Georgina Young-Ellis looks at the history of the innovative Mexican theatre company Teatro Línea de Sombra, its connection to Portland, Oregon, and two of their projects: Amarillo and Rebuilding Small Territories.

Caroline Prugh discusses Kaimera Productions’ SPACES, a site-specific performance weaving together storytelling and dance that took place in June 2017 at the Harlem Arts Festival in New York City.

Artistic Director Travis Preston on the cross-cultural collaboration of bringing Fantômas: Revenge of the Image from CalArts to the Wuzhen Theatre Festival.

Justin J. Sacramone interviews Artistic Director Kyler Taustin about Black Box Theatre Project’s influence on Boston’s fringe theatre scene.

Cassandra Snow writes about the challenges and opportunities involved in producing theatre in non-traditional spaces.

In this second installment, Megan Reilly discusses her participation in Ascension, the second phase of The Tension Experience, and reflects on agency for audience members in this immersive experience.

Talya Kingston on These Rooms, devised and directed by David Bolger and Louise Lowe, at the Dublin Theatre Festival.

Josh Platt on Double Edge Theatre’s Latin American Spectacle in Jamaica Plain, Massachusetts, Cada Luna Azul / Once a Blue Moon in Ashfield, Massachusetts, and the Springfield Spectacle, in Springfield, Massachusetts.

Kyna Hamill and Brianna Randolph discuss crafting Letters to Medford, a theatre performance by Two Roads Performance Projects in Massachusetts. 

In this first installment, Megan Reilly shares her experience with the first phase of The Tension Experience, a project that’s a cross between immersive theatre and an Alternate Reality Game.

Playwright and producer Samantha Mueller talks to director and educator Colleen Rua about their mutual passion for immersive theatre.

In this second installment, Milta Ortiz discusses her role as the project’s coordinator, and overviews the production process of Barrio Stories.

Carey Pucell reports on the harassment faced by women street performers in NYC and the preponderance of street harassment of women in our society.

Erin Mee explores the role of stage manager and shares Stage Manager Sophia Lana Cohen’s perspective on working with This is Not a Theatre Company.

Jonathan Mandell explores five common elements in immersive theatre, and what makes immersive theatre successful.

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

verity healey offers an overview of pop up performances by Belarus Free Theatre’s studio Fortinbras, highlighting the treatment of disabled citizens in Belarus.

Jonathan Mandell reflects on the Fall season of New York theatre through the lens of Erin Mee’s “Drama and Performance” class at NYU, in which students see and discuss sixteen shows throughout the semester.

Erin Butcher writes about the difficult experiences she faced producing a show in a public park with an all-female cast and crew. 

Katie Naka discusses the Go Green pop-up experience in Harlem and advocates experimenting with urban green spaces as venues.

Liane Tomasetti discusses evaluating the impact of her team’s site-specific project and future implications for the community. 

In the first installment of his series, Damon Krometis explains his relationship to interactive theatre and his influences.

Jonathan Mandell looks at the recent cell phone fury, especially among prominent performers, and offers a different take on theatre etiquette.

Liane Tomasetti shares some words of wisdom following the performances of the site-specific, immersive piece Animating the James and Ann Whithall House at Red Bank Battlefield.