Recent Essays

Writer and translator Livian Yeh examines the complexities of Asian identity within American theatre and gives her take on what it means to be a “third-culture” theatremaker.

Melissa Lin Sturges shares her experience attending Olney Theatre Center’s bilingual production of The Music Man, which was presented in both English and American Sign Language.

Ann James interviews Cha Ramos about her approach to intimacy direction, which pulls from Cha’s multidisciplinary theatrical career, her Cuban American upbringing, and—perhaps most crucially—her intentional rediscovery of spirituality as an essential part of artistic practice.

Ann James talks to Adi Cabral about Cabral’s path though the intimacy industry. As a practitioner and professor, Cabral approaches intimacy choreography by centering harm prevention while working to create opportunities for students to identify and grow within their boundaries.

Ann James chats with Jyreika Guest, who works as both an intimacy specialist and an actor, about framing intimacy work for actors. Jyreika shares her hopes for a future in which consent is an automatic part of rehearsal processes.

Ann James sits down with intimacy choreographer Raja Benz to discuss her experience implementing cultures of consent in rehearsal rooms, cultivating a localized approach to intimacy work, and centering trans perspectives in theatrical processes.

Ann James interviews Brooke Haney, creator of The Actor’s Warm Down, about closure practices in intimacy practice, when to pass work to someone else, and the need to represent queer stories through an authentically queer lens.

Ann James chats with Rocio Mendez about her work as an intimacy director, connections between intimacy choreography and fight direction, and getting excited about theatre’s fieldwide trend toward including intimacy specialists in production teams.

Ann James interviews Kaja Dunn, who works both as an intimacy specialist and a scholar of race and choreography, about her decade-long path through the intimacy industry. They discuss the way to bring intimacy professionals into a production process, the importance of citing Black women’s contributions to the field, and the need diversify who is telling stories on our stages.

Ann James sits down with Chelsey Morgan to discuss the way their background in multiple intimacy work methodologies informs their work as a facilitator, director, writer, and intimacy specialist. Across all their work, Chelsey curates a practice that individualizes approaches to intimacy based on the needs of both the actors and the story.