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
Last fall, I stood on a college stage in Clarksville, Arkansas and told stories. I’d been booked for the lecture/performance series in 2019 and, after rescheduling several times, it happened—in person, not livestreamed or high-tech. There were about 150 people in the same room at the same time, and I was only related to twenty of them!
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was born into an Arkansas newspaper family. He strayed into theatre as a performer where he’s been working in various capacities ever since. To date, his longest running role was serving as Editor of The Dramatist from August 2011 through September 2023. Currently, he is the Creative Director of Summoners Ensemble Theatre. He says he’s writing a solo show but, honestly, he’s been talking about it for 30 years. He holds a master’s degree in procrastination.