Process

Playwright Elaine Ávila shares her process and inspiration for writing her play Kitimat, which is based on a true story about the Kitimat community. 

In this first installment, Playwright Rick Stemm discusses his process for creating Heroes Must Die, a video game and production influenced by audience interaction.

Nelson Gray discusses the inspiration for his opera Here Oceans Roar and advocates more art centered on climate change.

Playwright Will Arbery shares his experience working with BOOMERANG Dance Company and how movement informs his writing process.

Costume Designer M.L. Hart parallels the principles and concepts of costume and makeup design to body modification.

Workhaus Collective member Trista Baldwin reflects on the history and organizing philosophy of the playwright collective as it comes to a close after ten years.

In this installment, Daniel Fine discusses the relationship between the scenic designer and media designer, advocating direct collaboration earlier in the production process.

In this installment, Scenic and Costume Designer Arnulfo Maldonado discusses his process and working relationship with Director Ken Rus Schmoll.

David Dudley on The Goodman Theatre production of José Rivera’s Another Word for Beauty, directed by Steve Cosson in Chicago, Illinois.

In this first installment, Daniel Dvorkin and Shana Johnson of Two Lights Theatre Company introduce Art Forms in Flux, a creative process influenced by the Fluxus movement.

Melissa Bergstrom and Kate Marple share their process of creating the documentary theatre piece Big Work.

Andrew Bailes interviews director Monty Cole about his all-male, all-black production of Eugene O’Neill’s The Hairy Ape in Chicago, Illinois.

Rikki Elizabeth Stinnette shares her experience of writing The Screenwriters for both film and the stage.

Playwright Andrea Lepcio shares her experiences writing two different non-fiction scripts and offers advice for the process. 

Playwright MJ Halberstadt writes about different ways playwrights can address diverse representation in their scripts.

Playwright Damon Falke discusses his play Laura, or Scenes from a Common World and how “Apollo and Daphne” from Ovid’s Metamorphoses inspired his work.

Award-winning actor and monologuist Eric Bogosian discusses how a monologue is created: from conceptualization, to free-form vocal improv, to writing, and performance.

Paul Zimet on the intersection of his volunteer work as a mediator in Manhattan and Brooklyn civil and criminal courts and theatre.

In this installment, Hannah Nielsen-Jones shares her process for stage managing OjO in Pittsburgh and San Diego.

Andrew Bailes reviews Theater Oobleck’s production of There Is a Happiness That Morning Is by Mickle Maher.

In this installment, Dan Fine discusses his background in directing and offers suggestions for directors working with media designers.

In this installment, Gab Cody discusses her writing process for both iterations of OjO in Pittsburgh and San Diego.

In the second installment, Ronee Penoi defines her role as a Creative Producer and shares lessons she’s learned in her process.