Playwright Rachel Bonds reflects on being a working artist since the birth of her son, and maps out tips for theatres working with other parent-artists. 

Theatre student Abigail Warhus talks about feeling stuck at university and taking her education into her own hands.

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.

Noe Montez interviews ensemble members from New York's Pregones Theatre on Dancing in My Cockroach Killers, which ran from 7 June to 1 July 2018 at the GALA Theatre in Washington, DC.

Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

Writer Warren Hoffman dives into the history of God of Vengeance, the Yiddish play from 1907 that inspired Paula Vogel's Indecent, and the questions around language and sexuality the play raised and continues to raise.

Cassidy Dawn Graves writes about the anti-capitalist narrative present in Sweeney Todd: The Demon Barber of Fleet Street and the significance of producing the musical in 2018.

Journalist and filmmaker Michelle Memran reflects upon the easy beginning, the messy middle, the focused concluding months, and MOMA premiere screening of her documentary dreamscape film The Rest I Make Up about her great friend, the beloved playwright and teacher María Irene Fornés.

Jonathan Mandell writes about The Boys in the Band, The Gentleman Caller, and 217 Boxes of Dr. Henry Anonymous, and discusses their portrayal of gay male characters.

Todd London celebrates playwright Carlyle Brown, who recently won the William Inge Theater Festival’s award for Distinguished Achievement in the American Theater.

Jose Solís explores R.Evolución Latina’s production To Be or Not to Be, the culminating project of the company’s spring 2018 workshop, which brought Latinx artists from all over to New York to create a piece based on Shakespeare’s texts.

For the last few years, professor Catherine Coray has been helping create collaboration opportunities for theatre artists in Arab countries and the Americas. Arab Voices: Stories of Palestine is the most recent iteration, and has taken place in New York, Abu Dhabi, and Beirut.

Dominick DeGaetano reflects on Hyung Seok Jeon’s A Held Posture, which last performed at Theaterlab in New York City in January 2018.

New York critic Jonathan Mandell gives us a glimpse at the recently ended Broadway season, and reflects on how these shows have handled the past as a way to adapt to our current sociopolitical moment.

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.

Caroline Prugh discusses Kaimera Productions’ SPACES, a site-specific performance weaving together storytelling and dance that took place in June 2017 at the Harlem Arts Festival in New York City.

Emily White writes about Rebeccah Simone Bogue’s Piece by Piece, which was presented as a work in progress in New York City in February 2018.

James Wyrwicz reflects on how two shows, Say Something Bunny! and Margarete, use found audio and video recordings as the basis for storytelling.

Jonathan Mandell reflects on the twentieth anniversary production of Basil Twist's Symphonie Fastastique at HERE Arts Center in New York City.

Kitty Drexel writes about the failure of Andrew Lloyd Webber's Love Never Dies to accurately represent the performers with disabilities that made New York City's Coney Island famous.