If you’re asking as a playwright, the real question underneath is probably: Should I be writing for the black box? Here’s the honest answer: you should understand it.  But you shouldn’t let it shrink your imagination. [more]

Science fiction on stage is one of those “this shouldn’t work … and yet it absolutely slaps” situations.  Theater can’t compete with CGI, so it leans into ideas, language and imagination — and that’s where sci-fi thrives. [more]

Writing a farce is basically engineering a beautiful disaster. Precision + stupidity + escalating panic. It’s math wearing clown shoes. Here’s how it actually works. [more]

We’re basically asking: how do you write theater that survives the algorithm without becoming television? Streaming audiences are used to: fast cuts; cinematic scope; ten storylines at once. [more]

Props are wildly important — but in a sneaky way.  When they’re working, you don’t notice them. When they’re wrong, the whole show tilts off its axis. Let’s break it down. [more]

“Based on” and “Inspired by” look similar on a poster … but they behave very differently on the page and legally. Let’s untangle it. [more]

Theatre sound design is where invisible magic lives.  It’s architecture made of air. Let’s break it down in a way that’s actually useful, not textbook-y. At its core, sound design in theatre is about three things: World-building – Where are we?  A subway platform?  A war zone?  A kitchen at 3am? Emotional framing – Is this romantic, ominous, absurd, tragic? Storytelling support – Underscore, transitions, sonic motifs, practical effects. [more]

Short answer?  No. Longer, messier, more honest answer: theatre isn’t dead — it’s just not centerstage in the culture the way it once was. Theatre used to be where ideas went to fight.  Now those fights break out everywhere else first: streaming, podcasts, stand-up, YouTube, TikTok.  The culture didn’t stop wanting stories; it just stopped waiting for a curtain to rise. [more]

In playwriting, subject and theme are closely related but not the same.  Understanding the difference helps you clarify what your play is about versus what it is saying. The subject is the literal topic or situation of the play. It answers: What happens? Who is involved? What is the dramatic situation? Think of the subject as the surface material of the story.

There’s no single “average,” but across professional and amateur writers, a full-length play (90–120 minutes) usually takes several months to a few years from first idea to a finished draft.  Here’s how it tends to break down. [more]