Playwright Paco José Madden explores what it means to be produced by student-run theatre companies: the pros and cons, what factors to consider, and how a playwright can make the best of their experience in a similar setting.

Marci R. McMahon shares Su Teatro's production of the docudrama Más, a piece where teachers, students, and community members are trying to keep the Mexican American Studies program alive in Tuscon.

In this second installment of her series on the Standing with Saguaros project, Kimi Eisele writes about integrating radio into her performance project.

Director Marc David Pinate discusses his process for Barrio Stories, reflecting on how the production is an example of sacred theatre.

Summer Banks talks with Jaclyn Backhaus about bringing the story of Men On Boats to life on stage without any men.

Kimi Eisele writes about a new engagement piece presented by Borderlands Theater in partnership with Saguaro National Park.

In this second installment, Milta Ortiz discusses her role as the project’s coordinator, and overviews the production process of Barrio Stories.

In this installment, Scenic Designer Tara Houston shares her journey to discovering her career and offers advice on lessons that she’s learned along the way.

Phil Weaver-Stoesz discusses Liz Lerman’s Animating Research class at Arizona State University and interdisciplinary collaboration.

Teresa Simone wraps up her Why I Hate Children’s Theatre series by explaining why she seeks to interrupt children’s theatre in her work.

In the fifth installment of her Why I Hate Children’s Theatre series, Teresa Simone addresses the borders of TFY and work pushing those borders in Arizona.

Emily Aguilar Thomas interviews Milta Ortiz about the inspiration for her play Más and thoughts on the future of American theatre.

Playwright José Casas discusses Rising Youth Theatre’s process for incorporating hip-hop in its upcoming project for theatre for young audiences.

Phil Weaver-Stoesz describes an immersive theatrical experience where the audience took control of the narrative, and asks what rules, if any, we should set for audience members in non-traditional works.

Ashley Laverty and Rivka Rocchio reflect on maintaining relationships during a theatre production

Association for Theatre in Higher Education pre-conference attendees made their way to Scottsdale, Arizona via bus, through a carefully planned route that covered important sites connected to SB 1070, labor history, and immigration. Through this tour, participants acquired a richer understanding of contemporary Arizona immigration policy and its implementation.

Alice Stanley Jr. reviews Chris Danowski’s endofplay/7, a wild ride of gender exploration, narcissism, and longing

Alice Stanley Jr. writes about Red Planet Respite by Katherine Harroff a play about "the first luxury space vacation to Mars in 2044" and the balance of its value as entertainment and as encouragement for audiences to engage with science and education

Alice Stanley Jr writes about three site-specific and interactive and/or immersive theatrical experiences.

Alice Stanley Jr. writes about an event she attended, responding to the suspension of an Arizona high school drama teacher that included Albee's who in his curriculum.

Alice Stanley Jr. discusses her experience at a workshop of Ariel Luckey's solo performance Amnesia, and the talkback which followed.

Alice Stanley Jr. reviews Orange Theatre’s experimental production of Federico García Lorca’s Blood Wedding, which incorporated contemporary multimedia technology in its warehouse set.

Alice Stanley reflects on Binary Theatre Company's production of Jester's Cap, by Daniel Pennyway and making theatre that contains feminism and same-sex love for a possibly-conservative audience.

New Carpa Theater Company’s The Mighty Vandals puts a spotlight on Latino and Arizona lore, two cultures underrepresented in theater, by delving deep into the grain of Arizona culture and history.