OBIES 2012: What Off-Broadway Needs Now

We asked Off- and Off-Off theatermakers what they feel the scene is missing

Where are the young artists of color breaking boundaries and testing mainstream sensibilities?

Where are the places where young Latino artists can incubate?

Why do we preach risk taking in our national culture and mostly reward safety and convention?

The Mad Ones fancy a few more exposed buttocks.
Marc Bovino and Doug Cheesman
The Mad Ones fancy a few more exposed buttocks.

Where are the new plays that aren't warmed over TV dramas written for the comfortable?

Why don't we reward meaningful failure?

Why is there so much gimmickry out there—plays and events that seem to avoid the hard, necessary work required of narrative storytelling and character development?

When was the last time any of us saw a new play that broke our hearts and sent us from the theater in tears?

When was the last time a new work of theater illuminated the human condition in a timeless, archetypal way?

When did off-Broadway become like Hollywood in its insistence on casting stars instead of actors?

When did "mediocrity" become the new "good" and "good" become so rare?

Why do you have to practically be a member of the 1% to buy a ticket to the theater in this city?

If I were a 21-year-old playwright of color, where would I take my new play where I know my voice will be respected?

Where is the theater that scares us, pushes us outside our comfort zone, offends us with its vivid anger?

When did our new plays get so technically sloppy and emotionally flaccid and so damn cute?

On our stages: Where's the dirt, the chaos, the rough edges, the visual ambiguity, the pain, the real sweat?

Except for Shakespeare, where is the diversity within our casts?

Where is the language that makes us close our eyes in rapture?

Where is the new theater that brings us closer to our roots in religious ritual and myth?

Where is the new theater that will still be relevant and fiery five years from now?

« Previous Page