Part II of the conversation between Michael J. Bobbitt, the recently appointed artistic director of Boston’s New Repertory Theatre, and Raymond Caldwell, the new leader of Washington’s Theater Alliance, who talk about post-show conversations and self-care.

Eric Marlin reflects on theatre’s ephemerality, connecting the notion to capitalism, technology, legacies, and more.

Amy Steiger reflects on some of the classic acting texts—which are overwhelmingly written by cis white men and use colonialist, binary, and patriarchal language and narratives—and how teachers should be approaching them today.

Kitty Drexel and Regina Victor, both artists and critics, talk about working through biases, accountability, transparency, and more.

Alex Ates reflects on the Toddler Takeover at Atlanta, Georgia’s Alliance Theatre and shares what the growing field of theatre for the very young can teach adult theatremakers about their craft.

John Meredith and M Sloth Levine, of StageSource’s Gender Explosion Initiative, discuss ways theatremakers can dismantle stigmas against trans people and continue creating an inclusive theatre scene.

Professor Christin Essin talks about problematic staging of gendered violence at a production she recently brought her students to and the importance of content warnings and taking care of survivors in theatrical works.

Danielle Rosvally looks at the importance of theatre criticism, explores the idea that everyone’s a critic, and talks about the parking lot rule.

Mariela López talks about her research on independent theatres across Mexico, including the challenges, the benefits, and recommendations for anyone wanting to create a company. / Mariela López nos habla de su investigación sobre los teatros independientes en México, incluyendo los desafíos, los beneficios y recomendaciones para cualquiera que quiera crear uno.

Part II of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on inspiring leadership choices, pacing yourself, and cultivating diverse audiences.

Part I of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on personal values, gratitude, and how the joy lives in the struggle.

Playwright Pearl Cleage discusses playwriting, activism, and how theatremakers can help save the world in this excerpt from her keynote speech at the 2019 TYA/USA National Festival & Conference.

Holly L. Derr looks at the history of the Method, where it deviates from Stanislavsky’s System, and the connection between the Method and the behavior called out by #MeToo.

D.R. Baker examines some of the realities of artists working in the American theatre and explores how empathy can be harnessed to make the industry a more positive place to work.

Sydney Isabelle Mayer discusses the importance of terminology when it comes to “trigger” warnings, how artists can best offer warnings for their shows, and what it means to create a responsible theatremaking process.

Artistic directors Marya Sea Kaminski, of the Pittsburgh Public Theater, and Chris Coleman, of the Denver Center for the Performing Arts, talk about board relationships, connecting with new audiences, budgets as moral documents, and more.

David Dower, artistic director of ArtsEmerson, reflects on the many recent leadership changes in North American theatre and asks, “What now?”

Mora V. Harris offers suggestions for what organizations can do if they can’t afford the travel costs associated with bringing an artist from out of town.

Scott Artley talks about the decision to wind down activities of Patrick’s Cabaret in Minneapolis after over thirty years on the scene and details the steps taken to “sunset” the organization in a respectful, beautiful way.

David Dower, artistic director of ArtsEmerson, introduces the leadership series with thoughts and advice from his past experiences with major leadership transitions over his thirty-year career.