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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In the new play “queens,” written by Martyna Majok and directed by Danya Taymor, a group of female immigrants find their paths crossing in a small apartment in Queens. We talk to Martyna and Danya about the process of writing and staging “queens,” autobiography in work, and how they structure their lives as theatre artists.
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In Hammaad Chaudry’s new play, “An Ordinary Muslim,” the characters navigate their family, faith, and the complicated nature of assimilation. We sat down with director Jo Bonney along with actresses Purva Bedi, Angel Desai, and Rita Wolf to discuss their process for rehearsing and performing “An Ordinary Muslim.”
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Maria Dizzia is making her professional directing debut with “The Loneliest Number” by Lizzie Vieh, which begins performances on February 22nd. We recently spoke with her about her directing process and how it’s forming, how she became interested in directing, and being a woman in theatre in the age of #MeToo and #TimesUp.
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We talk to Chiara Atik, Sylvia Khoury, and Abby Rosebrock to discuss their plays, their experiences with Youngblood/EST, and the ways in which their offstage pursuits have impacted their dramatic writing.
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On February 16th, “The Rest I Make Up,” a documentary about the playwright María Irene Fornés will have its premiere. It’s the first documentary about Fornés, a playwright who was instrumental in forming Off-Off-Broadway theatre and America’s avant-garde theatre movement. We spoke with filmmaker Michelle Memran about the process of making the film, her relationship with Fornés, and the playwright’s legacy.
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In 2015, Dr. Indira Etwaroo became Executive Director of the Bedford-Stuyvesant Restoration Corporation and The Billie Holiday Theatre, which is part of the organization and was founded in 1972 as a destination and breeding ground for black artists. Only a few years into her tenure, she has already led a major renovation of the theatre’s physical space and re-invigorated its programming. We spoke to her about running a large arts institution, working with the community, funding, and being a woman in a leadership position.
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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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“SpongeBob SquarePants, The Broadway Musical” has become one of the most well-reviewed and popular musicals of the 2017-18 Broadway season. It came from the mind of Tina Landau, who not only directed the show but conceived it (it’s also the only Broadway musical directed by a woman this season). We recently sat down with to discuss how she conceived and brought “SpongeBob” to life, how she views directing, ambition, and more.
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The new play “The Homecoming Queen” marks Ngozi Anyanwu’s Off-Broadway playwriting debut. We spoke with her about her inspiration for the play and how current events changed it, her writing process, and balancing both acting and writing.
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Founding artistic director Kelley Girod, director Candis Jones, and playwrights Sandra A. Daley-Sharif, Shelley Fort, Gethsemane Herron-Coward, Charly Evon Simpson, and Mona R. Washington talk about The Fire This Time Festival and being women of color making theatre.
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Peggy Shaw and Lois Weaver founded Split Britches and the WOW Café in the East Village, which was a home for and central to the development of feminist and queer theatre. They’re now presenting “Unexploded Ordnances” at La MaMa. We talk with them about how their process for making work has evolved, changes in theatre since the 1980s, their thoughts on not getting the same credit as men, their legacy, and more.
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Anne Kauffman has had a big year. We recently sat down to talk to her about staging “Hundred Days,” her feelings on her Broadway debut, her plans for Off-Center, and her thoughts about the category of “female director.”
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Kate Hamill and Amanda Dehnert are currently presenting a theatrical adaptation of “Pride and Prejudice.” We talk with them about the importance of women-centered theatrical narratives and what it’s like to adapt a work by Jane Austen.
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In “Today Is My Birthday,” a woman returns home to Hawai’i to figure out her life. In an unusual twist of form, the play’s over 50 scenes all happen over the phone, on the radio, or through other forms of indirect communication. We talk to Susan Soon He Stanton, Palmer Hefferan, and Jennifer Ikeda about the play.
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In “Describe the Night”, the audience travels ninety years in Russian history—some events real and some fictional—and follows three different, interconnected plots. We talk with director Giovanna Sardelli about the evolution of “Describe the Night,” staging a show with multiple plots and time jumps, and more.
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Krysta Rodriguez is currently starring in the play “What We’re Up Against,” which deals with sexism in the workplace. We talk to Krysta about what drew her the play, gender dynamics, roles for women, advocating for herself, and more.
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Over nine weeks, we spoke with the actresses who make up the team of “The Wolves” at Lincoln Center Theater. This week we talk to Tedra Millan. Check out what she has to say and keep scrolling for more interviews!
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In Jocelyn Bioh’s new play “School Girls; or, The African Mean Girls Play,” a group of teenage girls at a boarding school in Ghana compete over who will be the school’s entry for the Miss Ghana contest. We speak with Jocelyn about the inspiration behind “School Girls,” her writing process, and balancing both writing and acting.
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Judy Hegarty Lovett has become known as one of the premiere interpreters of Samuel Beckett’s work. We speak to her about adapting Beckett’s novels for the stage.
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Producer Daryl Roth, now nearing the end of her third decade of producing, has become a staple of Broadway and Off-Broadway. We speak with her about her outlook on producing, the story behind “Indecent,” producing work by women, and more.
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We gathered a group of directors ranging from emerging to having directed on Broadway—Sash Bischoff, Kel Haney, Candis C. Jones, Rachel Klein, Kimberly Senior, Ilana Ransom Toeplitz, and Whitney White—to talk about their outlooks, mentorship, having authority, and more.
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Cristin Milioti on her role in the new play “After the Blast” at Lincoln Center, the pressure of likability, frustrating casting notices for women, and more.
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We talk to playwright Anna Ziegler and director Gaye Taylor Upchurch about the process for their new play “The Last Match.”
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We talk to Diana Oh about the evolution of “{my lingerie play} 2017: THE CONCERT AND CALL TO ARMS!!!!!!!!! The Final Installation” and what she hopes audiences will take away from it.
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