Playwright Caridad Svich reflects on the economic reality of working in theatre.

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.

Regan Postma-Montaño reports on the 2018 Latinx Theatre Commons' Carnaval of New Latinx Work, which took place on 19-21 July in Chicago, Illinois.

Playwright Georgina Escobar reflects on the curation of the 2018 Latinx Theatre Commons (LTC) Carnaval of New Latinx Work: ¡ConeXión!, which took place 19-21 July 2018 in Chicago, Illinois. / Escritora Georgina Escobar refleja sobre la curación del 2018 Latinx Theatre Commons Carnaval de Obras Nuevas, cual fue el 19-21 de Julio del 2018 en Chicago, Illinois.

Rob Neill, founding ensemble member of the New York Neo-Futurists, shares his thoughts on the company’s process, devising work, and creating rituals in theatre.

Lisa Portes' remarks from the opening of the Latinx Theatre Commons Carnaval of New Latinx Work in Chicago, Illinois. 

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.

Playwright Paco José Madden explores what it means to be produced by student-run theatre companies: the pros and cons, what factors to consider, and how a playwright can make the best of their experience in a similar setting.

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.

The Latinx Theatre Commons Carnaval of New Latinx Work announces the six plays featured in this year's festival!

Benjamin Viccellio reflects on the Kenyon Playwright’s Conference in Ohio, as the program nears its fifth anniversary.

Rachael Carnes discusses organizing Playwrights Say Never Again to School Shootings, a new anthology of work on gun violence by nineteen playwrights with readings all over the United States.

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.

Nate Eppler shares how Ingram New Works Lab in Tennessee is helping playwrights build a creative home that both feeds the soul and the stomach.

Artistic Director Kristin Marting discusses how developmental programs can better meet the needs of artists and shares best practices from HERE’s multi-year artist residency program in New York City.

Playwright Catherine Trieschmann lists useful suggestions for giving feedback on new plays.

On the twentieth anniversary of its founding, Nan Barnett reflects on the National New Play Network’s growth, and discusses the organization’s impact.

Jordan Schwartz, director of literary programs and outreach at Phoenix Theatre in Indianapolis, discusses a project that originated at the Indiana Women’s Prison and culminated in a production in the neighborhood that was the setting of the story.

Asif Majid addresses some of the flaws in minority development programs and suggests some tips for how to improve such programs.

Playwright and actor Tim Collingwood reflects on the workshop production of his play Depth Perception, a piece based on his experiences with Aspergers, and why he thinks the theatre can be a safe space for people of all abilities.

DC based playwright Annalisa Dias interviews fellow The Welders collective member Deb Sivigny on the world premiere of her new play, Hello My Name Is....

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