U.S. by State

Chicago-based theatre practitioner and scholar Eli Van Sickel dispells the prevalent notion of Spring Awakening being the first deaf production on Broadway—it’s not.

Maria Enriquez interviews Emilio Rodriguez about his play Swimming While Drowning, incorporating spoken word poetry into his work, and the idea of being “Latino enough.”

Brett Aresco on Radical Evolution’s production of The Golden Drum Year by Beto O’Byrne.

Are you born to be a theatre artist? A three-year study on theatre artists compares how this group stands out from the average population.

Playwright Audrey Cefaly discusses the significance of silence and subtext on the page and the stage. 

Seth Lepore discusses why artists and producers can’t depend purely on ticket sales for revenue, using one of his tours through the Midwest as an example. 

Matthew Sekellick explores what New York’s proposed minimum wage increase would mean for theatre artists.

A consideration of how to make successful marathon-length theatre based on Sean Graney’s All Our Tragic production of 32 Greek tragedies.

Patricia Davis interviews Ron Menzel, an actor in Studio Theatre's production of Lucy Kirkwood’s Chimerica in Washington, DC.

In his second installment, Michael Lueger interviews Dr. Beth Kattleman about her journey in theatre and academia.

Commons Producer Miranda Craigwell interviews Melinda Lopez about her experience as Playwright-in Residence at Huntington Theatre Company. 

In his third installment, Eli Keel discusses the ethics of seeking consent from actors in theatre settings.

Chicago theatre artist Nicholas Ward offers tips for how white allies can help dismantle theatre’s racial disparity.

Em Piro writes about the exciting wave of cross-genre collaboration she’s witnessing in St. Louis, and addresses the successes and pitfalls of such work.

Regina García interviews playwright Amparo Garcia-Crow about her musical on Gus Garcia, a Mexican-American civil rights leader.

David Dudley interviews Naoko Maeshiba about the opportunities in Towson University’s MFA in Theatre Arts program. 

In this installment of her After-the-Avant-Garde series, Kate Kremer looks at the parallel functions of the prompter in the chicken suit in Nature Theater of Oklahoma’s 2009 Romeo and Juliet and Br’er Rabbit in Branden Jacobs-Jenkins’ An Octoroon.

Katie Naka discusses the Go Green pop-up experience in Harlem and advocates experimenting with urban green spaces as venues.

Nelson T. Eusebio III addresses the argument that the “best” actor must always be cast in a role, regardless of race.

Director Desdemona Chiang provides an overview of Asian American discrimination and cultural appropriation in the US and argues that there is no way to divorce The Mikado from this problematic history.