Dramaturg Sierra Carlson describes her process for hosting a Women in Theatre Wikipedia Edit-a-Thon at her university, and encourages others engage in digital dramaturgical activism.

Katherine Swimm discusses New Rep Theatre’s Boston production of Ripe Frenzy, and the innovative collaboration between playwright Jennifer Barclay and projection designer Jared Mezzocchi.

Dramaturg Gaven D. Trinidad reflects on workshopping Snowflakes, or Rare White People by Dustin Chinn as a part of UMass Amherst's New Play Lab in December 2017.

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.

Holly Derr discusses the dramaturgical implications of playwright Mary Kathryn Nagle changing one of her characters to a woman in her newest play Manahatta, which premiered at Oregon Shakespeare Festival in March 2018.

Anthony Dvarskas discusses the process of researching and creating America is Hard to See, a documentary theatre piece detailing the lives of a small community of sex offenders, and the town that had to adjust to their new neighbors.

Anchuli Felicia King explores use of motion capture and the construction of an embodied and artificial Ariel in the RSC’s version of The Tempest.

Holly Derr interrogates green(drama)turgy at Oregon Shakespeare Festival and how stories can be used to reconnect people to their physical world.

Canadian playwright Colleen Murphy writes about the importance of including Indigenous characters in plays and Indigenous artists in the process of making them.

Ethan Lipton returns to his artistic home at the Public Theater in New York City to play with toys, musical storytelling, and space travel.

Playwright Melinda Lopez and Charles Haugland discuss the ins and outs of the Huntington Theatre Company’s Playwriting Fellows program, and how it can serve as a model for other companies looking to fill a need in their communities. 

In this second installment, Maggie Sulc interviews dramaturg Claudia Nolan about her experience with new play development in the Northeast region of the United States.