Commissions
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Editor’s Notes on the Commissions Issue
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Art Director’s Notes on the Commissions Issue
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Election Results: Dramatists Guild 2025 Council
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Zora Howard: Ten Questions
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From the Archives: NEA vs Finley
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DG Glossary: Commission Fee
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Breaking Down The DG Model Commission Agreement
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The Assignment Conspiracy: Dramatists & the So-Called “Work-Made-For-Hire”
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Opera Commissions: Sorting Out the Confusion
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What I’ve Learned About Commissions
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A Tale of 3 Commissions
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Commissions: A Precarious Position
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The Commission That Goes Wrong (And Turns Out Right)
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A Quest for Ikigai
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A Dramatist’s Guide to San Diego
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The Next Part of the Puzzle: Jules Feiffer interviewed by Jeffrey Sweet
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Conversation with Jules Feiffer
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New Members – Spring 2025
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Dramatists Diary – Spring 2025
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Classified Ads – Spring 2025
The following is an edited transcript of a roundtable held January 2, 2025.

Samuel D. Hunter: Thank you both so much for doing this. I really appreciate it. So, I thought I could ask you both about your first commission and the story about that, how that came to be and what the process was like. And maybe that can kick us off into a larger discussion. Kimber, are you okay to start?
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grew up in Moscow, Idaho and lives in New York City. He is the recipient of a 2014 MacArthur “Genius Grant” Fellowship for his work as a playwright. His full-length plays include The Whale (Drama Desk Award, Lucille Lortel Award for Outstanding Play, GLAAD Media Award, Drama League and Outer Critics Circle nominations for Best Play), A Case for the Existence of God (New York Drama Critics’ Circle Award for Best Play), A Bright New Boise (Obie Award, Drama Desk nomination for Best Play), Greater Clements (Drama Desk nomination for Best Play, Outer Critics Circle Honoree), and Lewiston/Clarkston (Drama Desk nomination for Best Play), among others.

’s plays include: untitled f*ck m*ss s**gon play (Royal Exchange Theatre/Manchester UK, Young Vic/London UK), the water palace (Susan Smith Blackburn Special Commendation), to the yellow house (La Jolla Playhouse), tokyo fish story (South Coast Rep, TheatreWorks/SV, Old Globe), brownsville song (b-side for tray)(Humana Festival, LCT3, Long Wharf Theatre), and different words for the same thing directed by Neel Keller (CTG). Recipient of the Ruby Prize, PoNY Fellowship, inaugural Bruntwood Prize International Award, Hodder Fellowship, Helen Merrill Award, Edgerton New Play Award, and Herb Alpert Award in the Arts. MFA: UT Austin.

was the first playwright celebrated by the VOLT Festival in 2022 with three simultaneous off-Broadway premieres by a single author: New Golden Age (Primary Stages); The Lucky Star (Directors Company); and Goldie, Max & Milk (MBL Productions), all at 59e59. Other recent honors include a Guggenheim Fellowship, the Henry Award, and the Susan Smith Blackburn Prize (Finalist). Her many award-winning plays and musicals are published by Concord Theatricals, DPS, Playscripts, and TCG. She invented and runs The Hundred Day Reckoning: a Creative Response to Hard Change.