New York

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.

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

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.”

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.

Ralph Peña, Producing Artistic Director of Ma-Yi Theater Company in New York City and playwrights-in-residence Rehana Lew Mirza and Mike Lew discuss their participation in the Andrew W. Mellon Foundation’s National Playwright Residency Program.

Bertie Ferdman chats with New Saloon Theater Co. about their recent production, MINOR CHARACTER: Six Translations of Uncle Vanya at the Same Time at The Invisible Dog in Brooklyn, New York.

Ricky Young-Howze talks with actor Ali Stroker about changing people’s perceptions about performers with disabilities.

Catherine M. Young reflects on the closing of the musical Shuffle Along. 

David Levy discusses Noah Diamond’s adaptation and revival of I’ll Say She Is, the musical debut of the Marx Brothers. 

Jonathan Mandell looks at the new production of Runaways, thirty-eight years after the first, and asks: Should a work of theatre allow us to escape from, or force us to engage in, the world?

Carlos Morton questions whether Hamilton should be considered a piece of Latina/o theatre.

Manuel Betancourt on the Young Vic’s production of A Streetcar Named Desire by Tennessee Williams at St. Ann’s Warehouse.