Careers

A collectively authored essay by leading artists, academics, and theatre advocates about Paula Vogel’s Indecent and Lynn Nottage’s Sweat on Broadway amid a conversation about critical bias toward women playwrights and playwrights of color.

Expat playwright Lydia Stryk considers living and working at a distance from the US.

Director Carol Ann Tan explores her reaction to the question of whether it's easier for her to get work because she's Asian.

Puppeteer Cecilia Cackley interviews Gabriela Céspedes, a leading caja lambe-lambe puppet artist based in Argentina.

Jonna Capone discusses her experience as a plus-size actress and the body positive movement, advocating for better representation of body sizes on stage. 

In this political moment, Genée Coreno considers the need for industry reform in the theatre.

In this installment, Lighting Designer Jesse Portillo discusses his background, design process, and work with a couple Utah theatre companies.

Contributor Rachel Spencer Hewitt reports on the Parents in the Performing Arts consortium that is working to finding solutions for caregivers in the performing arts.

As filmed work continues to make advancements in both artistic value and employment opportunities, educator and actor Welker White asks what responsibility training programs have in preparing acting students for work in front of a camera.

In this final installment, Ricky Young-Howze reflects on self-producing new work in a “theatre desert,” and acknowledges the importance of learning, wisdom, and respect.

Kate Langsdorf writes about why she never took an unpaid internship.

Playwright and educator Tammy Ryan speaks to the benefits of taking a break in a field when there seems to be constant pressure to always be producing.

Daniel Alexander Jones talks about the women who raised him in theatre, and encourages artists to not lose sight of the power of imagination.

In this installment, Daniel Fine discusses the intersections of sound and media design departments, offering a template for productive workflow.

Matthew Sekellick argues that identifying as entrepreneurs is not merely a survival strategy, but a false consciousness that alienates us further from our fellow artists and artisans. As theater artists, what we have to do is … imagine a world outside the confines of the present: a world beyond the horizon of entrepreneurship.

Jose Delgado celebrates Luis Valdez being awarded the National Medal of Arts and reflects on the work they've done together.

Chicago-based costume designer, textile designer, and wardrobe stylist Elsa Hiltner considers the division of labor and allocation of technical support within theatrical design.

Remarks from playwright Sarah Ruhl on accepting the Harold and Mimi Steinberg Charitable Trust Distinguished Playwright of the Year Award at Lincoln Center on Monday, November 14, 2016.

Keynote speech delivered by Diane Rodriguez at the Theatre Bay Area Conference on 3 April 2016.