Cover of the March/April 2022 issue of The Dramatist
Innovation is Nothing New
“This Room Is a Broken Heart” in The Watering Hole at Signature Theatre featuring the art of Vanessa German
“This Room Is a Broken Heart” in The Watering Hole at Signature Theatre featuring the art of Vanessa German. Photo by Lia Chang.

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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Amelia French
Amelia French

is a playwright and librettist from Maine and Associate Editor of The Dramatist. Their plays and musicals have been shown and workshopped at Dixon Place, Jermyn Street Theatre, Portland Stage, and Egg & Spoon Theatre Collective. BFA: New York University. MLitt: University of St Andrews.

Lynn Nottage
Lynn Nottage

is a playwright and a screenwriter, and the first woman in history to win two Pulitzer Prizes for Drama. Her plays have been produced widely in the United States and throughout the world. She serves on the Dramatists Guild Council.

Matt Barbot

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 Centers 2017 National Playwrights Conference. Matt received his MFA from Columbia University.