Acting & Performance

Actor Gardiner Comfort discusses his experiences as a performer and audience member with Tourette Syndrome, and how it has inspired aspects of his solo show The Elephant in Every Room I Enter.

Emerson College student Andrew Siañez-De La O writes about RareWork’s Theatre Company’s production of Caridad Svich’s Alchemy of Desire/Dead Man’s Blues.

Actor Jerine Watson writes about instances in her career where something went wrong, and how the performers managed the moment.

Steele Campbell on HerSelf Rising by Girls on Trapeze at Sideshow Fringe Festival in Nashville, Tennessee.

Producer Sean Williams talks with the four lead actors in The Honeycomb Trilogy.

Chicago-based theatre practitioner and scholar Eli Van Sickel dispells the prevalent notion of Spring Awakening being the first deaf production on Broadway—it’s not.

Are you born to be a theatre artist? A three-year study on theatre artists compares how this group stands out from the average population.

Matthew Sekellick explores what New York’s proposed minimum wage increase would mean for theatre artists.

Patricia Davis interviews Ron Menzel, an actor in Studio Theatre's production of Lucy Kirkwood’s Chimerica in Washington, DC.

Emily Daly writes about being a Hyphenate—someone with multiple artistic identities.

Katie Naka discusses the Go Green pop-up experience in Harlem and advocates experimenting with urban green spaces as venues.

Raphael Martin on the history, organizational model, current reality, and aspirations of The Theatre Centre in Toronto, Canada.  

Actor Billy McEntee discusses his faith and his experience performing as a choir member in Playwrights Horizons' production of The Christians.

Susan W. Kemp on The Moisture Festival in Seattle, Washington.

Playwright and actor Natalie Osborne distinguishes spectacle from special effects and advocates for spectacle with minimalist staging.

Isaac Jacobs does an in-depth analysis of the backbone of Mark Antony in Shakespeare’s Julius Caesar.