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Playwright Lauren Gunderson offers other writers lessons on dramatic structure, building characters, and crafting a powerful ending.

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.

Lisa Portes' remarks from the opening of the Latinx Theatre Commons Carnaval of New Latinx Work in Chicago, Illinois. 

Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

Amelia Parenteau explores the value of bringing theatre and the humanities into the medical field through the collaboration between Philadelphia’s Lantern Theater Company and the Sidney Kimmel Medical College.

Playwright Lauren M. Gunderson add to her video series "Why Theatre?" by discussing why theatre still matters in the age of filmed storytelling.

Director Lavina Jadhwani summarizes conversations about casting she's been involved with in the past, and offers advice to artists and producers who find themselves facing criticism for their choices.

Writer Warren Hoffman dives into the history of God of Vengeance, the Yiddish play from 1907 that inspired Paula Vogel's Indecent, and the questions around language and sexuality the play raised and continues to raise.

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.

Tammie Pollard details the history of military theatre in Europe, explores its benefits, and looks at the challenges it faces today.

Theatre artist and educator Robert Ruffin explores the idea of theatre being necessary for human survival and the research that needs to be undertaken to prove it. 

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.

LA arts administrator David Mack explores the topic of labor law, proposing that complying with it will help create and sustain a more equitable theatre community—both in his city and across the country.

Cassidy Dawn Graves writes about the anti-capitalist narrative present in Sweeney Todd: The Demon Barber of Fleet Street and the significance of producing the musical in 2018.

Olivia D’Ambrosio, Producing Artistic Director of Bridge Repertory Theater in Boston, Massachusetts discusses how the company's early ambitions led to challenges, and how they're learned to course-correct.

Leilani Squire explores the healing power of writing through her experience of working with veterans to write a play about their time at war and sharing their stories with the community.