We talk to Jennifer Ehle, Angela Pierce, and Henny Russell of “Oslo” about how they put together their performances, playing characters with different worldviews, and how the themes of the play resonate with them,
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We talk to four actresses—Annie Dow of “Fade” at Primary Stages, Lakisha Michelle May of “Sojourners” at NYTW, Chinasa Ogbuagu of “Sojourners” and “Her Portmanteau” at NYTW, and Sarah Street of “Rebel in the Soul” at the Irish Repertory Theatre— about the process and life of working on new plays Off-Broadway.
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We sat down with Sarah Ruhl and Marisa Tomei as they discussed the many levels and meanings of Ruhl’s new play, “How to Transcend a Happy Marriage.”
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We talk to producer Alia Jones-Harvey about what it actually takes to bring a show to Broadway, working with investors, attracting new audiences, and more.
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Pulitzer Prize-winning playwright Paula Vogel is making her Broadway debut at the age of 65 with the play “Indecent.” We speak with Paula about writing “Indecent”, legacy, ambition, and more.
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We talk to Tala Ashe about her process for “The Profane,” typecasting, and normalizing stories with Middle Easterners in theatre.
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We talk to director Pam MacKinnon about her process for adapting “Amélie” to the stage, giving her title character agency, directors getting typecast, and more.
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“That’s what I love about all of the characters in the show: we’re all raw, even though we might seem archetypal. But we’re all very much not.”
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Since Donald Trump became President, Lisa Kron has been going to a lot of protests. We caught up with her to talk about protests in New York and in her home state of Michigan, and political activism.
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Sarna Lapine is at the helm of “Sunday in the Park with George,” which marks her debut as a Broadway director. We recently discussed her process for the show and her career trajectory.
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Brittain Ashford, Gelsey Bell, Amber Gray, and Grace McLean are all making their Broadway debuts in “The Great Comet of 1812.” We sat down with them to discuss archetypes, the physicality of the show, balancing doing eight shows a week, and more.
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Maria Dizzia is a genuine leading lady of the theatre who is known for her complex performances. She is currently starring in “If I Forget.” We recently sat down with her to discuss her process and the nature of duality in acting.
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The play “Significant Other” has been striking a chord with millennial audiences. We recently sat down with three of the shows stars Sas Goldberg, Rebecca Naomi Jones, and Lindsay Mendez to discuss the changing nature of friendships, being young in New York City, comedic influences and more.
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The Playwright’s Realm has become known as one of the city’s premiere organizations for early career playwrights. Their 2016/17 season featured all women. We sat down with Sarah DeLappe, Jen Silverman, and Mfoniso Udofia to discuss Playwright’s Realm, their writing processes, and new play development.
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Earlier this season, Jennifer Ikeda made a splash in “Vietgone.” Now she’s back on the stage of MTC in “Linda.” We talked with her about her process, the themes in “Linda,” parts for women, and more.
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We talk to LaChanze about her solo show and how she put it together, her philosophy for working in theatre, how the theatre community can make things better for working mothers, and more.
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We talk to Nikka Graff Lanzarone about her solo show at 54 Below, women who have influenced her, how the industry has changed, typecasting, and more.
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In February of 1992, “Crazy for You” opened at the Shubert Theatre and brought traditional musical theatre back to Broadway with a fresh point of view. Much of the credit went to Susan Stroman. Twenty-five years later, we sit down with Susan to take an in-depth look at the show, including how she came up with the choreography, her collaboration with the set designer, looking back at what it did for her career, and much more.
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We talk to director Liesl Tommy about her relationship with musicals, her process for them, and what other areas of culture effect her work.
We talk to Artistic Director of WP Theatre (Women’s Project) Lisa McNulty about the role of an artistic director, the perception of work by women, and how she sees WP continuing to evolve.
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We talk to playwright Tanya Sarcho about her new play “Fade.” She discusses what inspired her, using autobiography in work, writing for TV, and more.
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We talk to playwright Bekah Brunstetter about her process for writing “The Oregon Trail”, exploring depression, and new play development.
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We talk to playwright Madeleine George about her new play “Hurricane Diane”, her writing process, dramatic structure, community engagement, and much more.
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Producer Stacey Mindich has shepherded “Dear Evan Hansen” from nascent idea to fully formed Broadway production. We talk to Stacey about her journey with “Dear Evan Hansen,” the role of a producer, new work development, and more.
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The set of “The Great Comet of 1812” creates an immersive world not often seen on Broadway. We visited set designer Mimi Lien at her studio and asked her to walk us through her process for creating the set of “The Great Comet of 1812.”
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