Theatre journalist Jim O’Quinn writes about eighty-three year old Yvonne Bechet, whose life and work inspired a new play about policing and racial justice in her hometown of New Orleans, Louisiana. 

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

Marcina Zaccaria on Jody Christopherson’s Greencard Wedding at Dixon Place in New York City.

José Torres-Tama writes about the development of Aliens, Immigrants & Other Evildoers, a sci-fi Latino noir performance about the Latino immigration experience.

Brad Rhines reviews Cosmin Chivu’s revival of Tennessee Williams’ The Mutilated at the Contemporary Arts Center in New Orleans.

New Orleans-based artist Nick Slie writes about creating Cry You One, an interdisciplinary, site-responsive project addressing the ongoing effects of climate change on the Gulf Coast.

José Torres-Tama writes about his experience in New Orleans during and after Hurricane Katrina, ten years ago.

Louisiana State University undergrad Alexander Adams writes about discovering dramaturgy at a school without a concentration in the field. 

David Bruin on Mondo Bizarro and ArtSpot Productions’ Cry You One at the Arts & Ideas Festival in New Haven, Connecticut.

Michael “Quess?” Moore explores why he wound up in residence in New Orleans at the DISTILLERY, and what he’s continuing to learn and experience.

Chris Kaminstein of the New Orleans-based ensemble Goat in the Road explains how they made Numb, an original piece about the origins of nitrous oxide and anesthesiology.

Brighde Mullins writes about Andrei Belgrader's production of Samuel Beckett's Happy Days, and then zooms out to discuss the sucess of Beckett's work in post-Katrina New Orleans and San Quentin prison.

Alex Ates shares a brief description of A Truckload of Ink, a new play by Jim Fitzmorris, commisioned by The NOLA Project theater company.

Michael Moore talks about finding the spirit of Free Southern Theatre in Junebug Productions, and his awaking of the urgency found in the community for socially activated theater.  

Cripple Creek Theatre has partnered with other organizations in order to better sustain their company in a world that no longer solely depends on traditional fiscal support.

The budding identity of American regional theater is fresh ensembles creating devised work that answers why with these people, in this place.

Randals writes about theatre created by women who have personal relationships with America’s criminal justice system who seek to inform their audiences to incarceration’s effects.

Aliens, Immigrants & Other Evildoers explores the persecution of immigrants, and segregation of art in New Orleans.

Ace Falcor examines the queerness of New Orleans, and what it means to be a queer performer in the city where anything goes.

Carol Bebelle, co-founder of Ashé Cultural Arts Center discusses community and vision New Orleans.

How does the culture of parading—both watching and participating in parades— affect, create, and sustain the New Orleans New Work ecosystem?

After a year of turmoil for Southern Rep Theatre, holding onto their mission kept them at bay. It became a time to reflect on New Orlean’s great community.