U.S. by State

David Dudley talks with Mary McCann about the unique training opportunities available at the Atlantic Theater Company.

Actor Jithesh Kuyyalil discusses how his background in physics helps him understand acting techniques.

The Café Onda Editorial Board and New York City theatremakers talk about the Big Apple’s landscape of Latina/o/x theatre, in anticipation of the Latinx Theatre Commons’ New York City Regional Convening.

Jess Barbagallo and Chris Giarmo discuss design questions for Jess’s play My Old Man (and Other Stories) and the recently increased interest in trans artists.

Matt Błażejewski discusses the Me Too Monologues and its impact as a community-based theatre project that spreads awareness of mental health issues to college students.

Read the community responses to our questions, “What do you stand for? What does your art stand for?”

Dramaturg Deanie Vallone talks with playwright Larissa FastHorse about The Thanksgiving Play, writing a play with all white characters, and the obligation artists and institutions have to their area’s Indigenous community.

Sound designer Victoria Deiorio reflects on her experience of Complicite’s The Encounter and its ingenious use of sound. 

Aaron Sawyer and Sidney T. Smith write about Unified Access Auditions at Red Theater in Chicago, IL.

In this first installment, Maurice Decaul discusses the inspiration and beginning stages of Veterans and Theatre Institute, a program that trains military veterans in the various aspects of theatre. 

Sean Daniels writes about the successes and challenges of his first year as Artisitic Director of Merrimack Repertory Theatre. 

Playwright Mia McCullough discusses how teaching classic plays in high school alienates future young audiences, and advocates for contemporary playwrights to craft comprehensive anthologies of their work. 

Rosa Schneider reflects on history plays, history, and pedagogy in Undergound Railroad Game created by Jennifer Kidwell and Scott Sheppard with Lightning Rod Special playing at Ars Nova in New York City.

Alison Durkee considers the preservation of the theatrical past in a number of ‘reconstructed’ performances or resurrections of ‘lost’ works, such the 2016 production of Shuffle Along, or The Making of the Musical Sensation of 1921 and All That Followed.

In this second installment, Daphnie Sicre closes her discussion on theatres that offer free, or discounted tickets to college students, and offers creative ways to engage these students.

HowlRound Associate Producer Ramona Ostrowski on attending the Remembering Zelda events at Arena Stage and how Zelda Fichandler’s example and words are a balm and a spark to her own work as a theatre practitioner.