U.S. by State

Matthew Clinton Sekellick discusses the work of David Mamet and Neil LaBute, challenging the theatre community to be more inclusive and to not produce work that reinforces the dominant narrative. 

Ramona Ostrowski speaks with director Gary Hynes about Druid Theatre Company, revisiting Beauty Queen of Leenane twenty years after its first production, and new political movements within Irish theatre.

In light of a recent controversy at a New Jersey high school, Jonathan Mandell talks to theatre artists about their views on using or not using the n-word in shows.

Artistic Director Josh Hecht reports on the first year of Profile Theatre’s Diversity and Inclusion Initiative, and shares insight from the process. 

Bryn Boice writes about how a rift with her father led her to begin work on a devised piece called I, Snowflake.

Jonathan Mandell digs into three recent productions in New York City—Made in China, Confucius, and Caught—that explore US-China relations.

Henrik Eger interviews Tina Brock about how her company is responding to the current political climate in the US, and what she feels that absurdist theatre has to offer.

Zeina Salame shares her experience attending a reading of Heather Raffo’s Noura produced by Noor Theatre, and discusses the social impact of Middle Eastern American theatre in 2017.

Olga Sanchez on the writing and production process of El Payaso by Emilio Rodriguez at Milagro Theatre in Portland, OR.

Jena Tesse Fox talks to Jennifer Ashley Tepper, theatre historian, author of the three-volume series The Untold Stories of Broadway, about her role as Director of Programming at 54 Below, and how the history of Broadway relates to us today.

Daniel Alexander Jones talks about the women who raised him in theatre, and encourages artists to not lose sight of the power of imagination.

Professor Adrianna M. Santos writes about assigning a performance project to the undergrads in her Latina/o Literature survey class.

In this second installment of her series on the Standing with Saguaros project, Kimi Eisele writes about integrating radio into her performance project.

In this last installment, Rick Stemm shares the production process—from idea to execution—for Heroes Must Die.

Meghan McLeroy digs into the refreshing representation of the American South in Audrey Cefaly’s Love is a Blue Tick Hound produced by Terrific New Theatre in Birmingham, Alabama.

Catherine Trieschmann attends a political rally, but has trouble not criticizing it through a theatrical lens.

Cherry Lou Sy reflects on Lukumi Arts’ immersive production of La Sirene: Rutas de Azucar (The Siren: Sugar Routes), which explores the black history of Cuba through José Antonio Aponte’s book of paintings.

Max Cerci discusses watching Gemma Cooper-Novak’s Through the Glory Hole and What We Found There as a summer intern for The Theater Offensive, reflecting on his theatre background and his queer identity.