AMERICAN THEATRE

MY THEATREGOING PARTNER DIDN’T LIKE IT—BUT I KIND of did. We certainly both remember it well. It was in a small, sweaty black box on Vermont Ave. in Los Angeles in the early ’90s, and actors were singing right into our faces. Only we couldn’t see the

“For me, theatre is about scrappiness,” says Lauren Emily Whalen, who writes this issue’s feature on companies across the U.S. doing more with less (p. 28). A 2018 alum of the National Critics Institute of the Eugene O’Neill Theater Center, Whalen is

ONE OF MY FIRST POST-COLLEGE GIGS WAS grant writing at Woolly Mammoth Theatre Company. I’d graduated with a degree in international relations (seasoned with a multitude of theatre classes), and somewhere in the back of my mind I sensed that arts admi

■ The Dramatists Guild of America in New York City has announced the co-recipients of the 2019 Lanford Wilson Award. In July the organization bestowed the awards, which include $17,500 for each recipient, upon Abe Koogler and Charly Evon Simpson. ■ T

Profession: Playwright and actor Hometown: Chicago Current home: New York City KNOWN FOR: Bees and Honey (Kilroys List 2019), A Shero’s Journey; or, What Anacaona and Yemayá Taught Me… (published in Theater magazine), and My Father’s Keeper (Kilroys

“Don’t Quit Your Day Job (No, Really),” from our September 2019 issue, inspired a bevy of comments. KIM TOBIN-LEHL: I have been preaching this and living it for 25 years! I never went a day without a day job—I now run a successful theatre company, ha