In the second half of this two-part deep dive, playwright John J King continues his exploration into self-producing, looking at the production phase and marketing.

In the first half of this two-part deep dive, playwright John J King looks at the world of self-producing, touching on building a mission statement, budget concerns, and the script development process.

Madeleine George and Mike Lew talk about writing comedy for theatre, vulnerability as playwrights, working with different aesthetics, and more.

Playwright Aleshea Harris reflects on the tensions of being a Black theatremaker and "negotiating bodily presence" in a speech at the 2020 Under the Radar Festival Professional Symposium.

In part two of their conversation, Vera Starbard and Pearl Cleage—playwrights-in-residence at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—talk about different cultural practices, the white gaze, moving away from anger, and more.

In part one of their conversation, playwrights Vera Starbard and Pearl Cleage talk about their respective residencies—at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—race and representation at their institutions, not writing for a white audience, and more.

Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to witness staged readings of six French Caribbean plays in English translation.

Kristin Leahey, PhD explores the impact of the Colorado New Play Festival and its accompanying conference.

Loren Noveck discusses the Oregon Shakespeare Festival’s Play On! project, which commissioned thirty-six playwrights to translate the entire corpus of Shakespeare into contemporary modern English.

Matthew McMahan talks to playwright Herbert Siguenza about branching out as a solo writer after years as a member of Culture Clash, writing bilingual comedy, and more.

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.

Caridad Svich shares a correspondence she had with playwright and theatremaker Will Arbery, touching on topics of writing about bleakness and despair, a play’s relationship to breath, faith and faithlessness, and more.