Process

Anne Bogart’s address at the 2015 Humana Festival of New American Plays at Actors Theatre of Louisville.

Jennifer Johnson, of The Charlestown Working Theater, who has trained with Double Edge Theatre, interviews Stacy Klein, Founding Artistic Director of Double Edge about the evolution of Double Edge’s training method.

Lighting designer Megan Reilly outlines the process of designing for production with twelve possible iterations.

Chris Kaminstein of the New Orleans-based ensemble Goat in the Road explains how they made Numb, an original piece about the origins of nitrous oxide and anesthesiology.

Director Will Davis shares his experience navigating theatre spaces as a queer person.

Martha Steketee writes about the logistics and process of the OOB Festival, including quotes from an interview with the team behind it.

All theater is local. That is what is inspiring and instructive about the National New Play Network Rolling World Premiere, as opposed to the notion of a "national tour.” In the case of "Yankee Tavern", this is a very political play (hidden inside a thriller structure) and so the politics of each city/community were engaged in differing ways. I was most strongly involved in the productions at Florida Stage and Curious Theatre Company—but followed the feedback in the other theaters as well. All of this info was crucial to me when I then directed a subsequent production at ACT Theatre in Seattle.

He fought two guys; beat the crap out of them. And I looked around, and everybody had just stopped training.. And I thought: oh, my god, this is the show. There’s that magnetic presence of the ring.

P. Carl interviews playwright Sarah Ruhl on her collection of short essays titled "100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater." 

Martha Steketee writes about Daniel Talbott and Samantha Soule looking at the work and companies they've created in New York's off-Broadway scene since meeting at Juilliard in 1998.

I had become exhausted from fighting the trafficking fights... The result has been policies that do more harm than good, and wide scale media misrepresentations of the problem. Those of us doing the actual on the ground fieldwork—talking to survivors, working with people who have experienced the harrowing challenges of exploitation—have been writing against the wave.

I was young, knew nothing and was impressionable. I remember being fond of Yuriko’s direction. She would say things like, “go forward from here” while pointing to her heart. No one had ever given me direction like that before. That first play was the beginning of my romance with Noh (performed in Japan since the thirteenth-century, it’s the world’s oldest, continually performed, masked lyric drama) and I fell hard.

The following is a conversation with playwright Jackie Sibblies Drury for the Boston production of "We Are Proud to Present a Presentation about the Herero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915" which is a current co-production between Company One and ArtsEmerson.

When an actor asks a question in rehearsal, the director responds, “What does the play want?” Then they have a conversation trying to figure out what the illusive play must want. But the play is not out there floating around for them to discover. I believe that theater must never serve the mystical play more than the people in the room.

Cecilia Copeland’s uncle was her rock within any family flict. Her uncle also loved guns which has inspired her to write with his life in mind as she navigates the topic of gun control.

Taylor Gruenloh writes about the importance of producing your friends' work, and how it just might be the future of new play development in the United States.

Andrew Roblyer starts out on a year-long journey to create a new theatre company in central Texas

With one actor playing to one audience member, Garret Jon Groenvelt sought to create a play that entices the audience member to interact with the material.

Alice Reagan, with the help of Chiori Miyagawa, explores the necessity of parting ways and coming back together through revamping the process of creating plays.