The Prophet Arrived: Heidi Schreck

Heidi Schreck’s What the Constitution Means to Me is an extraordinary, singular work of genius. It’s electrified the New York theatre, and speaks to the past, present, and future all at once. Heidi Schreck is The Interval’s first-ever Person of the Year. We speak with her, for the second time, about writing and performing What the Constitution Means to Me.

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Christine Lahti, Emily Mann, Diane Paulus, and Daryl Roth on Gloria: A Life

The new play Gloria: A Life depicts Gloria Steinem looking back on her remarkable life and all of the women who shaped it. The show is written by Emily Mann, directed by Diane Paulus, and produced by Daryl Roth. Along with Christine Lahti as Gloria, there is an all-female cast—and creative, design, and management teams. We speak with Christine, Emily, Diane, and Daryl about bringing the life of Gloria Steinem to the stage, where their own lives parallel the story, being women in the public eye, hiring women, and more.

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Wild Goose Dreams with Hansol Jung

In playwright Hansol Jung’s world of glorious magical realism, the Internet is portrayed by people singing in binary code and fathers turning into penguins who have lost their wings. Those are only two of the many-layered metaphorical components that make up her new show, Wild Goose Dreams, currently playing at The Public Theater. We speak with Hansol about the thematic importance of communication, the inherent musicality of her plays, metaphors on stage, and more.

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Usual Girls: An Interview with Ming Peiffer and Tyne Rafaeli

Usual Girls by Ming Peiffer and directed by Tyne Rafaeli centers around Kyeoung, a young Asian-American woman coming of age in the ‘90s and early 2000s, and the messy, sometimes dangerous, sometimes exhilarating ways that sex and friendship and personhood meld and to form the moments that define us. It’s the first show in Roundabout Underground history to sell out both its initial run and extension before it had even opened. We speak with Ming and Tyne about developing the play, the experiences that are carried into adulthood, putting female sexuality on stage, and more.

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Natural Shocks: An Interview with Lauren Gunderson, May Adrales and Pascale Armand

Lauren Gunderson is one of the most produced playwrights in America, but her plays have almost entirely been produced outside of NYC. Presented this fall at The Women’s Project, in a production directed by May Adrales, Natural Shocks stars Tony Award nominee Pascale Armand. We speak with Lauren, May, and Pascale about the challenges of working on a one-woman show, how comedy can foster empathy, the community-building aspect of theatre, and more.

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Caitlin Kinnunen on The Prom and More

In the new musical, The Prom, Caitlin Kinnunen plays a teenager who just wants to take her girlfriend to the high school prom. It’s Caitlin’s first lead role in a Broadway musical. She’s been with The Prom from its early workshops, to the out-of-town production, and now Broadway. We speak with her about working on a timely musical, the responsibility of playing Emma, the pressure of Broadway, and more.

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Miranda Rose Hall and Margot Bordelon on Plot Points in Our Sexual Development

Playwright Miranda Rose Hall and director Margot Bordelon to discuss their latest work, “Plot Points in Our Sexual Development” at LCT3. The show, which is described by LCT as “a contemporary queer love story” explores the intricate rapport between a Cecily, a cisgender lesbian and Theo, who is genderqueer. They discuss what it was like to write and stage a play that addresses very personal, vulnerable subject matter, and more.

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Larissa FastHorse on The Thanksgiving Play and More

The Thanksgiving Play, currently in previews at Playwrights Horizons, marks the New York debut of Larissa FastHorse and is believed to be the first time a play by a Native American has been produced at a major Off-Broadway theatre. We speak with Larissa about the inspiration for the play, satire in the American theatre dealing with race, the pressure of her New York debut, and more.

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A Roundtable with Laurie Woolery and the Women of El Huracán

In Charise Castro Smith’s new play El Huracán, hurricanes both literal and figurative bear down on four generations of women as they confront their history, what they’ve lost, and what they’ve found. We speak with director Laurie Woolery and actors Irene Sofia Lucio, Maria-Christina Oliveras, Jennifer Paredes, and Adriana Sevahn Nichols about creating a different way of working, making room for inherited memory and instinct, performing a show about women in our current cultural climate, and more.

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A Midautumn Night’s Dream with Jenny Koons

Jenny Koons is not interested in playing by the rules of traditional theatre. Her productions are rooted in activism and community, like her A Midsummer Night’s Dream for The Public Theater’s Mobile Unit, in which the classic Shakespeare play is reimagined within the world of a New York City block party. We speak to Jenny about what it’s like to direct for the Mobile Unit, the reason that Midsummer is a perfect New York play, why she is interested in work that asks questions, and more.

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Mental Health and Working in Theatre: a Roundtable Discussion

A life in the theatre has unique challenges for people dealing with mental health conditions including instability, rejection, lack of financial resources, intense emotion, and more. We gathered Halley Feiffer, Lora Lee Gayer, Nikka Graff Lanzarone, Alexandra Socha, and Lauren Villegas to have a conversation about the intersection of mental health and theatre.

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Lila Neugebauer on Broadway

For the last few years, there has been increasing interest around director Lila Neugebauer, with many theatre-watchers wondering when she’d make her Broadway debut. Well, now she is, with The Waverly Gallery. We speak with her about directing a naturalistic, contemporary but not contemporary-contemporary play; becoming one of the youngest women to direct on Broadway; her career path; and more.

