Georgina Young-Ellis looks at the history of the innovative Mexican theatre company Teatro Línea de Sombra, its connection to Portland, Oregon, and two of their projects: Amarillo and Rebuilding Small Territories.

Robert Goodwin and Mary Kathryn Nagle discuss decolonizing Western theatre, linear narrative structures, the historic silencing of underrepresented voices, Shakespeare, and more.

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.

Holly Derr discusses the dramaturgical implications of playwright Mary Kathryn Nagle changing one of her characters to a woman in her newest play Manahatta, which premiered at Oregon Shakespeare Festival in March 2018.

Off the Rails, which was produced at OSF in October, shows how Native plays can include depictions or descriptions of Native history as an element of lived experience, not as the entirety of the play’s purpose.

Holly Derr interrogates green(drama)turgy at Oregon Shakespeare Festival and how stories can be used to reconnect people to their physical world.

Precious Yamaguchi takes part in Take Them Into the Dirt, a participatory production at OSF about legacy, storytelling, memory, and identity.

In the first installment of this new series, a collaboration with Canada’s SpiderWebShow, Yvette Nolan ponders the porous boundary between the United States and Canada, and the importance of theatrical communication in difficult political times.

Artistic Director Josh Hecht reports on the first year of Profile Theatre’s Diversity and Inclusion Initiative, and shares insight from the process. 

Olga Sanchez on the writing and production process of El Payaso by Emilio Rodriguez at Milagro Theatre in Portland, OR.

Playwright Jacob Juntunen remembers Edward Albee’s generosity toward other playwrights.

In this cultural moment of divisiveness, how is one of the true stories of abortion theatricalized? Holly Derr considers Oregon Shakespeare Festival’s co-production of Roe by Lisa Loomer. 

Director and educator Theresa May writes about the potential of theatre about climate change to affect hearts and minds.

Bill Rauch and Luis Alfaro talk about their connection to each other's work and the Oregon Shakespeare Festival.

In the first installment of her new series, Joan Marie Hurwit writes about spending time in Portland, Oregon, and how art is playing a role in a city in transition.

Patrick Walsh discusses his work within the prison Two Rivers Correctional Facility and how it revived him and his commitment to theatre.

Brian Sonia-Wallace writes about his experience at the Latino/a Play Project at Oregon Shakespeare Festival.

Lue Douthit, director of literary development at Oregon Shakespeare Festival, discusses the history and rationale of the Play on! Project with OSF to translate 39 of Shakespeare’s plays.

Oregon Shakespeare Festival’s Alison Carey writes about the upcoming Green Room, an online space for theatre artists to come together around climate change action.

In this first post in our series on season planning, Oregon Shakespeare Festival artistic director Bill Rauch discusses the process for programming his eleven-show seasons.

Jacob Padrón talks with Bill Rauch, artistic director of Oregon Shakespeare Festival, about leadership, mentorship, and gratitude.

Waylon Lenk considers how the University of Oregon and Southern Oregon University are doing Native theatre and compares their models to his approach to organizing a reading series by Native authors at Oregon State University.

Erin Washington interviews Steven Sapp about his process with Universes, and their show Party People at Oregon Shakespeare Festival.