Current members of Studio Luna chronicle their twenty-five-year history and the evolution of their practice, programming, and location—most notably from their origin in Chicago to Los Angeles. This was originally recorded live for the 2024 Theatre Communications Group Conference.

You on the Moors Now was the first foray by Jaclyn Backhaus into committing the improvisations and musings of an ensemble to the page while developing her own style. She joins the cast of the show at the University of Wisconsin—Milwaukee to talk about the genesis of the play and iterations over time.

Universities and museums are some of the last strongholds of festival circuits providing rare exposure to international and avant-garde artists. This episode explores how ensembles find their way onto such a path, and what these organizations are doing to ensure enrichment for their audiences and sustainability for the acts.

Focusing on the overlaps between Ensemble and Applied Theatre practices, this podcast highlights Mark Weinberg’s work with Theatre of the Oppressed pillar Augusto Boal, collectives, and his growth from director interpreted work to audience generated work.

A vital contributor to the theatre landscape in Milwaukee, Theatre X created ripples throughout the national theatre scene. Former artistic director John Schneider talks about how this ensemble-led company built themselves up from the unknown to an international touring presence through their closure in 2004.

After beginning her theatrical work by writing for a collective, Deb Margolin has had an expansive solo career. She shares her comedic impulses, political proclivities, and writing process. She takes us through the highs and lows of socially sustainable work as a playwright who best understands her scripts through the body.

Dell’Arte International faced a financial crisis in 2023. They surpassed their fundraising goal by the end of that year. In this episode, former President and CEO Alyssa Hughlett walks us down the path they took that year to rediscover themselves as a school and an ensemble, and reintroduce the company to their community.

In 2023, Pig Iron Theater Company held the National Endowment for the Humanities Preserving and Transmitting American Ensemble-Based Theater​​ Institute. The institute directors look forward to how the next institute might be adjusted and reveal insight on how the University of the Arts closure will impact Pig Iron School.

In 2023, Pig Iron Theater Company held the National Endowment for the Humanities Preserving and Transmitting American Ensemble-Based Theater​​ Institute. The presenters, some interviewed in this episode, provided in depth perspectives on how their ensemble-based processes created connections to a wide variety of audiences.

Eleven participants share their experiences at the 2023 National Endowment for the Humanities Preserving and Transmitting American Ensemble-Based Theater​​ Institute, which highlighted the impact of devised and physical theatre, its application in professional and university settings, and the limited scholarship around it.

Stewart Pringle, senior dramaturg at the National Theatre, sheds light on the theatre’s Generate program. Jeffrey Mosser and Stewart discuss the problem with the term “literary department,” when to take a risk, and why it’s important that the big fish in the big pond makes the investment in smaller-scale ensemble-based companies.

Artistic director of Belgian theatre company Ontroerend Goed, Alexander Devriendt talks through their process for imagining and developing participatory content. Alexander and Jeffrey Mosser also dig into financing art in Europe, the cost of touring internationally and how COVID has affected it, and sustaining family and art simultaneously.

Culture worker and theatre practitioner Dr. Cristal Chanelle Truscott provides a primer on her SoulWork process, applies it to her present processes, and expands our horizons as artists.

Creatives and book authors Mallory Catlett and Aaron Landsman dig into their new book based on their piece City Council Meeting, an exciting performance, rooted in a commonplace bureaucratic event, that develops dynamic participatory relationships with audiences and local government.

Playwright and director Karen Malpede joins Jeffrey Mosser to talk about her career and connections from the Open Theater to Theater Three Collaborative, as well as her partner George Bartenieff, an actor and champion for the avant-garde.

Since the “great pause,” funders have shifted their giving models. Ben Cameron has seen it from every side—and he talks all about it. Through anecdotes about his experiences at organizations from Theatre Communications Group to the Jerome Foundation, Ben offers many insights into how ensemble fits in a thriving theatre ecosystem.

Miranda Wright, producer and executive director at Los Angeles Performance Practice, and Jeffrey Mosser discuss how Miranda has developed a presenting organization for sharing ambitious, collaboratively created work over the last ten years, as well as what she’s learned from some major arts funding research.

Bob Leonard chronicles his work from the People’s Bicentennial Commission and the Road Company through the founding of the Network of Ensemble Theaters and Alternate ROOTS. Together, Jeffrey Mosser and Bob connect the dots through the middle wave of ensemble-based theatre in the United States.

Carlos Uriona and Jennifer Johnson, co-artistic directors at Double Edge Theatre, connect with Jeffrey Mosser to discuss how working in rural Massachusetts for over thirty years has enabled them to share art on the world stage.

Jeffrey Mosser connects with Willa Jo Zollar, who is founder, chief visioning partner, and MacArthur Genius at Urban Bush Women. Together they talk about touring, the festival circuit, and strategy necessary to sustain a company for thirty years.

Tony Award-winning producer Mara Isaacs discusses how she puts collaboratively creative work in front of national audiences through her producing organization, Octopus Theatricals. This final episode of season two holds hot takes on boards, theatricality, and the connective tissue around artist-centered producing.

What does fiscal sponsorship do for you and your organization? Colleen Hughes, associate director of programming at Fractured Atlas, walks us through the broad array of opportunities they provide. She’ll also shed light on fundraising trends she’s seen with nonprofit organizations throughout the pandemic.

Founder, Ensemble Member, and Former Artistic Director of Lookingglass Theatre Company, David Catlin, shares how their limitless aesthetic showcases their Chicago-based artists across the country. In addition we dive into their unique shared leadership model, their growth and goals for the future, and how tension with your board members can be a good thing.

The job of the facilitator, the logic of shared leadership, and how it all translates to directing a process. Michael Rohd stands at the forefront of ensemble-based practices equipped with questions about how we create the future that we want to be working in socially, civically, and artistically. Join us as we unpack and define what’s next.

Alison Carey, formerly of Oregon Shakespeare Festival, and Mildred Ruiz-Sapp and Steven Sapp, co-founders and artistic directors of UNIVERSES, discuss putting ensemble producers inside a major producing entity and the capacity necessary for things to fall into place.