From the Ground Up

You on the Moors Now was the first foray by Jaclyn Backhaus into committing the improvisations and musings of an ensemble to the page while developing her own style. She joins the cast of the show at University of Wisconsin—Milwaukee to talk about the genesis of the play and iterations over time.

Focusing on the overlaps between Ensemble and Applied Theatre practices, this podcast highlights Mark Weinberg’s work with Theatre of the Oppressed pillar Augusto Boal, collectives, and his growth from director interpreted work to audience generated work.

After beginning her theatrical work by writing for a collective, Deb Margolin has had an expansive solo career. She shares her comedic impulses, political proclivities, and writing process. She takes us through the highs and lows of socially sustainable work as a playwright who best understands her scripts through the body.

In 2023, Pig Iron Theater Company held the National Endowment for the Humanities Preserving and Transmitting American Ensemble-Based Theater​​ Institute. The institute directors look forward to how the next institute might be adjusted and reveal insight on how the University of the Arts closure will impact Pig Iron School.

Eleven participants share their experiences at the 2023 National Endowment for the Humanities Preserving and Transmitting American Ensemble-Based Theater​​ Institute, which highlighted the impact of devised and physical theatre, its application in professional and university settings, and the limited scholarship around it.

Artistic director of Belgian theatre company Ontroerend Goed, Alexander Devriendt talks through their process for imagining and developing participatory content. Alexander and Jeffrey Mosser also dig into financing art in Europe, the cost of touring internationally and how COVID has affected it, and sustaining family and art simultaneously.

Creatives and book authors Mallory Catlett and Aaron Landsman dig into their new book based on their piece City Council Meeting, an exciting performance, rooted in a commonplace bureaucratic event, that develops dynamic participatory relationships with audiences and local government.

Since the “great pause,” funders have shifted their giving models. Ben Cameron has seen it from every side—and he talks all about it. Through anecdotes about his experiences at organizations from Theatre Communications Group to the Jerome Foundation, Ben offers many insights into how ensemble fits in a thriving theatre ecosystem.

Bob Leonard chronicles his work from the People’s Bicentennial Commission and the Road Company through the founding of the Network of Ensemble Theaters and Alternate ROOTS. Together, Jeffrey Mosser and Bob connect the dots through the middle wave of ensemble-based theatre in the United States.

Jeffrey Mosser connects with Willa Jo Zollar, who is founder, chief visioning partner, and MacArthur Genius at Urban Bush Women. Together they talk about touring, the festival circuit, and strategy necessary to sustain a company for thirty years.

Tony Award-winning producer Mara Isaacs discusses how she puts collaboratively creative work in front of national audiences through her producing organization, Octopus Theatricals. This final episode of season two holds hot takes on boards, theatricality, and the connective tissue around artist-centered producing.

Founder, Ensemble Member, and Former Artistic Director of Lookingglass Theatre Company, David Catlin, shares how their limitless aesthetic showcases their Chicago-based artists across the country. In addition we dive into their unique shared leadership model, their growth and goals for the future, and how tension with your board members can be a good thing.