American Theatre magazine

15/11/2025

In the latest installment of Goes to Show, Zora Howard talks “Hang Time,” Richard Thomas revives Hal Holbrook’s “Mark Twain Tonight,” and your columnist Rob Weinert-Kendt fills us in on world premieres across the U.S.

Plus: Richard Thomas revives Hal Holbrook’s ‘Mark Twain Tonight,’ and a listing of world premieres across the U.S.

14/11/2025

In Brian James Polak’s latest episode of The Subtext, prolific playwright Theresa Rebeck discusses perseverance, childhood theatre memories in Cincinnati, the continued gender imbalance in the American theatre, and experiences working on iconic projects (including the new musical “Working Girl” with Cyndi Lauper).

The Brooklyn-based playwright discusses childhood theatre memories in Cincinnati, the continued gender imbalance in the American theatre, and experiences working on iconic projects.

14/11/2025

The touring cast of David Adjmi’s Tony Award-winning play took a trip across the Golden Gate Bridge to 2200 Studios, formerly known as the Record Plant, where Fleetwood Mac recorded “Rumours.”

14/11/2025

United Hospital Fund and Venturous Theater Fund have joined in an effort to educate job-to-job arts workers about their health insurance options: a free, comprehensive online guidebook, “Riskier Business: A Guide for Dramatists and Performing Arts Workers on Finding Affordable Health Coverage and Care.”

United Hospital Fund and Venturous Theater Fund have joined in an effort to educate job-to-job arts workers about their health insurance options.

14/11/2025

This month’s awards roundup includes directing honors, theatre criticism prizes, commissions for Black playwrights and Theatre for the Very Young, and more.

14/11/2025

13/11/2025

Welcome to Icons 3, where AT and Classical Theatre of Harlem partner to present a series of monologues about great figures in Black cultural history. On this episode in our Offscript feed: A monologue from playwright Darnell Lamont Walker about a legendary Harlem crime boss, performed by Keith Randolph Smith.

As a special offering in our Offscript feed, here’s a monologue from playwright Darnell Lamont Walker about the legendary Harlem crime boss, performed by Keith Randolph Smith.

13/11/2025

ATTENTION PHOENIX: Do you know a local theatre worker who deserves to be featured in AT's upcoming Phoenix Role Call? Recommend them here:

In 2015, American Theatre magazine launched a monthly vertical in our print edition called Role Call: People to Watch, in which we profile theatre workers more people should know about. They have included playwrights, directors, designers, administrative personnel, trustees, even a security guard. I...

12/11/2025

“In a moment where we’re celebrating 250 for the country, what does it mean that, for 70 of those years, the Court has had an incredible contribution to the theatre and to Chicago and the University of Chicago? What does that look like? I think part of that is kind of nerdy and academic: What are the most common plays that were done over these 70 years? Who are the directors that worked multiple times at Court? And what are the gaps? Who hasn’t been produced? I think this ongoing question about what is a classic allows us to be really creative about the future. So I’ve been thinking about looking back to look forward. How do we build on this incredible legacy?” -Avery Willis Hoffman, Court Theatre

Court Theatre’s new artistic director talks theatre classics and joining a Chicago institution.

12/11/2025

"Is it possible to see through the conditions that shaped and stymied Black artists to the art itself?

In a letter displayed in the exhibition, George C. Wolfe puts his finger on the problem. Responding to an early draft of 'Bring in ’Da Noise, Bring in ’Da Funk,' the 1996 musical about what he calls the 'regenerative power of rhythm' in Black history, he notes that viewing the subject through the lens of racism is 'incredibly reductive. It’s like a cure-all, when in doubt, whip out the "whitefolks" and everybody understands everything,' he wrote in a fax to members of the production team. 'I’m not interested in this at all. It’s the difference between talking about slavery and instead talking about slave culture. One is about what white people did to black people — the other is about what black people did for themselves.'” - Jesse Green

The nearly forgotten Black stars, songwriters and strivers who made Broadway what it is today.