Editor’s Letter: Goodbye and Thank You
On the end of The Interval.
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.
Read moreThere’s a group of women who have combined their artistic and business skills to create their own businesses in addition to their careers in the theatre. We talked to four of them—Jeanna De Waal, who runs Broadway Weekends, a theatre workshop for adults; Sas Goldberg, who owns Name Glo, a neon sign company; Sydney Morton, who started a party planning business; and Jennifer Laura Thompson, who makes and sells her own jewelry—about their other careers as business women.
Read moreAnne 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.”
Read moreKate 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.
Read moreIn “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.
Read moreIn “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.
Read moreJudy Kuhn and Samantha Massell discuss the similarities and differences between the original Broadway production of “Rags” and the current production at Goodspeed, and how the show still resonates today.
Read moreKrysta 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.
Read moreOver 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!
Read moreIn 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.
Read moreJudy 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.
Read moreProducer 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.
Read moreWe 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.
Read moreCristin 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.
Read moreWe talk to playwright Anna Ziegler and director Gaye Taylor Upchurch about the process for their new play “The Last Match.”
Read moreWe 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.
Read morePaula Scher is one of the leading graphic designers in the country. She’s responsible for the branding of a number of major theatre and performing arts organizations, including the iconic Public Theater posters and logos. We sat down with her to discuss how she branded The Public Theater and other institutions, how she thinks theatre marketing can be improved, and her design process.
Read moreThis year for “Women to Watch” we spotlight women working behind the scenes in theatre. From publicists to agents to literary managers, it takes a village to make a piece of theatre happen, and there are many talented women in those positions that deserve to have their work in the spotlight. Here are 16 women to watch.
Read moreAn inside look at theatrical teaching artists and why providing arts education opportunities to students who might not have it otherwise on a local, national, and global level, is even more crucial in our current turbulent times.
Read moreSaycon Sengbloh is currently playing the demanding role of Hester La Negrita in “In the Blood.” We talk to her about her process, the demands of the role, the play’s politics, and more.
Read moreWe talk to the cast of the new play “Mary Jane”– Carrie Coon, Liza Colón-Zayas, Danaya Esperanza, Susan Pourfar, and Brenda Wehle– about their process, themes of the play, and more.
Read moreProfiles of Hallie Flanagan, Barbara Ann Teer, Shauneille Perry, Elisabeth Marbury, Wakako Yamauchi, Aline Bernstein, and Silvia Brito. Women from diverse backgrounds and a range of theatre disciplines who you should know.
Read moreTen years after making her Broadway debut and working consistently, Betsy Wolfe is on the brink of becoming a true Broadway star. We talk to her about her current role in “Waitress,” her next role in “Carousel,” making choices, pressure, and much more.
Read moreThis past year, director Tyne Rafaeli has had a slightly unusual theme in her work: stories surrounding sexual assault. Earlier this year, Tyne directed “Actually” and currently she’s directing “The Rape of The Sabine Women, By Grace B. Matthias.” We talked to Tyne about how she went about directing two very different plays that deal with sexual assault.
Read moreWe talk to Julie White about stepping into the role of Nora in “A Doll’s House, Part 2,” playing an unapologetic woman, the pressure to be likeable, and more.
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