"I'm really interested in — especially right now — cycles of mess, cycles of revenge," Mr. Mac said in an interview last year with the theater website Howlround.
|
|
A recent tally on HowlRound, a theater industry website, documented the staggering lead men have over women as designers, directors and artistic directors in American regional theaters.
|
|
The perception that it does is why activist groups like Parity Productions and the Kilroys exist, applying pressure on behalf of female and transgender artists, and why the predominantly white, male critical establishment came in for an angry hit last month in another piece on HowlRound.
|
|
HowlRound first started as an online journal launched in 2011, created by P. Carl, David Dower, Jamie Gahlon, and Vijay Mathew as part of the American Voices New Play Institute (AVNPI). The concept for HowlRound evolved out of work and research performed in 2005 and 2006 and the writings of David Dower’s “The Gates of Opportunity” and Todd London and Ben Pesner’s Outrageous Fortune, both of which examined the lack of institutional support and resources in the non- profit theatre community. In December 2011 it was decided that all of the documentation and dissemination work of the AVNPI would move to Emerson College in Boston. This included the HowlRound journal, the livestreaming television channel then called NewPlay TV (now HowlRound TV), the New Play Map, and all of the convening activity. At the time of the move, it was decided that the entirety of the work would come under the name “HowlRound” and that the remaining parts of AVNPI would remain at Arena Stage.
|
|
HowlRound's projects include an online Journal, a livestreaming TV channel, and the World Theatre Map. HowlRound also produces in-person convenings.
|
|
In 2016, Greenidge began a three-year term as the Playwright in Residence at Boston's Company One Theatre through the National Playwright Residency Program, funded by the Andrew W. Mellon Foundation and administered by HowlRound.
|
|
HowlRound is a non-profit service organization based out of Emerson College’s Office of the Arts. Its aim is to support developing theatre practitioners and facilitating dialogue within not-for-profit theatre and performance arts field. Like Wikipedia, their platforms use commons-based peer production as their content methodology.
|
|
Thou Twin of Slumber is a performance cycle in eight parts. It has been produced and presented through the year 2013 at Cyclorama – Boston Centre for the Arts, Boston;). Allison Vanouse (2013-05-14) HowlRound. "Exist Stronger" Kasteliotissa, Nicosia; Grace Exhibition Space, New York City; Defibrillator Gallery, Chicago; VIVO Media Arts Centre, Vancouver; Museo Universitario del Chopo, Mexico City;).
|
|
"Isabella Russell-Ides persists as one of the most expressive, evocative and routinely ignored playwrights in our N. Texas region’s ‘money and prestige’ theater circles. She pens unique, stage-worthy, critically acclaimed entertainments like Leonard’s Car, Coco & Gigi and Cenote that feature fascinating characters, vivid language and imagery and sustainable sustenance for the soul and mind," according to HowlRound theatre critic, Alexandra Bonifield.
|
|
Company member Ezra Brain wrote about the process of making this piece for Howlround. Writing for Theatre is Easy, Asya Gorovits said that the "surrendering [of] the narrative puts the 'spectator' in the dark, allowing for a new kind of theatre, one with its own strange and beautiful logic." TINATC revived Theatre in the Dark for a special Winter Solstice and Valentine's Day productions.
|
|
She also spent some time teaching at Smith College. Cleage holds positions as the Playwright in Residence and artistic director of the Just Us Theater Company. In 2013, Cleage became the Playwright in Residence at the Alliance Theatre in Atlanta through the National Playwright Residency Program funded by the Andrew W. Mellon Foundation and administered by HowlRound. The initial three-year term was renewed for an additional three years in 2016.
|
|
Alfaro has been the recipient of numerous awards, including the MacArthur "Genius" Foundation Fellowship in 1997, and the 1998 National Hispanic Playwriting Competition Prize. In 2013, he began a three- year term as the Playwright in Residence at the Oregon Shakespeare Festival through the National Playwright Residency Program, funded by the Andrew W. Mellon Foundation and administered by HowlRound. In 2016, the grant was renewed for an additional three years.
|
|
Anne García-Romero works with the organization HowlRound and their Latina/o Theatre Commons. This includes a large network of other Latina/o artists, and has brought them together to discuss what is best for the Latina/o Theater community at large. García-Romero has written essays for their journal, Café Onda. In one of her essays, she writes, “US culture in the twenty-first century continues to move from a mono-cultural to a multi-cultural experience.
|
|
Smaller urban theaters have stayed a source of innovation, and regional theaters remain an important part of theater life. Drama is also taught in high schools and colleges, which was not done in previous eras, and many become interested in theater through this. The Faster Times, an online newspaper that ran from 2009 to 2013, featured a weekly column that discussed issues and trends in American theater. HowlRound, an online forum, features opinions and essays by artists and academics in American Theater today.
|
|
Tlaloc Rivas is an award-winning writer, producer, and theatre director. He is one of the co-founders of the Latinx Theatre Commons, which works side by side with HowlRound to revolutionize American theater and to highlight and promote the contributions and presence of Latinx in theatre. Central to Rivas' work is the Latinx experience, but also exploring the American experience through the lens' of underrepresented voices. Rivas focuses on writing and directing plays that significantly explore Latinx identity and history.
