Dramaturg Sara Brookner interviews actor/director Megan Simcox about equitable casting, and why they founded ACTive Roles Theatre Company.

Emily Snyder encourages playwrights to write juicy, complex characters for people who have not historically been cast in leading roles.

Director Lavina Jadhwani summarizes conversations about casting she's been involved with in the past, and offers advice to artists and producers who find themselves facing criticism for their choices.

Playwright Michelle Tyrene Johnson and director Claire Syler discuss their collaboration on The Green Duck Lounge, a play that delves into Kansas City, Missouri’s civil rights history.

Director Erin Ortman loves musical theatre, new plays, theatre families, and William Ball’s idea of “positation” that celebrates the “yes” in artistic collaborations. The development process for One Thousand Nights and One Day produced by Prospect Theater Company in New York City provides a view of Ball’s philosophy in action.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

Dramaturg Sara Brookner kicks off a new series of interviews with theatremakers with chronic illnesses.

Tadashi Suzuki and Anne Bogart in conversation at the Symposium on the Suzuki Method with SITI Company—New York City, June 3, 2017.

Director and educator Ashleigh Worley talks about process versus product, advocating for giving students opportunities to grow as artists.

Zach Weinberg writes about discovering his role as an adaptor, collaborator, and director.

Alyssa White writes about being an early career director in Chicago, and re-discovering her love of the work.

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

Director Andrew Watkins writes about getting to the heart of Strindberg's problematic classic. 

Cassandra Snow writes about the challenges and opportunities involved in producing theatre in non-traditional spaces.

Ramona Ostrowski speaks with director Gary Hynes about Druid Theatre Company, revisiting Beauty Queen of Leenane twenty years after its first production, and new political movements within Irish theatre.

Director and educator Jessica Bauman writes about her experience teaching theatre in a refugee camp in Kenya.

Director Marc David Pinate discusses his process for Barrio Stories, reflecting on how the production is an example of sacred theatre.

In this last installment, Paul Adolphsen interviews South African theatremaker Thando Doni about his artistic use of language and physical theatre.

Raphael Khouri writes about creating a work of queer Arab theatre in secret.

David Dower talks with Tony Taccone about his adaptation of It Can’t Happen Here at Berkeley Rep, and what it means for an institution to program a new work that speaks directly to our present moment.

Amy Brady interviews Michael Arve about Dangerous Theatre, a piece he’s directing based on Hallie Flanagan’s 1938 testimony to the Special Committee to Investigate Un-American Activities.

Director Lavina Jadhwani shares her experience as an Asian American director, advocating the need for more spaces and opportunities for Asian American theatre artists to collaborate together. 

Wael Qadour describes creating a piece of theatre with young people living in northern Jordan.