Vol. 24 No. 4
Mar/Apr 2022
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
Oregon theatremakers have been whipping up a flurry of creativity, despite these Covidian times.
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Rachael Carnes
(She/Her/Hers) is an award-winning playwright who has productions across the U.S., U.K., Canada, and Asia, publications in lots of nice literary journals, and recent invitations to the Inge Theatre Festival, the Midwestern Dramatists Center, the Mid-America Theater Conference, the American Association for Theatre in Higher Education New Play Development Series, and the Sewanee Writers’ Conferences, as well as the Kennedy Center for the Performing Arts Playwriting Intensive. She and her family live in Oregon. www.rachaelcarnes.com
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