Carlos Murillo and Kira Obolensky talk about their National Playwright Residency Program residencies, creating work for a specific theatre’s audience, playwrights not being part of the sea change of artistic director turnover, and more.

Rehana Lew Mirza and Melinda Lopez talk being playwrights as well as actors and teachers, critiquing their own work, their individual work processes, and more.

Luis Alfaro and Herbert Sigüenza talk about their experience in the National Playwright Residency Program, learning about the inner workings of theatre companies, portraying Latinx people in a positive light, the importance of comedy, and more.

Playwrights Kirsten Greenidge and Peter Nachtrieb talk about what it means to be an artist in residence, how theatres constantly work on their mission, connecting with the community, and more.   

Playwrights Will Power and Jonathan Norton talk about what being an artist in residence looks like, championing local playwrights, rejection letters, and more.

Playwright Peter Nachtrieb and artistic director of San Francisco’s Z Space, Lisa Steindler, talk about the National Playwright Residency Program, getting out of your comfort zone, making a living as a writer, and more.

Applications for the third round of the National Playwright Residency Program, an intervention into the traditional relationships between artists and institutions, are now live!

Playwright Pearl Cleage discusses playwriting, activism, and how theatremakers can help save the world in this excerpt from her keynote speech at the 2019 TYA/USA National Festival & Conference.

Herbert Siguenza, co-founder of the Latino performance troupe Culture Clash, talks about his unconventional writing path, his time working with the collective, and finding his unique voice.

Playwright Pearl Cleage reflects on the power of truth-telling to find common ground and discusses how Alliance Theatre in Atlanta, GA is working to confront the legacy of Southern racism.

Playwright Vera Starbard (Tlingit/Dena’ina) reflects on her journey through rural Alaskan Native communities to reawaken the ancestral spirit of her work, Native Pride (and Prejudice).

Playwright Kirsten Greenidge talks about what it means to see and be seen in theatre.

Mora V. Harris offers suggestions for what organizations can do if they can’t afford the travel costs associated with bringing an artist from out of town.

Professor Matthew McMahan talks about the importance of understanding comedy’s theatrical history: how it has evolved, what it says about a society, and why the genre shouldn’t be forgotten in the American theatre.

Director Ralph Peña writes about the importance of beginning every project from a place of inclusion, rather than relying on retroactive "diversity initiatives."