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.

Rachel Spencer Hewitt, founder of the Parent Artist Advocacy League (PAAL), talks about putting PAAL’s handbook of best practices for parent support into action in collaboration with New York City’s the Playwrights Realm.

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

Katy Rubin, founder and former exeuctive director of Theatre of the Oppressed NYC, talks with new executive director Meggan Gomez about how long leaders should hold their roles in an organization, mission drift, founder’s syndrome, 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.

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, sit down to talk about race equity work, the guilt they felt leaving their previous posts, and more.

Artistic directors Joe Haj of Minneapolis’s Guthrie Theater and Rob Melrose of Houston’s Alley Theatre talk about confidence and fearlessness, a company of actors, fighting for the classics, and more.

Talleri A. McRae and Mickey Rowe, co-founders of the National Disability Theatre, introduce their series “The Future of Theatre is Accessible,” talk about some key takeaways from the upcoming articles, and discuss how language is a barrier to inclusion.

Pamela López and Andrés Kalawski talk about the research they have done around theatre programmers in Chile.

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.

Carl(os) Roa offers thoughts on how organizations can create healthier workspaces, weaving in ideas from artists at Philadelphia Young Playwrights and Applied Mechanics.

Owais Lightwala talks about how Toronto’s Why Not Theatre grew from a scrappy startup to an institution in their own right—which came with a greater responsibility to tackle some of Toronto theatres’s biggest challenges: space, childcare, and diversity.

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.

Joe Melillo, BAM’s outgoing executive producer, talks to Rob Orchard about his thirty-five-year-long time at the company, continuing his work with emerging artists, and more.

Kim Whitener, the former executive director of HERE, and theatre producer and consultant Mara Isaacs sit down to talk about moving from institutions to the freelance world (and vice versa), the generosity of other theatre creators, work-life balance, and more.