|
|
It was subsequently staged in London at the Tricycle Theatre, with an Off- Broadway premiere at New York Theatre Workshop in July 2018."The House That Will Not Stand, Tricycle - theatre review", London Evening Standard, 20 October 2014. In 2013 Gardley began a three-year term as the Playwright in Residence at Victory Gardens Theater, through the National Playwright Residency Program, funded by the Andrew W. Mellon Foundation and administered by HowlRound. It was renewed in 2016 for another three years.
|
|
The Return (2011) brought together a Nigerian and Malawian cast, including Patience Ozokwor, and toured all three regions of Malawi.Isaac Mafuel, The Changing Theatre Landscape for Women Artists in Malawi, HowlRound Theatre Commons, 4 October 2018. Chavula's first feature film, No More Tears (2013), was shot in Lilongwe and on the beach of Lake Malawi in Salima District. It told the story of a 20-year-old girl who needs to take care of her father after losing her mother to AIDS.
|
|
As a music journalist, Gamerman has been published by Consequence Of Sound, Eleven Magazine in St. Louis (even though he has never actually visited St. Louis), and Howlround. He was also an extra in Season 3 of The Wire and has the screenshot to prove it if you don’t believe him. Split is about an angsty young man attempting to find himself, while interacting with imaginary friends including Vince Vaughn and an angry Alaskan, Mr Eskimo. The Baltimore Sun praised its "playful inventiveness". BroadwayWorld.
|
|
He won the Best New Play San Diego Critics Circle Award in 2014 for his work on El Henry. In 2016, Sigüenza began a three-year playwright residency at the San Diego Rep as a part of The Andrew W. Mellon Foundation's National Playwright Residency Program, administered by HowlRound. Sigüenza was also involved in the making of Pixar's hit animated film Coco. He served as a cultural consultant ensuring that the movie was an accurate depiction of the Mexican culture that the movie explores.
|
|
The online theatrical journal HowlRound characterized Ham4Ham as an expression of Miranda's cultural background: As a result of the Ham4Ham shows, Hamiltons lottery drew unusually large crowds of people who created congestion on West 46th Street. To avoid increasingly dangerous crowding and traffic conditions, an online ticket lottery began operating in early January 2016. On the first day of the online lottery, more than 50,000 people entered, crashing the website. After Miranda left the show on July 9, 2016, Rory O'Malley, then playing King George III, took over as the host of Ham4Ham.
|
|
In January 2010 McCarter Theatre Center premiered Fetch Clay, Make Man. The play focuses on the relationship between Muhammad Ali, the famous boxer, and Stepin Fetchit, an African-American actor, on the eve of Ali’s 1965 defense of his heavyweight championship against Sonny Liston. In 2013, Power began a three-year term as the Playwright in Residence at Dallas Theater Center through the National Playwright Residency Program, funded by the Andrew W. Mellon Foundation and administered by HowlRound. In 2016, his residency grant was renewed for another three-year term.
|
|
BR's original Off-off-Broadway production of Inside the Wild Heart, an immersive theatrical experience based on the life and works of acclaimed Brazilian author, Clarice Lispector. This site-specific production received 4 nominations and one award at the 2017 Brazilian International Press Awards and was reviewed in HowlRound, No Proscenium, and the American Theatre magazine podcast. Balardini has directed Group .BR's Off-off Broadway production of The Serpent by Brazilian playwright Nelson Rodrigues, staged at Teatro LaTea (New York) and nominated for a 2012 Brazilian International Press Award.
|
|
John Hudson points out that the names Emilia in Othello and Bassanio in The Merchant of Venice coincide with mentions of a swan dying to music, which he sees as a standard Ovidian image of a great poet.John Hudson (10 February 2014) "A New Approach to Othello; Shakespeare's Dark Lady", HowlRound. He asserts that the "swan song" may be a literary device used in some classical writings to conceal the name of an author. However, the notion that a dying swan sings a melodious "swan song" was proverbial, and its application to a character need not prove the character is being presented as a poet.
|
|
The original title sequence for the Third Doctor's seasons introduced colour and was an extension of the "howlround" kaleidoscopic patterns used for the previous Doctors. It features red, black then green flaming hands, then shows Jon Pertwee's face followed by a series of swirling lines to represent the time vortex, as the vortex turns red it speeds up only to start reversing and in some cases, the audience will see it turn pink and yellow. In the Third Doctor's final season, a new title sequence was introduced using a full-body picture of Pertwee, designed by Bernard Lodge. Partially inspired by the slit-scan hyperspace sequence in Stanley Kubrick's 2001: A Space Odyssey, one portion of this sequence is the prototype for the classic time tunnel sequence of the Fourth Doctor's seasons.
|
|
Cleage is documenting her residency with frequent writings in the HowlRound journal. Not only is Cleage a member of the small niche of African American female playwrights, but it is made even smaller by her age and notable contributions to major theaters. Cleage had her introduction to playwriting in the 1980s, producing her first play, Puppetplay, in 1981, which was followed by Hospice (1983), Good News (1984) and Essentials (1985). In the 1990s, she produced three of her most well-known works (Flyin’ West (1992), Blues for an Alabama Sky (1995) and Bourbon at the Border (1997)) at the Alliance Theatre in partnership with artistic director Kenny Leon. Flyin’ West (1992) has since surpassed a dozen productions all over the country, including a run at the Kennedy Center and other notable productions in New York and Atlanta; it was the most produced new play in 1994.
|
|