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
My primary takeaway from this issue is that the act of innovating is nothing new, and what’s considered innovative often isn’t entirely new, either. Looking at innovation in theatre from the past few years, one can clearly see elements of history and tradition that exist in tandem with revolution, expansion, and disruption. Innovation isn’t created in a vacuum; it comes from somewhere, and that should be acknowledged, perhaps confronted or appreciated depending on the source.
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is a writer and editor from Maine.
is the first woman in history to win two Pulitzer Prizes for Drama. Recent work includes the libretto for the opera Intimate Apparel (Lincoln Center Theater), the book for the musical MJ (Broadway), Clyde’s (Broadway, 2ST), and the book for the musical The Secret Life of Bees. Other credits include the performance installation (as co-curator) of The Watering Hole at the Signature Theatre; Mlima’s Tale; Sweat (Pulitzer Prize, Obie, Evening Standard Award, Susan Smith Blackburn Prize); By the Way, Meet Vera Stark (Lilly Award); Ruined (Pulitzer Prize, Obie, Lortel, NY Drama Critics’ Circle, AUDELCO, Drama Desk, and OCC awards); Intimate Apparel (American Theatre Critics and NY Drama Critics’ Circle). She is the recipient of a PEN/Laura Pels Master Dramatist Award, Doris Duke Artist Award, American Academy of Arts and Letters Award, and the MacArthur “Genius Grant” Fellowship. She is a Professor at Columbia University School of the Arts and is a member of the Theater Hall of Fame and the Dramatists Guild.
is a writer from Brooklyn, NY. His play El Coquí Espectácular and the Bottle of Doom received its world premiere at Two River Theater in January 2018. He was recently a Playwright Observer at the Eugene O'Neill Theatre Center’s 2017 National Playwrights Conference. Matt received his MFA from Columbia University.