The Innovation Issue
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Masthead of The Innovation Issue
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Editor’s Notes on The Innovation Issue
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Dear Dramatist – March/April 2022
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DG Glossary: Work For Hire
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Jason Robert Brown: Ten Questions
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Marsha Norman: What I’m Teaching Now
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The Listening Party
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Innovative Dramatists
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Innovation is Nothing New
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Midnight Oil Collective
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Dreaming the Queer Future
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How Should We Go On? The Great Realignment Begins
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New Works Now In The Public Domain
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Atlanta: Staying Optimistic
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Kentucky: Roots of the Bluegrass New Play Award
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Michigan: A More Inclusive Theatre Community
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New England – West: Ample Innovation
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The Carolinas: Crossing Over Into 2022
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Ohio: A Cincinnati Update
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Oregon: Whipping Up a Flurry of Creativity
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Philadelphia: The Hand that Holds the Quill
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Puerto Rico: The Santaliz Archive (Archivo Santaliz)
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California – South: Art in the Time of Omicron
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Twin Cities: A Certain Solidarity
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New York State: Hudson Valley & Capital Region Funding Roundtable
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Dramatists Diary – March/April 2022
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New Guild Members as of January 15, 2022
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Guild News – March/April 2022
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Classified Ads – March/April 2022
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Nikkole Salter: Why I Joined the Guild
It was a warm July night in a parking lot in Shepherdstown, West Virginia. Multicolored lights from dozens of LED headphones glittered in the darkness. It looked like a silent rave from the distance, minus a DJ on the 1s and 2s.
The crowd had come out and donned headphones to listen to the audiocast of my play The House of the Negro Insane, produced by the Contemporary American Theater Festival. While the pandemic was still raging and most theatres were still shuttered, CATF persevered, finding innovative ways to bring stories to the people.
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is a writer for theatre, TV, and comic books based in Los Angeles, CA. He is currently a staff writer on Bass Reeves, a series on Paramount+. The world premiere of his play The House of the Negro Insane at the Contemporary American Theater Festival is slated for July, 2022.