Alan Schneider, one of the most important American directors of the twentieth century, was know for being a “playwright’s director.” He believed it was his responsibility to interpret the script as a faithful representation of the playwright’s intent. For this reason, so many major playwrights [ . . . ]

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“People are products of the time in which they came of age. I know that to be true. In my plays these women are very much of their times.” — Wendy Wasserstein.

Most scholarship and critical studies on the dramatic works of Wendy Wasserstein (1950-2006), during her lifetime and after her untimely death at the age of 55, have been largely concerned with her representation of [ . . . ]

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In May 2011, Marc Masterson departed Actors Theatre of Louisville for a similar position as the artistic director of South Coast Repertory Theater in San Diego. Reportedly, he initially offered to remain and assist with the search for a replacement, but his proposal was not accepted as the leadership of the theatre wished to proceed without [ . . . ]

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In 1879, nineteen-year-old Pauline Hopkins’s musical slave drama, The Underground Railroad, flopped. Reviews panned the production, suggesting the plagiaristic knock-off of Joseph Bradford’s Out of Bondage “lacked […]