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.
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.”
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.
The Stage Manager Takes the Stage
Ruth Sternberg spent 18 years as the backbone of the Public Theater. Now she's making her acting debut in the same building she helped run, in Ethan Lipton’s The Seat of Our Pants.
In “Jewish Plot,” Torrey Townsend Resists a Tidy Narrative
The playwright’s shape-shifting new work uses an invented Victorian melodrama to excavate his grandfather's anti-fascist legacy—and confront his own identity.
Abby Wambaugh Knows How to Begin Again (and Again and Again)
In The First 3 Minutes of 17 Shows, the comedian experiments with styles, props—and even the audience—to explore what it means to start over after loss.
The Play That Saw Fascism Coming
The Mint Theater, whose mission is to stage forgotten plays from the past, resurrects Sally Carson's Crooked Cross, a warning about the rise of fascism. Director Jonathan Bank and dramaturg Amy Stoller share their insights into Carson's work, the Mint's process, and the play's contemporary resonance.