Producer Tobi Kyeremateng and poet/writer Roger Robinson talk about Black writers in the UK, creative citizenship, activism in the arts, and more.

Caroline Reck, artistic director of Glass Half Full Theatre in Austin, Texas, talks about how her company uses clown and object theatre to engage people in the battle against climate change.

Playwright and professor Theresa May talks about creating a show about the planet, Sky Woman, and the Youth Climate Movement, and how collaborating with students enhanced the development process.

Zoë Svendsen discusses working with fellow theatremakers to build and present imagined realities of London and Oslo in post-capitalist and post-fossil-fuel cultures.

Choreographer Malik Nashad Sharpe and film & TV director Liza Johnson talk gravity, abstraction and risk, ethics, and more.

Black British writers Matilda Ibini and Oladipo (Dipo) Agboluaje talk about choosing to study theatre at school, crowdfunding, Afrofuturism, and more.

Demi Nandhra and Rajni Shah talk about their performance practices, social media, mental health, ego, 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.

Part II of the conversation between Michael J. Bobbitt, the recently appointed artistic director of Boston’s New Repertory Theatre, and Raymond Caldwell, the new leader of Washington’s Theater Alliance, who talk about post-show conversations and self-care.

Melisa Pereyra talks about how suffering goes hand in hand with being a woman of color actor, how trauma is held in the body, and how audiences react when stories lack grief.

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.   

Michaela Goldhaber, current artistic director of Wry Crips, talks to the founding and early members of the disabled women’s theatre group about their history.

Ben Barson and Gizelxanath Rodriguez, part of the Afro Yaqui Music Collective, talk about artivism—what it means, what it can look like—in relation to building a jazz opera with various communities around the world.

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.

verity healey does a deep-dive into the Our Stage – 4th European Bürgerbühne Festival, which took place in Dresden, Germany, in May 2019.

John Meredith and M Sloth Levine, of StageSource’s Gender Explosion Initiative, discuss ways theatremakers can dismantle stigmas against trans people and continue creating an inclusive theatre scene.

Jerrod Bogard talks about sexism, theatre, and unpacking his invisible knapsack.

Dani Wieder looks at the objectification inherent in theatre and the importance of artists crafting engaged performer-spectator relationships.

Professor Christin Essin talks about problematic staging of gendered violence at a production she recently brought her students to and the importance of content warnings and taking care of survivors in theatrical works.

Sharanya shares her thoughts on restaging gendered violence, including how the representation of sexual violence has the power to be scripted and also to script, the importance of de-spectacling violence, and more.

Charlene V. Smith talks about asking hard questions around the interpretation of early modern English classics, Brave Spirits Theatre’s production of The Changeling, and five tips for dealing with sexual assault in art responsibly.

Holly L. Derr looks at the history of the Method, where it deviates from Stanislavsky’s System, and the connection between the Method and the behavior called out by #MeToo.

Kate Bergstrom investigates the open text, looking at how theatremakers approach the form, the balance between respect for the script and unique interpretation, and more.

David Z. Saltz—director, installation artist, and teacher of digital performance—talks about the early days of digital media in theatre and the six main roles it plays in live performance.

Sydney Isabelle Mayer discusses the importance of terminology when it comes to “trigger” warnings, how artists can best offer warnings for their shows, and what it means to create a responsible theatremaking process.