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Only 34 at the time that he wrote his first play, Jitney, August Wilson may or may not have known just how the emotion-driven...
The problem with Seattle's Intiman Theatre following (not for the first time) the hysterical-panic fundraising playbook first pioneered by Oral Roberts.
"Our idea has been to let the plays shine, to let the playwright shine, and to support each other."
Composer Michael Kooman and book writer/lyricist Christopher Dimond celebrate their "average" world-premiere CD.
If there's no positive impact you can measure, why hang your hat on the idea?
If you won't pay artists -- or respect HR laws on exempt and non-exempt employees -- maybe you don't deserve our donations.
An intertribal, Indigenous sketch-comedy troupe exposes a deep cultural scar.
If you are an artist and pro-choice, you have to confront a terrible and difficult question.
Nonprofit arts is to commercial arts what food banks are to supermarkets. Or maybe not.
They don’t just nurture plays. They nurture the Native artists who flock to the refuge on the hill.
Is our collective conscience bothered before we accept the gift or after the public outcry?
Your mission is not a slogan. Your mission is not an ad campaign.
I used to think this was a great play. Now I fear it's a great play wrapped in a gimmick.
The theater has mechanisms to ensure our comfort and safety. Why doesn't the government?
Just because a play delivers "excellence" doesn't mean it delivers "impact."
Isn't the whole idea of art to trigger something emotional?
The power of emotion goes beyond the voting booth. You'll also find it at the box office.
Former journalist turned playwright Michelle Kholos Brooks explores a grim historical footnote.