Careers

Corey Ruzicano interviews Dr. P. Carl on how he picks his battles as part of the Battle Series.

In this first installment, Playwright Maggie Sulc shares her experience working and living in Canada, reflecting on successes and challenges.

Kate Langsdorf on why she believes being a writer is the best theatre job for a person with a physical disability.

Michael Whatley writes about the importance of early-career staff members at large theatrical institutions.

Carey Purcell looks at female artistic leadership of summer companies at New York Stage and Film, the Eugene O'Neill Theater Center, and Williamstown Theatre Festival.

Corey Ruzicano interviews director Leigh Silverman as part of the Battle Series.

Ricky Young-Howze talks with actor Ali Stroker about changing people’s perceptions about performers with disabilities.

Chicago-based theatre practitioner Brent Eickhoff considers learning to cope with rejection in a positive manner.

Actor Lashad Beck shares his tips for dealing with cultural microaggressions during a production.

Actor Stacey Venzel shares how theatre performance techniques help her cope with her anxiety.

Actress and spiritual advocate Diandra Rivera offers advice on how performers can spiritually center themselves. 

Playwright Miranda Rose Hall considers how writing a play is like living in a foreign country.

Playwright Kathleen Warnock reports on WOW Café Theatre’s reunion and book launch for Memories of the Revolution, which chronicles the first ten years of WOW Café.

Justin Taylor on reframing rejection.

Writer Josh Lefkowitz discusses his journey from theatre artist to poet and (maybe?) back again.

Playwright Zoe Kamil discusses the actual training of student playwrights and shares the insight of several undergraduate playwrights from programs in the US.

Jack Wernick describes his personal journey from theatre artist to educator and back again.

Kate Langsdorf writes about the joys and hardships of working on a project as a dramaturg.

Arianna Soloway writes about her struggle to self-define as a director when she works full-time as a real estate agent.

The internship experience based on Molly Marinik’s informal survey of 290 internships completed between 2006–2016.

Playwright Natalie Sacks shares her post-graduate experience of working various theatre jobs, her take on the “starving artist” model, and her journey to writing her first play since college.

Kate Langsdorf’s series continues with this description of her time as a teaching artist.

JD Caudill writes about his personal experiences navigating Chicago as an early career director, and asks how the field can better support such artists.

Kate Langsdorf describes her experiences as an actor with a physical disability.