Vol. 21 No. 4
Mar/Apr 2019
The Massachusetts Issue
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Masthead of the Massachusetts Issue
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Editor's Notes on the Massachusetts Issue
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Dear Dramatist: March/April 2019
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On Privilege and Art: A New Year’s Resolution
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Regarding MFAs
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Guild News for the Massachusetts Issue
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The Craft with Donnetta Lavinia Grays
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Boston’s New Play Ecosystem
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Boston Playwrights’ Theatre
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Fresh Ink Theatre
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When the Rubber Meets the Road
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Company One Playlab
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A Personal History of the Huntington Playwriting Fellowship
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The Mellon Foundation National Playwright Residency
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Theatre in the Berkshires & Pioneer Valley
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Chester Theatre Company
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Who’s This For, Anyway?
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Merrimack Rep
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Can New Plays Find A Home on Cape Cod?
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Provincetown Tennessee Williams Theatre Festival
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Writer's Retreats
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From the Desk of Business Affairs: The DG Goes Abroad
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From the Desk of DGF: The Seller-Lehrer Family Foundation
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Atlanta: Reiser Atlanta Artists Lab
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Austin/San Antonio: B. Iden Payne Awards Council
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Baltimore: Theatre Staff and Writers Meet to Share Opportunities and Challenges
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Colorado: Naked Angels and Questionable Theatrics
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Kentucky: Paths to Production
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California – South: It's a Party!
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Michigan: Workshopping and Developing New Work
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Twin Cities: Robert Elhai
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North Carolina: Building Bridges
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Ohio: A Playwright’s Path to Production
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Philadelphia: Julie Zaffarano
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Portland: The DGI at Artists Rep
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Utah: Sitting Down with Melissa Leilani Larson

Two years or so ago, at a meeting of students at a place where I take classes, someone on their staff announced, “We’re not interested in plays by old white people.” This was reported to me, I didn’t witness it. As the vast majority of their students and the backbone of their support was old white people, this felt like a bit of a slap in the face.
But maybe instead of framing it in terms of age and race, it would be better framed in terms of privilege and lack of privilege.
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Amy Crider
won the Tennessee Williams One Act Play Contest in 2021. Her novel Disorder was published by the University of New Orleans Press, where it won their Lab Prize.