New York

David Bruin on Daniel Fish’s production of Oklahoma! at Bard’s Fisher Center.

Godfrey L. Simmons, Jr. writes about the discoveries made by Civic Ensemble in Ithaca, NY.

Patrick Gaughan on Elevator Repair Service’s adaptation of William Faulkner’s The Sound and the Fury. 

Jonathan Mandell on the serious fare on display at the forthcoming New York International Fringe Festival.

Martha Steketee on Daniel Talbott’s ghost story of a sand-bound ship of fools and the exquisite possibility of forgiveness. 

The Lamplighter Productions collective describes their process for founding their company, and shares the lessons they’ve learned.

Jonathan Mandell on Douglas Beane’s Shows for Days, and the shifting definitions of "professional theatre" and "theatre professional."

Early Career Dramaturg Amanda Boyle reflects on the lessons she learned at the 2015 Literary Managers and Dramaturgs of the Americas (LMDA) conference in New York City.

The first installment of the Café Onda series on Latina/o Theatre Regional Alliances focuses on La Cooperativa of NYC Latino/a Theatre Artists.

Cassidy Dawn Graves on the Playwrights Horizons production of The Qualms by Bruce Norris.

Playwright Catherine Castellani describes an unsettling experience at her child’s elementary school play, and explores the prevailing attitudes around arts education in primary and secondary education.

In this installation, David Dudley talks with the three artistic directors of the SITI Company about what makes their program different and successful. 

Jonathan Mandell talks with Producer Tom Kirdahy about celebrating a marriage three times and how theatre can make a difference.

Jess Applebaum on Sylvia Milo’s original solo performance as Nannerl, Mozart’s mostly-forgotten sister in The Other Mozart.

In this installation, Kate Kremer continues her exploration of durational theatre and what it has to do with realism.

Edward Einhorn on the economics of Money Lab and what it taught him about the relationship of art and money.

Jonathan Mandell explores the use of violence on stage, and how theatremakers use the stage to respond to violence.

Indie theatre producer Sergei Burbank outlines his experience producing Stephen Belber’s McReele, and discusses the danger in assuming that a play with cultural relevance will guarantee a sold-out run.

Joseph Pindelski describes the “high touch” and “high tech” audience engagement experiences The Goodman created for Regina Taylor’s stop. reset.

Scholar Jean Hartley Sidden considers the spectrum of theatricality.

Regina García chats with scenic designer Deb O about why she’s in theatre, how important it is to answer the call, and shaking things up.

Lighting designer Lucrecia Briceno writes about the joys and challenges of designing for non-traditional theatre pieces that are in direct dialogue with audience members.

Martha Steketee on solo performance and Dael Orlandersmith’s one-woman show, Forever.