Artistic Direction

Peter Brosius sheds light on how the 50th Anniversary season at The Children’s Theatre Company came together.

Rosalba Rolón writes about the unique challenges of season planning for the newly-merged Pregones Theater and PRTT. 

Loretta Greco adds her voice to the season planning series, and discusses how Magic Theatre’s 2015-2016 season came to be.

Janet Allen, Artistic Director of Indiana Repertory Theatre, discusses the methodology for planning and programming her season.

Fran Kumin interviews Chay Yew, Aristic Director of Victory Gardens Theater in Chicago about season planning.

In this first post in our series on season planning, Oregon Shakespeare Festival artistic director Bill Rauch discusses the process for programming his eleven-show seasons.

ArtsEmerson Artistic Director David Dower shares the process behind programming the company’s 2015/2016 season.

Jacob Padrón talks with Bill Rauch, artistic director of Oregon Shakespeare Festival, about leadership, mentorship, and gratitude.

Deborah Salem Smith, playwright-in-residence at Trinity Repertory Company interviews Curt Columbus, Artistic Director of Trinity Rep.

P. Carl and outgoing artistic director of Steppenwolf Theatre, Martha Lavey, in conversation.

P. Carl interviews Ari Roth about his recent firing from Theater J and the power of theatre in politcs. 

Zak Berkman offers insight into implementing diversity and inclusion as the Producing Director at People's Light.

Holly L. Derr argues against the traditional idea of a "pipeline" of plays flowing from New York to other places in the country.

New homes can be found when opportunity makes you pick up and leave comfortability.  EM Lewis writes about opening up to new communities in order to embrace opportunity.

Clayton Lord shares insight on the value of diversifying theatre institutions.

Gabriel Jason Dean chats with Ed Sylvanus Iskandar.

For the North Carolina "Triangle" City Series, Lauren Keating interviews director Joseph Haj about theatre-making in a prison, divserity in theatre-leadership, and his path towards artistic direction.

Ari Roth explains how the policies of Ronald Reagan helped light the fire to turn DC into the thriving theater capital it is today.

Miriam Weisfeld ruminates on whether art should hurt, examining the dynamics of visual art, theatre, and American culture.