Interviews

Bertie Ferdman interviews Anne Hamburger about Basetrack Live, a multimedia theatre production inspired by Basetrack: One-Eight, a web project created in 2010 by photojournalists embedded with US Marines fighting in southern Afghanistan.

1.) Never wait for permission to practice your art. You cannot wait to get a job to be an artist. 2.) Study your art. Never stop studying. 3.) Find a spiritual practice that works for you.

It dawned on me that the message of {my lingerie play} is a message for the masses. I decided to do the public underground performance installations because they would be my version of a commercial. I wanted to take it to the streets, to the root of the problem, and see what would happen.

Circus artists Ember Flynne and Michael "Mooch" Mucciolo discuss their work as professional fire performers in Boston, and shed some light on what it takes to succeed in the business.

Albuquerque, New Mexico: We have a varied company, and we’re always looking to put on kick ass plays. It’s pretty cool that we have a company where any of our actresses could play Hamlet. And not like, “Female Hamlet”, but you know, Hamlet. Or where people of different races play siblings, without comment or explanation, and our audiences don’t bat an eye.

P. Carl interviews playwright Sarah Ruhl on her collection of short essays titled "100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater." 

P. Carl interviews Michael Garcés, Artistic Director of Cornerstone Theater, about their touring production California: The Tempest, which revisits ten California communities that were part of ten year’s of Institute Summer Residencies.

Researching the war and the following years, the ripple effects of World War I impacted not just international politics, but everything from race relations to art, music and literature. The Bonus Army is one of these ripples.

Rebecca Stevens interviews playwright-poet Marcus Gardley on his impacts on the national performing arts community. 

As a Chicano director and writer, I am inspired by my own culture—the influence of poetry and magical realism, the contradictions and collision of European and Indigenous cultures, the corridos and huapangos of home, the memories of sitting on the porch hearing my family’s stories, and my own ever-growing inquiry into the nature of storytelling—from the specific to the universal—all came to mind in the design of the play.

Jamie Gahlon interviews José Luis Valenzuela on the LATC and the upcoming Encuentro 2014: A National Latina/o Theatre Festival.

Martha Steketee writes about Daniel Talbott and Samantha Soule looking at the work and companies they've created in New York's off-Broadway scene since meeting at Juilliard in 1998.

Morgan Gould reviews The Sonic Life of a Giant Tortoise, and also interacts with the idea of revealing her tastes as a critic before reviewing.

P. Carl interviews Julie Crosby on leadership, gender parity, and Women’s Project Theater. 

Srila Nayak shares an overview of Pulitzer prize-winning dramatist Ayad Akhtar's career. 

A dialogue between Paula Vogel and Blanka Zizka regarding their play Don Juan Come Home from Iraq.