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Heidi Schreck on What the Constitution Means to Me (meaning her, and maybe you too)

The Constitution—which is very in or very out right now depending on how you look at it—is the subject of What the Constitution Means to Me a new play written and starring Heidi Schreck. More specifically, the show examines the Fourteenth Amendment (arguably the most important amendment) and its effect on generations of women in Heidi’s family—and on herself. We speak with Heidi about developing the piece, her thoughts on theatrical autofiction, the challenges of writing about violence against women and abortion, and more.

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Emerging Writers Geraldine Inoa and Gracie Gardner in Conversation

Geraldine Inoa and Gracie Gardner have a lot in common. Both are young writers who are relatively self-trained (neither chose to pursue an MFA) and who go back and forth between the worlds of theatre and television. Both women are also the recipients of very prestigious awards, The Unsung Voices Playwriting Commission and The Relentless Award, associated with Shonda Rhimes and Phillip Seymour Hoffman respectively. Additionally, both have plays being produced in New York this month. We speak with Geraldine and Gracie about their experiences working in theatre and TV, from the realities of balancing writing with day jobs to the unspoken gendered rules on how writers are expected to present themselves.

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Head Over Heels With Bonnie Milligan

In Head over Heels, Bonnie Milligan does not portray a typical princess. Her character, Princess Pamela, is hilarious, strong-willed to the point of throwing a tantrum onstage, and unabashedly confident in who she is—at least on the outside. We speak with Bonnie to discuss her Broadway debut in Head Over Heels, her thoughts on playing Pamela, and more.

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An Interview with Young Jean Lee

Straight White Men, which marks Young Jean Lee’s Broadway debut, as well as the first time a play by an Asian woman has been produced on Broadway. Young Jean has been a staple of the downtown theatre community for years, with her own theatre company where she writes and directs. She has also, for whatever reason, been a slightly enigmatic figure. We speak with Young Jean about her process for writing Straight White Men, how she views the audience, ambition, and more.

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An Interview with Heidi Blickenstaff

Ten years ago, Heidi Blickenstaff was part of the beloved musical [title of show]. Now, Heidi now finds herself in another rare position: after doing the stage musical of Disney’s Freaky Friday, she was hired to reprise her role in the made-for-TV movie. We speak with Heidi about her journey with the film, being brave on camera, aging, and more.

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Melissa Errico and Charlotte Moore in Conversation

Charlotte Moore, co-founder of Irish Repertory Theatre, and Melissa Errico discuss their production of On a Clear Day You Can See Forever, and their experiences working together as “two strong women” in the theatre, sharing tales of triumph as well as some of the darker experiences that have informed their takes on the characters in the show and in the theatre industry at large.

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Tiler Peck is On the Move

One of the New York City Ballet’s most lauded principal dancers, Tiler Peck might be the woman to help change the classical dance– and theatre– world. She’s stepping into new leadership roles and there’s a documentary, BalletNOW, about it. We speak with her about her goals for BalletNOW, the ballet world having so many men in leadership roles, her future as a choreographer, and more.

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An Interview with Camille A. Brown

The past nine months have been full of firsts for choreographer Camille A. Brown. She made her Broadway debut as the choreographer for Once On This Island and then, a few months later, she made her television debut as the choreographer for Jesus Christ Superstar. Her choreography can currently be seen in Atlantic Theatre Company’s production of This Ain’t No Disco. We speak with Camille about her process, reframing dance from the ‘70s, her goal of becoming a director/choreographer, and more.

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A Roundtable with Lileana Blain-Cruz and the Cast of The House That Will Not Stand

The House That Will Not Stand provides a glimpse into a brief moment in 19th century American history, when wealthy women of color had land and power of their own. We speak with director Lileana Blain-Cruz, assistant director Machel Ross, actors Joniece Abbott-Pratt, Juliana Canfield, Harriett D. Foy, Lynda Gravatt, Nedra McClyde, Marie Thomas, and Michelle Wilson about their rehearsal process, what it means to be a “powerful woman,” and more.

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Rinne Groff and Marissa Wolf on Fire in Dreamland

This summer, Rinne Groff’s latest play, Fire in Dreamland, directed by Marissa Wolf, is making its New York debut at The Public Theater. Set in the days immediately following Hurricane Sandy, Fire in Dreamland is a memory play that experiments with, and at times even subverts, the audience’s expectations of a traditional romantic comedy narrative. We speak with Rinne and Marissa about the journey and process of developing Fire in Dreamland, how art can be used to help dismantle social injustice, and more.

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An Interview with Dina Janis of Dorset Theatre Festival

Southern Vermont is currently experiencing a theatrical renaissance, helmed by Dorset Theatre Festival’s Dina Janis. Since becoming Dorset’s Artistic Director eight years ago, Dina has revitalized the community by shifting her theatre company’s focus towards nurturing and highlighting new playwrights, especially female playwrights. We speak with Dina about her goals as an artistic director, why she thinks there is currently a window of opportunity for female directors at regional theatres, and more.

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