U.S. by State

Playwright Raul Garza discusses the potent connections between environment and Latinx heritage that he explores by employing magical realism in his play Arbolito.

Theresa May discusses the way that two contemporary plays with dystopian settings—Transmissions in Advance of the Second Great Dying by Jessica Huang and Somewhere by Melissa Treviño Orta—lean away from typical tropes of destruction and individualism by instead centering care, kinship, reciprocity, and interdependence.

Theatremaker Eric Swartz sits down with Rosalba Rolón, co-founder and artistic director of Pregones/PRTT, to discuss ensemble-based theatre, mentorship across generations, and their work to sembrar una semilla—to plant a seed and work to make it grow.

Richard Falcon and Fran Astorga discuss the need for inclusive spaces that led to founding their own companies, the road blocks they've pushed against, and the legacy they hope to create as part of the teatro field.

Star Finch and Ellen Sebastian Chang, friends and artistic collaborators in the Bay Area, have a conversation about their local theatre scene’s recent but long overdue racial reckoning, scraping together a creative life, the institutionalization of artists, and more.

Jacqueline Flores and Abel López, co-curators of the Latinx Leaders at the Forefront series, discuss their careers, their sense of cultural identity as Latinx theatremakers, and importance of intergenerational dialogue.

Olga Sanchez Saltveit and Shayna Schlosberg continue their conversation for the Latinx Leaders at the Forefront series, focusing on mentorship, trade-offs they have made, and their shared experiences working in service of equity.

Olga Sanchez Saltveit and Shayna Schlosberg sit down to discuss their careers making theatre and advancing equity for the Latinx community in the Pacific Northwest.

Amelia Parenteau introduces the We Will Dream: New Works Festival, a festival showcasing new plays by Black playwrights originating from or working in the American South.

In response to student demands for greater input in season selection, the Department of Theater and Drama at the University of Michigan has spent the past few years revising their selections process. Professor Christianne Myers details their approach, which centers on a department-wide feedback and a semester-long Student Selection Advisory course.

Gregory Moomjy and Marianna Mott Newirth share their approach to creating disability-affirmative opera productions in which disability artistry flourishes.

Daphnie Sicre discusses the way that Latinidad, Blackness, and queerness intersect in “Marimacha,” comedic coming out story about an AfroPanamanian family on their way to a wedding.

The International Presenting Now convening brought a collective of US-based presenters of international work together in physical space in January 2023, following almost three years of virtual conversations and events. Janice Paran details the conversations that arose around the convening’s key question: how might international presenters want to work differently?

For three years, Kristin Patton and Nick Rabkin worked with five case study theatre companies to study the often fraught, high risk, and complex decision-making process of theatrical repertoire selection. The result of their research project, the Moonshot Report, offers insights into their process and practical recommendations for strategic approaches to season planning.

Slovo. Theater Group uses theatre as a tool to fight against cultural oppression by promoting Ukrainian culture abroad. Audrey Rose, the group’s producer, discusses the process of making theatre during active war as a way of resisting oppression and violence.

The LTC announces they are now accepting applications for Colaboratorio, a series of learning opportunities to encourage authentic creative expressions and collaboration between Latinx designers and directors.

Writing from her little family farm in Oregon, E.M. Lewis applies the lessons learned in the garden to her experience as a librettist and playwright.