Directing

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.

Director Julia Levine discusses how she approaches her process, and examines the relationship between food and theatre. 

David Dudley on Lucy Prebble’s The Effect, directed by David Cromer at the Barrow Street Theatre in New York City.

Catherine M. Young on Théâtre des Bouffes du Nord’s production of Molière and Lully’s Le Bourgeois Gentilhomme, directed by Denis Podalydès’at the Lincoln Center Festival in New York.

Director Emily Mendelsohn shares her experience at the 2016 Theatre Without Borders Conference, and muses on an “ecological way of seeing” for her work.

Holly Derr contemplates how a director can foster a feminist production.

In this installment, Paul Adolphsen interviews South African director Jayne Batzofin about her journey to directing and her work with the Chaeli Campaign. ​

Maegan Clearwood on the all-male production of Taming of the Shrew, directed by Ed Sylvanus Iskandar at the Shakespeare Theatre Company in Washington, DC.

Director José Carrasquillo shares his first encounter with Octavio Solis’ El Paso Blue and his journey to directing the piece.

Shelby-Allison Hibbs collects thoughts from Dallas theatremakers about the sustainability of the city’s theatre scene.

Edward Einhorn describes his experiences as a director, adaptor, and translator, and the similarities and differences between them.

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

Corey Bradberry’s theme and production considerations for staging Moby Dick for a contemporary audience in the deep South.

Making a career as a young, white male theatre director.

Porsche McGovern unveils the results of the latest phase of her study of LORT theatre designers.