Aigner Mizzelle Steps into the Ring
For The Monsters, the actor trained in MMA, built a new physical vocabulary, and found the tenderness inside a story about siblings, addiction, and survival.
Marshall Pailet Is Just Trying to Create Delight in the Darkness
The writer-director reunites with Ethan Slater for Marcel on the Train, their new play about Marcel Marceau, the famous mime who transported Jewish children to safety during the Holocaust.
Alex Lin Has Been Building Toward This Moment
With two world premieres in New York, working in a TV writers’ room, and a spot on Forbes 30 Under 30, the playwright is having a season to remember.
It’s a Play! It’s an Event! It’s a Regular People Production
Inside the new creative studio rethinking how shows get made and marketed Off-Broadway, with one rule in mind: make theater cool.
David Cale on the Art — and Challenge — of the Solo Show
As his latest, The Unknown, comes to Studio Seaview, the writer and performer reflects on his process over four decades and why one person on stage still works.
On Creative Resilience and the Post-Show Blues
What happens after the high? Playwright Gina Femia explores the emotional aftermath of a theatrical project — and how an artist finds their way back.
The Theatrical Audacity of Anne Gridley
The longtime performance artist discusses turning disability, spectacle, and “dumb theater magic” into Watch Me Walk, her fearless solo show.
Pete Simpson Is Everyone Everywhere All at Once
At the Exponential Festival, the ubiquitous actor is doing more of what he loves: experimental theater, back-to-back plays, and throwing himself “over the cliff.”
Inside a Role: Initiative’s Greg Cuellar on Seven Years, 9,000 Words, and That Five-Hour Play
The actor reflects on endurance, boundaries, and the creative process—plus backstage snacks—required to take on a millennial epic.
The Show Must Go On . . . at 5. Or 7. Or Midnight
As Sam Pinkleton dreams of late-night Rocky Horror performances, Broadway and Off-Broadway are experimenting with new curtain times — from 11 a.m. matinees to pre-dinner starts. Are we entering a timely revolution?
On Hiring: One Broadway Director’s View Beyond the Audition Room
After making nearly 240 hiring decisions in a single year, Sammi Cannold reflects on how actors are actually cast — and what transparency might offer artists navigating the process.
No Matter the Play, This Pole Takes Center Stage
Obstacle or opportunity? Five directors explain how they worked with — and around — Theaterlab’s infamous white pillar.
Ryan J. Haddad on Intimacy, Ensemble Work, and Letting Go of the Plan
The actor and playwright talks Tartuffe, his autobiographical solo performances, being a musical theater kid, and what’s next.
Turning “Picnic at Hanging Rock” into a Musical
The playwright Hilary Bell discusses collaborating with composer Greta Gertler Gold, developing new work in New York, and honoring the classic Australian story rooted in female struggle and First Nations history.
Meghan Finn on Taking the Tank to New Heights
Eight years into her tenure as artistic director of the Tank, Finn reflects on the nonprofit’s revolutionary production model, sharing the reins with Johnny G. Lloyd, and mounting “Everything Is Here.”
The Barrow Group’s 40-Year Experiment in Realism
The theater company’s classes and productions have shaped artists across the city—and now Scott Organ’s new play Diversion demonstrates why its “non-acting acting” remains so resonant.
Francis Jue Plays the Voice of Reason in a World That Won’t Listen
Fresh off his Tony win for Yellow Face, the actor discusses why he finally said yes to Tartuffe, finding the comedy in moral frustration, and the lesson he keeps relearning: “I have a right to be there.”
When Music Becomes Visible
Jay Alan Zimmerman on composing for the eyes, adapting Sarah Ruhl’s poems, and building a new language for Deaf artists and audiences.
Judy Kuhn on Acting through Song, Taking Risks, and Reviving “The Baker’s Wife”
From Rags to Pocahontas to Classic Stage Company, the actor reflects on her evolving career, collaborating with Stephen Schwartz, and why an old-fashioned musical comedy feels surprisingly right for this moment.
Fiasco and the Saunders Collective Shake Up “The Comedy of Errors”
Through the Without a Net initiative, the theater company and the real-life siblings invite audiences into their workshop of Shakespeare’s fastest farce.