U.S. by State

Actor Natalie Camunas discusses cultural microaggressions she’s faced in her career, and shares her experience working on DJ Latinidad’s Latino Dance Party.

Actors Mary Frances Noser and Emma Lukens reflect on their process acting in Love Sonnets at Emerson College.

Todd London on playwright Anne Washburn on winning the Herb Alpert Award for Theatre.

Phil Weaver-Stoesz discusses Liz Lerman’s Animating Research class at Arizona State University and interdisciplinary collaboration.

In this third installment, Victoria Masteller discusses her experience as Associate Director and examines how space informed the production of Love Sonnets.

David Dudley interviews members of the creative team behind the Goodman Theatre’s recent production of Thornton Wilder’s The Matchmaker.

In this second installment, Helen Schultz reflects on her dramaturgical process.

In this first installment, Director Caitlin Bailey shares her directorial process for Love Sonnets: Things Women Say, a compilation of monologues for women written by Chuck Mee.

Arianna Soloway writes about her struggle to self-define as a director when she works full-time as a real estate agent.

Patricia Davis on Ambassador Theater’s production of They Don’t Pay? We Won’t Pay! by Dario Fo in Washington, DC.

In this installment, Koy Suntichotinun discusses his process for creating a performance piece interpreting Aaron Weissman’s State Park, in which he incorporates social media.

Director Ben Yalom discusses the differences between directing an ensemble-created piece versus a more traditional one.

Rebecca Martinez writes about how Hamilton changed her personal relationship to her country.

Holly L. Derr deconstructs a new dynamic in her theatre department.

A conversation with Theatre Nohgaku members about noh theatre and their production of Zahdi Dates and Poppies.

In this installment, Matthew Minnicino discusses gender politics in Shakespeare’s work, and productions of King Lear with women starring in the title role.

Alex Goldberg wonders if it's possible for a playwright to be wrong about an aspect of his or her own play, and describes a fraught production process.

Playwright Melinda Lopez shares her experience buying tickets to see Hamilton, and addresses the cost of watching a Broadway show versus the cost of caring for her mother.

Marcina Zaccaria speaks with Fiddler on the Roof lyricist Sheldon Harnick as he approaches his ninety-second birthday.