The Subtext: Roger Q Mason on Coming Out as Genderqueer
The playwright talks about being forbidden from performing growing up and learning how to be his authentic self.
Category Archives: The Subtext
From AMERICAN THEATRE magazine, a podcast where playwrights talk to playwrights about the things usually left unsaid. In a conversation that dives into life’s muck, we learn what irks, agitates, motivates, inspires and—ultimately—what makes writers tick.
This feed is for the Subtext from 2018 onward. For episodes of the Subtext from 2015 to 2017, visit https://www.youtube.com/@TheSubtextPodcast.
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The Subtext: Networking with Will Snider, Anna Moench, and Steve Yockey
The three playwrights discuss the importance of building and maintaining relationships in this industry.
The Subtext: Audrey Cefaly and Lisa Langford on Overcoming Rejection
Catching up with two playwrights at the National New Play Network showcase.
The Subtext: Chisa Hutchinson Is Not a Fan of Colorblind Casting
The playwright of ‘Somebody’s Daughter’ and ‘Surely Goodness and Mercy’ talks about how private school almost broke her and how August Wilson shaped her thinking.
The Subtext: Rebecca Gilman
The playwright of ‘Luna Gale’ and the new ‘Twilight Bowl’ discusses the perfect day job and that time she slept in Mary Rodgers’s apartment.
The Subtext: Kristin Idaszak
The award-winning playwright talks about early inspirations, breakthroughs, and how Naomi Iizuka pushed to write look inward to find her voice.
The Subtext: Isaac Gomez
The playwright talks about growing up the border and his play ‘La Ruta,’ currently running at Steppenwolf Theatre.
The Subtext: Ike Holter
The prolific playwright talks about his newest play ‘Rightlynd,’ his adopted hometown of Chicago, and how he handles rejection.
The Subtext: Paula Vogel
The great playwright and educator talks about her ambitions for her own work and for the art form she loves.
The Subtext: Kurt Chiang
He’s written more than 300 two-minute plays, but the artistic director of Chicago’s Neo-Futurists doesn’t consider himself a playwright. Brian James Polak finds out why.
