Writer and performer Rob Onorato explores what makes the Chicago Neo-Futurists so special.

Director Meggan Gomez reflects on working with her youth ensemble based in New Mexico to create _____ Historias, a play that is created in real-time in response to stories shared by the audience.

Ana Dinger explores theatre as a “place of listening” through the work of Mónica Calle and Rui Catalão.

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

Maia Kinney-Petrucha examines the theoretical and applied science of creating empathy through theatre

Joan Schirle, Founding Artistic Director of Dell’Arte International, presents an overview of the history of Dell’Arte’s Rural Residency Program and the program’s relationship to community engagement in Northern California.

What can we learn about audience engagement and how and why audiences make meaning out of experimental theatre from a twenty-four-year performance experiment?

UK contributor verity healey looks at how Doorstep Arts is bringing access to the theatre arts to Torbay.

Emily Cordes considers how Siobhan O’Loughlin’s immersive solo show Broken Bone Bathtub is a vehicle for audiences to find each other’s common humanity in a collaborative bath.

Lojo Simon writes about creating a reading and conversation series for her community.

Cherry Lou Sy shares her experience seeing the Neo-Futurists’ The Great American Drama, which examines perceptions of the American dream and success in theatre.

Professor James Ogden explores what it means to put a chair on stage, considering how design informs character choices.

Tiffany Antone makes a case for why we have to reconsider how/why we engage audiences, and why it is now every artist’s job to be out on the frontlines, cultivating radical empathy and civil discourse.

In this last installment, Rick Stemm shares the production process—from idea to execution—for Heroes Must Die.

Amelia Parenteau deconstructs the use of technology in The Builders Association’s production of Elements of Oz, an adaptation of The Wizard of Oz, presented at 3LD in New York City.

verity healey considers the Battersea Arts Centre’s new Courtyard theatre space and inviting an audience to participate in the performance through interaction with the performance space.

Emily White writes about how her research on posttraumatic growth informs her belief that theatre can be an important tool to help America unite and heal.

Sean Daniels writes about the successes and challenges of his first year as Artisitic Director of Merrimack Repertory Theatre. 

Rosa Schneider reflects on history plays, history, and pedagogy in Undergound Railroad Game created by Jennifer Kidwell and Scott Sheppard with Lightning Rod Special playing at Ars Nova in New York City.

In this second installment, Megan Reilly discusses her participation in Ascension, the second phase of The Tension Experience, and reflects on agency for audience members in this immersive experience.

Karen Hartman describes the process of immersing herself in a community in order to tell their story on stage, in this installment of the Triply Play series.