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AMERICAN THEATREAMERICAN THEATRE

AMERICAN THEATRE

November 2019

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

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american theatre

Published by Theatre Communications Group EDITOR-IN-CHIEF Rob Weinert-Kendt MANAGING EDITOR Russell M. Dembin SENIOR EDITOR Diep Tran ASSOCIATE EDITOR Allison Considine EDITORIAL INTERN Amelia Merrill CREATIVE DIRECTOR Kitty Suen Spennato ASSOCIATE ART DIRECTOR Monet Cogbill PLAYSCRIPT DIRECTOR Kathy Sova DIRECTOR OF ADVERTISING Carol Van Keuren DIGITAL ADVERTISING MANAGER Marcus Gualberto MARKETING COORDINATOR Michelle Prado 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…

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editor’s note

IN TRYING TO KEEP TABS ON THE U.S. THEATRE SCENE, both its larger trends and its granular particulars, this New York City-based magazine has always relied on correspondents and sources from nearly every state in the union over the years. And with each monthly issue we now put our focus on a different theme or subject: sound design a few issues back, for instance, or the state of Black theatre earlier this year, or training for arts administrators in January. But we’ve seldom threaded these two strains together—that is, turned our monthly focus to a particular city or region. In training our attention on the justly legendary theatre town of Chicago in several stories in this issue, we are not only taking the opportunity to hone in on specific local stories…

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contributors

As a writer/performer who’s worked in Chicago’s nonprofit arts sector for some time, Ian Belknap relates, “There’s a bit of a ‘fish doesn’t know it’s wet’ dynamic that often pertains in the ways that we structure our organizations and the ways we make creative work. There are these rigid conceptions of how things are ‘supposed to go’ that too frequently go unexamined.” Digging into the Windy City’s ensemble ethos, for his report on the new book Ensemble-Made Chicago: A Guide to Devised Theatre (p. 24), Belknap found companies whose ways of working demonstrate powerful alternatives to predominant models, serving as a reminder that “idealism in action remains possible, and that precedent or custom are not sufficient as justifications for any mode of operating.” Yasmin Zacaria Mikhaiel is a Chicago-based dramaturg, arts…

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letters

SMALL THEATRES, BIG THOUGHTS I am always grateful for a discussion about small theatres and alternative ways of working in our field (“Good Things, Small Packages,” Oct. ’19). But I would like to ask that as Theatre Communications Group continues to grow its commitment to justice and equity practices, AT magazine similarly commit to a more rigorous analysis of race, class, economies, and local contexts. I don’t think you can report on theatres in places like Detroit, San Francisco, New Brunswick, not to mention rural communities, without some consideration of histories—deep past and recent current—around displacement, local and regional migrations, shifting demographics, identity erasure, and issues of systemic funding inequities. Otherwise you present the story of theatres as a patchwork narrative rather than as a set of case studies that exist…

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our kind of town

DEEP-DISH PIZZA. CITY OF NEIGHBORHOODS. Boystown. The “L” train. Bears. Cubs. Wrigley Field. The Magnificent Mile. Iconic architecture. Improv. And theatre! What do all these things have in common? Chicago, of course. With this issue of American Theatre magazine dedicated to celebrating the cultural vibrancy and diversity of Chicago theatre, it is helpful to remember that Theatre Communications Group has roots in Chicago. Back in 1961, when TCG was founded by the Ford Foundation to create a greater sense of community and collaboration within a burgeoning national theatre movement, the Goodman Memorial Theatre (now Goodman Theatre) was among the 15 founding member theatres, and is still an active member today, almost 60 years later. Now that’s something to celebrate. I spent three glorious years living in the Windy City. I had a blast.…

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godfrey l. simmons jr.: vision and mission

GODFREY L. SIMMONS JR. HAS BUILT A CAREER making room for others. In 2012 he co-founded the community-minded Civic Ensemble in Ithaca, N.Y., and he will next take the reins as artistic director of a theatre with a similar community profile, HartBeat Ensemble in Hartford, Conn., which has an affiliation with the University of Connecticut. We spoke to him recently about his work and his plans for the theatre, at which he’ll start on Dec. 1. ROB WEINERT-KENDT: Congrats on the new job. GODFREY L. SIMMONS JR.: Thanks. First, tell me what’s next for Civic Ensemble? The idea is that it will keep going. Civic co-founder Sarah K. Chalmers is managing the transition. Sage Clemenco and Julia Taylor, a couple of brilliant applied theatre practitioners, have been working with us for the last year,…

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