Sofia Alvarez and Sheila Vand on Nylon, Blockchain Theater Project, and More

In the new play Nylon, written by Sofia Alvarez, Anna, a woman in her early thirties played by Sheila Vand, has to confront the choices she made in her twenties and how they reverberate into her life going forward. The play is the first from the newly formed Blockchain Theater Project, which combines theatre, tech, and an artistic directorship that rotates. We speak with Sheila and Sofia about the inspiration for Nylon, unlikable women, and how to shake up the theatre.

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Natural Shocks: An Interview with Lauren Gunderson, May Adrales and Pascale Armand

Lauren Gunderson is one of the most produced playwrights in America, but her plays have almost entirely been produced outside of NYC. Presented this fall at The Women’s Project, in a production directed by May Adrales, Natural Shocks stars Tony Award nominee Pascale Armand. We speak with Lauren, May, and Pascale about the challenges of working on a one-woman show, how comedy can foster empathy, the community-building aspect of theatre, and more.

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Miranda Rose Hall and Margot Bordelon on Plot Points in Our Sexual Development

Playwright Miranda Rose Hall and director Margot Bordelon to discuss their latest work, “Plot Points in Our Sexual Development” at LCT3. The show, which is described by LCT as “a contemporary queer love story” explores the intricate rapport between a Cecily, a cisgender lesbian and Theo, who is genderqueer. They discuss what it was like to write and stage a play that addresses very personal, vulnerable subject matter, and more.

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A Roundtable with Laurie Woolery and the Women of El Huracán

In Charise Castro Smith’s new play El Huracán, hurricanes both literal and figurative bear down on four generations of women as they confront their history, what they’ve lost, and what they’ve found. We speak with director Laurie Woolery and actors Irene Sofia Lucio, Maria-Christina Oliveras, Jennifer Paredes, and Adriana Sevahn Nichols about creating a different way of working, making room for inherited memory and instinct, performing a show about women in our current cultural climate, and more.

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A Roundtable with Lileana Blain-Cruz and the Cast of The House That Will Not Stand

The House That Will Not Stand provides a glimpse into a brief moment in 19th century American history, when wealthy women of color had land and power of their own. We speak with director Lileana Blain-Cruz, assistant director Machel Ross, actors Joniece Abbott-Pratt, Juliana Canfield, Harriett D. Foy, Lynda Gravatt, Nedra McClyde, Marie Thomas, and Michelle Wilson about their rehearsal process, what it means to be a “powerful woman,” and more.

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Rinne Groff and Marissa Wolf on Fire in Dreamland

This summer, Rinne Groff’s latest play, Fire in Dreamland, directed by Marissa Wolf, is making its New York debut at The Public Theater. Set in the days immediately following Hurricane Sandy, Fire in Dreamland is a memory play that experiments with, and at times even subverts, the audience’s expectations of a traditional romantic comedy narrative. We speak with Rinne and Marissa about the journey and process of developing Fire in Dreamland, how art can be used to help dismantle social injustice, and more.

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The Women of “Folk Wandering”

We speak to the women of the “Folk Wandering” creative team: Pipeline Artistic Director Ari Schrier, Pipeline Producing Director Natalie Gershtein, Jaclyn Backhaus , and songwriters Jo Lampert, Barrie McLain, Annie Tippe, and Dominique Toney, about collaborating on devised theatre while navigating the realities of day jobs and student loans, and why they are standing on the shoulders of the women who came before them.

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Dael Orlandersmith on “Until the Flood”

In 2015, playwright Dael Orlandersmith went to St. Louis to interview people about their thoughts on race and the death of Michael Brown, the unarmed black teenager killed by a police officer in 2014. From those interviews, she created fictional characters for her solo show, “Until the Flood.” We spoke to her about her process for creating “Until the Flood,” what she thinks people get wrong about her work, and how it has evolved.

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