
Essays and provocations for a theatre that refuses to be a bystander—confronting power, politics, labor, and the systems we inherited while imagining what we build next.
| Platform | Pricing | Only free issues | Publishes | Weekly | |
|---|---|---|---|---|---|
| Issues | 17 | Founded | 9 months ago | Last Issue | 12 days ago |
| Active | |||||

NOTE: For those with the courage and moral conviction to be an upstander, you’ll find a statement to read from the stage, a shareable graphic, and practical resources at the end of this article.
I need to go back to why I started writing t...
So. That conversation to discuss the state of American theater happened. I have thoughts.
First, full disclosure: I did not attend the September 29th Zoom call. I’m responding to the video, published transcript, and the anonymous responses...
Cleveland Play House was founded in 1915. By the time the postwar regional theater movement was in full swing, Cleveland had been in the business of decentralizing theater from Broadway for decades. In 1919, its president, Walter Flory, sai...
Sixteen production jobs on Chicago’s principal theatre job board offered, between them, about $6,600. That money was meant to pay at least sixteen people.
One company offered $100 to direct all or part of a three-week project. Another soug...
Michael Rohd asked the question the last essay had avoided.
The previous essay, “The Nonprofit Theatre Is Dead. Good.,” argued that the end of one institutional model need not mean the end of theatre. It proposed a commonwealth of shared i...
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Essays and provocations for a theatre that refuses to be a bystander—confronting power, politics, labor, and the systems we inherited while imagining what we build next.
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