Indisputably, regional theaters have been a significant wellspring for new plays reaching back 30 years. But a quickening sea change has occurred quietly but demonstrably over the past decade: Regional theaters – once reliant on warhorses and the latest New York hit — have become the primary incubator and showcase for new work in America
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Tagged Actors Theatre of Louisville, All The Way, American Theatre Critics Association, Amy Rose Marsh, ART, Arts Garage, Barrington Stage, Becky's New Car, Berkeley Rep, Christopher Demos-Brown, Contemporary American Theatre Festival, Daniel's Husband, Deborah Zoe Laufer, Denver Center’s Colorado New Play Summit, Ed Herendeen, Eugene O’ Neill Theatre Center, Florida Stage, Gideon’s Knot, Harold and Mimi Steinberg Charitable Trust, Humana Festival of New American Plays, I and You, Island City Stage, Jim Steinberg, Johnna Adams, Ken Ludwig, La Jolla Playhouse, Lauren Gunderson, Louis Tyrrell, Lucas Hnath’s The Christians, Mad Cat Theatre Company, Manhattan Theater Club, Michael McKeever, Nan Barnett, National New Play Network, New Theatre, Nilo Cruz, Oregon Shakespeare Festival, Paper Mill Playhouse, Playwrights Horizon, Public Theater, Pulitzer Prize, Robert Schenkkan, Samuel French Inc., Signature Theatre and Atlantic Theater Company, South Coast Rep, Steppenwolf, Steve Yockey, Steven Dietz, Sundance Institute, Theatre Lab at Florida Atlantic University, Zoetic Stage
Nan Barnett, managing director of Florida Stage, has written a stunning essay for American Voices New Play Institute, revealing both the devastating and transformative effect the closure had on her life as well as the first extensive insider’s account of how it occurred.