Playwright Caridad Svich reflects on the economic reality of working in theatre.

David Dudley explores the story behind John Cage’s Theater Piece No. 1 and discuses SITI Company’s recent production of it, which was conceived and directed by Anne Bogart.

Rob Neill, founding ensemble member of the New York Neo-Futurists, shares his thoughts on the company’s process, devising work, and creating rituals in theatre.

Noe Montez interviews ensemble members from New York's Pregones Theatre on Dancing in My Cockroach Killers, which ran from 7 June to 1 July 2018 at the GALA Theatre in Washington, DC.

Dramaturg Gaven D. Trinidad reflects on workshopping Snowflakes, or Rare White People by Dustin Chinn as a part of UMass Amherst's New Play Lab in December 2017.

Georgia-based theatremaker Corey Bradberry reflects on lessons learned after creating an immersive murder mystery play in a four-story historical theatre, and muses on how large institutions sharing resources with smaller companies can lead to new and innovative creative partnerships.

Director Meggan Gomez reflects on working with her youth ensemble based in New Mexico to create _____ Historias, a play that is created in real-time in response to stories shared by the audience.

Pamela McQueen talks to Irish playwright Deirdre Kinahan about the political nature of her work, her creative process, and how she's sustained a prolific career as a female playwright.

Director Erin Ortman loves musical theatre, new plays, theatre families, and William Ball’s idea of “positation” that celebrates the “yes” in artistic collaborations. The development process for One Thousand Nights and One Day produced by Prospect Theater Company in New York City provides a view of Ball’s philosophy in action.

Nate Eppler shares how Ingram New Works Lab in Tennessee is helping playwrights build a creative home that both feeds the soul and the stomach.

Ana Dinger explores theatre as a “place of listening” through the work of Mónica Calle and Rui Catalão.

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.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

Yan Chen talks with poet, performer, and playwright Kit Yan about the intersections of genre and intersections of identity in his work.

Aysan Celik talks about the ways she’s found laughter to be a catalyst for honest conversations with her students about Climate Change.

For the fourth installment of the Chronic Theatremaker series, Sara Brookner interviews playwright Lisa Kenner Grissom about living with lupus and learning to balance her health practice with her writing practice. 

Artistic Director Kristin Marting discusses how developmental programs can better meet the needs of artists and shares best practices from HERE’s multi-year artist residency program in New York City.

Director Amy Clare Tasker on how the organizing practice of Open Space has revolutionized her work.

On the twentieth anniversary of its founding, Nan Barnett reflects on the National New Play Network’s growth, and discusses the organization’s impact.

Performer Stephanie Hayes reflects on how motherhood helped her reinvent her relationship to her own creativity.

Sara Brookner talks to playwright and performer Robbie McCauley about her one-woman show Sugar, and the power of sharing our stories.

Playwright and actor Tim Collingwood reflects on the workshop production of his play Depth Perception, a piece based on his experiences with Aspergers, and why he thinks the theatre can be a safe space for people of all abilities.

In the third installment of this series, Australian playwright David Finnigan discusses how he navigated the attacks of climate deniers on his provocatively titled play. 

Maine artist Jennie Hahn explores environmental stewardship in Maine’s Penobscot River Watershed with the performance project IN KINSHIP and shares her three guiding principles for making art in a time of climate change.