U.S. by State

Roxanne Schroeder-Arce on Cenicienta by Rupert Reyes and Caroline Reck, and Alvaro Saar Rios’ LUCHADORA!

Porsche McGovern gathered information on who designs in theatre, and shares her results in an infographic.

Martha Steketee on solo performance and Dael Orlandersmith’s one-woman show, Forever.

Lighting designer Lucrecia Briceno writes about the joys and challenges of designing for non-traditional theatre pieces that are in direct dialogue with audience members.

Regina García talks with Jessie Marshall Zarazaga, an architect, designer, and urban planner who designs beyond the stage and beyond boundaries.

Regina García kicks off our week on Designing Women with her thoughts on collaboration, a sustainable life in the theatre, and championing artists. 

In the first of a seven-part series of posts about Latina/o theatre in Texas, Trevor Boffone summarizes the current conversation, and outlines the questions the series will address. 

Jonathan Mandell on  the intersection of not-for-profit and commercial  theatre, and how to  affordably see  Broadway's best  of 2015. 

Emma Wiseman on Dangerous Ground’s adaptation of the 1972 film Solaris, S., in New York City.

In the first of a series of four posts documenting the process of producing Rent with students in North Dakota, Chelsea Pace describes overcoming her own mixed feelings about the musical to see the value in the project.

Jamie Gahlon interviews Richard Montoya, Ric Salinas, and Herbert Siguenza, now marking their thirtieth year as ensemble Culture Clash.

College student Kelsey May describes attending an open dress rehearsal at Opera Grand Rapids, and how the experience opened her eyes to a new art form.

Beatriz J. Rizk on La virgen triste by Elizabeth Mena, performed by Miami-based theatre  company Galiano 108.

Paul Zimet, Artistic Director of the Talking Band, speech to the New Center for Advanced Psychotherapy Studies on Repetition.

Aditi Brennan Kapil and Jack Reuler of Mixed Blood Theatre share the Disability Visibility project with hopes of improving the relationship between the American theatre and disability.

Melissa Bergstrom reflects on her early disappointment in having to get a day job in order to support herself as a theatremaker, and how she has grown to appreciate the wide range of experiences she has had.

Playwright and co-founder of Boston Public Works Theater Company John Greiner-Ferris discusses the rewards and challenges that have come with self-producing.

Patricia Davis on the Hub Theatre’s production of Adam Bock’s The Typographer’s Dream in Fairfax, VA.

Leslie Ishii and Daniel M. Mayeda share the 51% Preparedness Plan, with the hopes of creating a more diverse and inclusive field by 2042, when the nation will be majority minority.

Rob Onorato on Steppenwolf Theatre’s production of Marie Antoinette by David Adjmi.