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
Somehow Eugene O’Neill revolutionized American drama without an MFA in playwriting. Lillian Hellman, Tennessee Williams, William Inge, Arthur Miller, Lorraine Hansberry, Neil Simon, Jules Feiffer, and Edward Albee also did okay without being so credentialed.
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Jeffrey Sweet
is the author of a book on dramatic technique called The Dramatist’s Toolkit and a member of the Dramatists Guild Council. Based in Chicago and New York, his plays include The Value of Names, Flyovers, The Action Against Sol Schumann, and Court-Martial at Fort Devens, and Kunstler. His work has won Jefferson, Audelco, and Outer Critics Circle Awards, and “Best Plays” citation and prizes from the American Theatre Critics Association.
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