Relationships and Resolutions
from Jim O'Quinn
Journey to a New World
By Eliza Bent
Compiled by Nicole Estvanik Taylor
SPECIAL SECTION: APPROACHES TO THEATRE TRAINING
By Eliza Bent
By David F. Chapman
Assisting is a rite of passage for many artists. Are they getting ahead—or just getting coffee?
By Mike Lawler
And it never has been, say pros who relish their assistants’ creativity and appetite for knowledge
By Harrison Hill
For one young director, assisting is a tricky balancing act with a great view
Theatre pros recall the doors they’ve opened by assisting (including a few better left closed)
By Joshua Dachs
The great minds of 20th-century theatre wanted to free our thinking about theatre spaces. How did we end up in a black box?
IN PRINT for January 2012
The projection-heavy design of Phaedra Backwards at the McCarter Theatre Center; Houston's Rebecca Udden sails on The Coast of Utopia; Edward Gero's portrait of Rothko in Chicago and D.C.'s Red; José Cruz González journeys to Mexico for The Sun Serpent; Mugwumpin's tricky quest for a San Francisco venue; Elaine Avila finds new meaning in Spanish translation of her plays; the TEAM takes journeys through American history; reviews of The Journals of Spalding Gray and Sondheim's Look, I Made a Hat; 20 questions for Norbert Leo Butz
COVER: Illustration by Monet Cogbill.
ABOVE, CLOCKWISE FROM LEFT: Christopher W. White, Rami Margron, Misti Boettiger, Joe Estlack and Natalie Greene in Mugwumpin’s Future Motive Power (photo by Pak Han); Andrés Alcalá, Ricky Araiza and Andréa Morales in The Sun Serpent at Childsplay in Tempe, Ariz. (photo by Heather Hill); Heather Christian and Brian Hastert in an early version of the TEAM's Mission Drift at NYC’s Ice Factory (photo by Rachel Chavkin); Edward Gero in Red at Chicago’s Goodman Theatre (photo by Liz Lauren)