Annalisa Dias discusses her work with the newly formed Groundwater Arts Collective, and suggests ways that other theatremakers committed to climate justice can adopt the framework of a Just Transition.

Playwright Rachel Bonds reflects on being a working artist since the birth of her son, and maps out tips for theatres working with other parent-artists. 

Theatre student Abigail Warhus talks about feeling stuck at university and taking her education into her own hands.

Tiffany Antone writes about Get Out the Vote initiatives at US theatre companies of various sizes.

Playwright Lauren Gunderson offers other writers lessons on dramatic structure, building characters, and crafting a powerful ending.

Rob Neill, founding ensemble member of the New York Neo-Futurists, shares his thoughts on the company’s process, devising work, and creating rituals in theatre.

Playwright Lauren M. Gunderson add to her video series "Why Theatre?" by discussing why theatre still matters in the age of filmed storytelling.

Emily Snyder encourages playwrights to write juicy, complex characters for people who have not historically been cast in leading roles.

Director Lavina Jadhwani summarizes conversations about casting she's been involved with in the past, and offers advice to artists and producers who find themselves facing criticism for their choices.

Georgia-based theatremaker Corey Bradberry reflects on lessons learned after creating an immersive murder mystery play in a four-story historical theatre, and muses on how large institutions sharing resources with smaller companies can lead to new and innovative creative partnerships.

Playwright Renée Darline Roden talks about her travels to Israel and Palestine to gain inspiration for a new play and encountering what Chimamanda Ngozi Adichie calls “the danger of a single story.”

Rachel Bykowski speaks up about body-shaming in the theatre industry, and its effect on students in collegiate programs.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

For the fourth installment of the Chronic Theatremaker series, Sara Brookner interviews playwright Lisa Kenner Grissom about living with lupus and learning to balance her health practice with her writing practice. 

Artistic Director Kristin Marting discusses how developmental programs can better meet the needs of artists and shares best practices from HERE’s multi-year artist residency program in New York City.

Educator and actor Gary Sloan on teaching theatrical techniques to incarcerated adults and young men to provoke and inspire change.

Elizabeth Horn reflects on how in the aftermath of #MeToo, it is more important than ever to teach the next generation of theatremakers ideas of consent, respect, and how to advocate for themselves as artists.

Playwright Catherine Trieschmann lists useful suggestions for giving feedback on new plays.

Director and theatre professor Holly Derr gives advice on how to identify whether your theatre department might be ripe for sexual harrassment, and offers tangible steps for professors to change the culture of their departments.

Adriana Gaviria speaks on how entertainment industry unions and institutions in the US can step up to better advocate for parent artists. 

Devon Berkshire lays out some tangible steps for decision-makers on creating a more family-friendly work environment. 

Asif Majid addresses some of the flaws in minority development programs and suggests some tips for how to improve such programs.

Sara Brookner talks to playwright and performer Robbie McCauley about her one-woman show Sugar, and the power of sharing our stories.

Kate Langsdorf finishes the series by reflecting on her experience attending different shows as an audience member in Los Angeles, California.