• Embracing the Canoe: How Does a Small Company Thrive? Olivia D'Ambrosio

    Olivia D’Ambrosio, Producing Artistic Director of Bridge Repertory Theater in Boston, MA discusses how the company's early ambitions led to challenges, and how they're learned to course-correct.

  • Building Understanding between Veterans and the Community through Playwriting Leilani Squire

    Leilani Squire explores the healing power of writing through her experience of working with veterans to write a play about their time at war and sharing their stories with the community.

  • Writing a Play Begins with Listening Renée Darline Roden

    Playwright Renée Darline Roden talks about her travels to Israel and Palestine to gain inspiration for a new play and encountering what Chimamanda Ngozi Adichie calls “the danger of a single story.”

  • “The Camera is My Beloved”: Michelle Memran Creates Documentary Art with María Irene Fornés Martha Steketee, Michelle Memran

    Journalist and filmmaker Michelle Memran reflects upon the easy beginning, the messy middle, the focused concluding months, and MOMA premiere screening of her documentary dreamscape film The Rest I Make Up about her great friend, the beloved playwright and teacher María Irene Fornés.

  • Outside the Mainstream: Working with Student-Run Theatres Paco José Madden

    Playwright Paco José Madden explores what it means to be produced by student-run theatre companies: the pros and cons, what factors to consider, and how a playwright can make the best of their experience in a similar setting.

  • The Ground on Which We Stand Michelle Tyrene Johnson, Claire Syler

    Playwright Michelle Tyrene Johnson and director Claire Syler discuss their collaboration on The Green Duck Lounge, a play that delves into Kansas City, Missouri’s civil rights history.

  • The Boys in the Band and the Limitations of Gay History on Stage Jonathan Mandell

    Jonathan Mandell writes about The Boys in the BandThe Gentleman Caller, and 217 Boxes of Dr. Henry Anonymous, and discusses their portrayal of gay male characters.

  • The Rise of Women in Chilean Theatre Elana Gartner, Sally Campusano

    Elana Gartner, founding co-chair of the International Centre for Women Playwrights 50/50 Applause Award, interviews Chilean playwright Sally Campusano about women in theatre in her home country.

  • Theatre and Civil Rights: Dr. Julie Burrell on the Importance of A Medal for Willie Michael Lueger

    How did Black theatre connect with the Civil Rights Movement? Dr. Julie Burrell of Cleveland State University joins the Theatre History Podcast to talk about William B. Branch's one-act play A Medal for Willie and the underappreciated radicalism of theatre in the 1950s.

  • A Lover's Guide to American Playwrights: Carlyle Brown Todd London

    Todd London celebrates playwright Carlyle Brown, who recently won the William Inge Theater Festival’s award for Distinguished Achievement in the American Theater.

  • A Major Challenge of Being an Emerging Artist Naomi Joseph

    UK-based theatremaker Naomi Joseph looks at a problem many emerging theatre creators face: that artist development opportunities for them have upper age limits.

  • Working With/In Communities: Modeling Decolonized Practices Megan Sandberg-Zakian, Michael Rohd, Michael Garcés, Larissa FastHorse, Ty Defoe, Rebecca Martinez, Sulu LeoNimm, Maia Directors, Jenny Marlowe

    Director Megan Sandberg-Zakian talks with representatives of organizations which are intentionally working towards decolonized practices.

  • Decolonizing Texts, Words, and Communication Jacqueline E. Lawton, Lisa C. Ravensbergen, mia susan amir, DeLesslin George-Warren

    In this podcast, DeLesslin “Roo” George-Warren, Jacqueline E. Lawton, Lisa Cooke Ravensbergen, and mia susan amir discuss how we can decolonize the primacy of the written word and text in theatre.

  • Colonization is Global, but Brown Has No Borders Annalisa Dias, Eissa Saeed, Amrita Ramanan, Abhi Shrestha

    Four South Asian theatremakers discuss global decolonization, reclaiming narratives, language and representation in theatre, and more.

Eighteen playwrights are salaried staff members in residence for three years at seventeen theatres in thirteen cities.

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