gualberto CIRCULATION MANAGER Carissa Cordes PUBLISHER Terence Nemeth FOUNDING EDITOR Jim O’Quinn EXECUTIVE DIRECTOR AND CHIEF EXECUTIVE OFFICER Teresa Eyring DEPUTY DIRECTOR AND CHIEF OPERATING OFFICER Adrian Budhu…

3 min.
senior editor’s note

A QUESTION I GET FREQUENTLY FROM STUDENTS AND YOUNGER writers is, “How did you become a journalist?” I suspect my answer usually disappoints them: I was lucky. I graduated in 2011 from the Newhouse School of Public Communications at Syracuse University. I left the program in June and moved immediately to New York City, and a month later I was hired as an editorial assistant at American Theatre. They happened to have a job opening at the same time as I was looking for a job (and I had amassed enough unpaid writing experience to qualify). Key point: I found out about the job via an alum of the Newhouse program, not a job posting. In the eight years that I’ve been covering theatre, I’ve noticed the same is true of…

1 min.
contributors

Marcus Scott, the author of this issue’s feature on playwriting programs that include training in other media (p. 24), recalls beginning the 2010s by receiving his undergraduate degree, then starting a grad program. “Perhaps it was kismet taking on this assignment; now at the dawn of a new decade, I’m thinking of going back to graduate school, this time to earn a more formal and comprehensive education in playwriting and screenwriting,” says Scott, a New York City-based playwright, musical theatre writer, teaching artist, and journalist. “Listening to these prolific storytellers,” he says, “I felt like I got a peek behind the desk that few will ever have, and finding the words to articulate that was a learning experience.” Miami-based arts writer and editor Jordan Levin, who served as staff critic at…

4 min.
letters

CREDIT WHERE IT’S DUE As a former Chicago theatre person (artistic and then executive director of Free Street Theater, from 1991 to 2003), I was glad to see American Theatre devote an article to the wonderful ensemble scene in Chicago (“Stronger Together,” AT, Nov. ’19). But I found it “curious” that the writer neglected to mention perhaps Chicago’s oldest functioning theatre ensemble, Curious Theatre Branch. Curious has been devoted to new work for more than 30 years, having produced Rhinofest long before the first “Fringe” for most of that time, featuring hundreds and hundreds of new works. Curious has given wings to hundreds if not thousands of younger theatre fledglings, and has championed theatre as an art form and collective management and decision-making throughout. And all this without an academic shelter,…

3 min.
a decade of risk and reward

AT TCG’S FALL FORUM ON GOVERNANCE LAST November, participants explored what it means to create “A New Playbook,” or new model(s) for producing and sustaining theatre in communities nationwide. In some ways we are on the verge of a new movement. Certain structures will be disassembled and rebuilt differently. Others will remain intact or be tweaked to work more effectively for a changing environment. Historically, the “why” of the nonprofit theatre structure is grounded in practicality: The commercial model didn’t work for theatres seeking to bring full seasons of new and classic work, year after year, in residence within cities and towns across the country. Philanthropy was needed, particularly in a country where public support covers only a tiny fraction of the budget. “Artistic ambition outpaced the potential of the…

5 min.
julia jarcho teacher and maker

JULIA JARCHO IS MOVING. THE PLAYWRIGHT (Grimly Handsome, Every Angel is Brutal, Pathetic), who’s built her career in the New York City downtown experimental theatre scene and who currently teaches at New York University, is relocating to Providence, R.I., this January. She’s going to be the new head of the MFA Playwriting program at Brown University. She takes over for Lisa D’Amour, who’s been the interim head of a playwriting program that was propelled to national notoriety by Paula Vogel. Though she’ll be mentoring the next generation of American playwrights, she won’t be giving up her company, Minor Theater. They will next present a workshop of Marie It’s Time, a feminist-focused take on Woyzeck, at HERE Arts Center in New York City as part of its HERE RAW (Resident Artist Works),…