New York

David Dudley on Lucy Prebble’s The Effect, directed by David Cromer at the Barrow Street Theatre in New York City.

Catherine M. Young on Théâtre des Bouffes du Nord’s production of Molière and Lully’s Le Bourgeois Gentilhomme, directed by Denis Podalydès’at the Lincoln Center Festival in New York.

Playwright Zoe Kamil writes about casting a play of hers, and the difficult conversations that arose because she didn’t specify the race of certain characters.

Renée Camus reports on this summer’s Song, Stage, and Screen Conference in New York City.

Playwright Cherry Lou Sy discusses Vineyard Theatre’s production of Indecent, reflecting on the culture of fear and the queer artists who have influenced her.

Billy McEntee discusses the use of cellphones in recent Broadway and Off-Broadway productions.

Ethan Lipton discusses making music, making theatre, and combining the two in his full-length play-with-music Tumacho at Clubbed Thumb.

Caitlin Crombleholme discusses diversity at the 2016 Tony Awards, taking a look at Broadway’s 2016-17 Season and reflecting on August Wilson’s “The Ground on Which I Stand.”

Jonathan Mandell on the wealth of offerings of African-American theatre at the twentieth New York International Fringe Festival. 

Director José Carrasquillo shares his first encounter with Octavio Solis’ El Paso Blue and his journey to directing the piece.

Gregory Ramos interviews On Your Feet actor Andréa Burns about her career playing Latina women in Broadway musicals.

David Bruin on the world premiere of Demolishing Everything with Amazing Speed, futurist puppet plays by Fortunato Depero, translated, designed, and directed by Dan Hurlin at Bard SummerScape.

Carey Purcell talks to Diane Paulus and Liesl Tommy about all women creative teams.

Megan Patterson on the New York Theatre Workshop production of the musical Hadestown by Anaïs Mitchell, developed with and directed by Rachel Chavkin.

A tribute to the founder of Signature Theatre, Jim Houghton by David Bruin.

Kristin Marting, Artistic Director of HERE in New York City and playwright-in-residence Taylor Mac discuss their participation in the Andrew W. Mellon Foundation’s National Playwright Residency Program.

Carey Purcell looks at female artistic leadership of summer companies at New York Stage and Film, the Eugene O'Neill Theater Center, and Williamstown Theatre Festival.

Jonathan Mandell on “Broadway for Black Lives Matters,” the Theatre of the Oppressed NYC production of Apprehension, and the role of theatre in protest and human rights movements.

Danielle Feder responds to the critical reception of the Broadway show Waitress.

In this installment, Donald Sanborn III interviews composer Brad Ross about his creative work and process.