Process

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.

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.

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

Brent Eickhoff discusses the challenges of programming large theatre productions with youth, advocating clear, realistic goals for teaching artists, students, and parents. 

Playwright Natalie Sacks shares her post-graduate experience of working various theatre jobs, her take on the “starving artist” model, and her journey to writing her first play since college.

Playwright Donna Hoke writes about an opportunity that allowed her to develop a new play on its feet in advance of a world premiere.

Playwright Emily Dendinger and producer Jess Hutchinson shine a little light on the play submission process.

Playwright Elaine Ávila shares her process and inspiration for writing her play Kitimat, which is based on a true story about the Kitimat community. 

In this first installment, Playwright Rick Stemm discusses his process for creating Heroes Must Die, a video game and production influenced by audience interaction.

Nelson Gray discusses the inspiration for his opera Here Oceans Roar and advocates more art centered on climate change.

Costume Designer M.L. Hart parallels the principles and concepts of costume and makeup design to body modification.

Playwright Will Arbery shares his experience working with BOOMERANG Dance Company and how movement informs his writing process.

Workhaus Collective member Trista Baldwin reflects on the history and organizing philosophy of the playwright collective as it comes to a close after ten years.

In this installment, Daniel Fine discusses the relationship between the scenic designer and media designer, advocating direct collaboration earlier in the production process.

In this installment, Scenic and Costume Designer Arnulfo Maldonado discusses his process and working relationship with Director Ken Rus Schmoll.

In this first installment, Daniel Dvorkin and Shana Johnson of Two Lights Theatre Company introduce Art Forms in Flux, a creative process influenced by the Fluxus movement.

David Dudley on The Goodman Theatre production of José Rivera’s Another Word for Beauty, directed by Steve Cosson in Chicago, Illinois.

Melissa Bergstrom and Kate Marple share their process of creating the documentary theatre piece Big Work.

Andrew Bailes interviews director Monty Cole about his all-male, all-black production of Eugene O’Neill’s The Hairy Ape in Chicago, Illinois.

Rikki Elizabeth Stinnette shares her experience of writing The Screenwriters for both film and the stage.

Playwright Andrea Lepcio shares her experiences writing two different non-fiction scripts and offers advice for the process. 

Playwright MJ Halberstadt writes about different ways playwrights can address diverse representation in their scripts.

Playwright Damon Falke discusses his play Laura, or Scenes from a Common World and how “Apollo and Daphne” from Ovid’s Metamorphoses inspired his work.

Award-winning actor and monologuist Eric Bogosian discusses how a monologue is created: from conceptualization, to free-form vocal improv, to writing, and performance.