Careers

Ashley Malafronte and Michael DeWhatley ask: How can future-minded theatres revolutionize their internship programs to create a more diverse, reciprocal, and mutually beneficial set of initiatives?

Tara Brooke Watkins reflects on the legacy of Robbie McCauley, who challenged the status quo of theatre systems, from the classroom to the rehearsal room to productions.

In a conversation that took place in November 2020, Meropi Peponides and Yury Urnov discuss stepping into shared leadership roles, adapting during the pandemic, paying salaries to actors, and more.

Sophia Skiles, the incoming head of acting for the Brown/Trinity MFA program, and Nicole Brewer, who recently joined the acting faculty at the Yale School of Drama, dive deep into a conversation about what it means to be a woman of color in leadership.

Concerned with how the lockdowns have affected recent theatre graduates and young professionals, Kristin Perkins spoke to eighteen such artists across the United States about what it’s been like for them and offers some suggestions for the months ahead.

Amelia Parenteau examines the essential nature of both artists and medical workers—who heal body and soul, mind and spirit—and shares how some have navigated their career transitions between the two fields.

Holly L. Derr examines the history of the intimacy choreography movement in the United States and speaks to several of the artists behind it all.

Matthew McMahan talks to playwright Herbert Siguenza about branching out as a solo writer after years as a member of Culture Clash, writing bilingual comedy, and more.

Carlos Murillo and Kira Obolensky talk about their National Playwright Residency Program residencies, creating work for a specific theatre’s audience, playwrights not being part of the sea change of artistic director turnover, and more.

Amelia Parenteau speaks with Lauren E. Turner about racialized trauma in American theatre, Lauren’s experience with it, and healing.

Beatrice Perez-Arche and Livian Yeh have a conversation about their experience in the Young Critics Program, “cancel culture” and criticism, gaining confidence, and more.

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.

Mallory Kay Nelson and Michael Maag talk about the low number of full-time designers working in theatre; the realities of costume, lighting, and projection design as a disabled artist; and how delegation is a skill they’ve both had to master.

Bri Ng Schwartz looks at the importance of companies doing the hard work when it comes to equity, diversity, and inclusion conversations and initiatives.

Carl(os) Roa offers thoughts on how organizations can create healthier workspaces, weaving in ideas from artists at Philadelphia Young Playwrights and Applied Mechanics.

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?”