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.

Director Erin Ortman loves musical theatre, new plays, theatre families, and William Ball’s idea of “positation” that celebrates the “yes” in artistic collaborations. The development process for One Thousand Nights and One Day produced by Prospect Theater Company in New York City provides a view of Ball’s philosophy in action.

Ethan Lipton returns to his artistic home at the Public Theater in New York City to play with toys, musical storytelling, and space travel.

Ethan Lipton discusses making music, making theatre, and combining the two in his full-length play-with-music Tumacho at Clubbed Thumb.

Ramesh Meyyappan and Gavin Glover discuss their wordless adaptation of Madame Butterfly, replete with kites and puppets, and their hopes for hyphenate theatremakers.

Several dozen artists, administrators, and activists met at the Lark Play Development Center in January 2016 to consider challenges and successes and the state of deaf theatre.

Playwright Lauren Gunderson and Director Sean Daniels discuss Gunderson’s body of work including I and You, a play about two stumbling teenagers and a nineteenth-century poet.

Erica Fae talks about her stage, television, and film career “embodying women who have come before and who have done incredible things.”

Martha Steketee talks with Associate Artistic Director Estelle Parsons about a public series on social justice that has been created out of Actors Studio session work.

Martha Steketee writes about ongoing data collection efforts to track gender disparities in theatre, and emphasizes the need for cooperation between people doing the work in different regions. 

Did 2014 reflect a kind of final critical understanding of Eno’s subject matter? Are we all finally ready to experience with him, according to his rhythms and speech patterns, the gentle devastation of small town family life? Perhaps yes to all of the above.

Martha Steketee explores the lens and artistry of Jody Christopherson in “Necessary Exposure The Female Playwright Project: Portraits of Playwrights Who Identify as Female” in New York City.

Martha Steketee on Daniel Talbott’s ghost story of a sand-bound ship of fools and the exquisite possibility of forgiveness. 

Martha Steketee on solo performance and Dael Orlandersmith’s one-woman show, Forever.

The author ruminates on two plays that recently concluded Off Broadway runs and their early development at the O’Neill Playwrights Conference. 

Martha Steketee speaks with playwright Sean Cunningham about Here’s Hoover! The Historic Herbert Hoover 2014 Comeback Special, which recently concluded a brief run in New York City. Herbert Hoover’s return, replete with leather, works like gangbusters.

Martha Steketee explores the development and evolution of I'm Gonna Pray for You So Hard with playwright Halley Feiffer. The play spans five years and two opening nights, features substance abuse, plenty of familial debate, and one attempt at reconciliation.

Martha Steketee looks at The Players, an 125-year-old club for actors and those that love them, and spends some time with all its history and archives.

3Christs is an adaptation of a study about therapeutic experiments with three men who believed they were Jesus Christ at Ypsilanti State Hospital in the 1960s. Performed in Judson Memorial Church, 3Christs exemplifies the essence of Peculiar Works Project.

Martha Steketee writes about the logistics and process of the OOB Festival, including quotes from an interview with the team behind it.

He fought two guys; beat the crap out of them. And I looked around, and everybody had just stopped training.. And I thought: oh, my god, this is the show. There’s that magnetic presence of the ring.

Martha Steketee writes about Daniel Talbott and Samantha Soule looking at the work and companies they've created in New York's off-Broadway scene since meeting at Juilliard in 1998.

Martha Steketee interviews dramaturg Jill Rafson about the process of developing The Mysteries, described as “48 playwrights and 54 actors retelling the entirety of the Bible in a single night.”