With his newest play Defiance premiering at Manhattan Theatre Club and the award-winning Doubt entering its second year on Broadway, John Patrick Shanley talks about the evolution of his trilogy including these plays; the influence on his work of institutions he's encountered, including the military and the church; and why he gives out his e-mail address to audiences in his Playbill biography. Original airdate - April 14, 2006.

Lyricist and director Richard Maltby, Jr. talks about how he grew to be fond of Johnny Cash (who he never met) as he developed the musical "Ring of Fire", recalls creating "Ain't Misbehavin'" in the cabaret of the original Manhattan Theatre Club, describes the process of his four-decade-long collaboration with composer David Shire, explains his role in the writing of "Miss Saigon" and expresses some significant ambivalence over being labeled as "the father of the jukebox musical." Original airdate - April 7, 2006.

Nearing the end of her run in David Lindsay Abaire's "Rabbit Hole", Cynthia Nixon discusses the experience of listening to audiences at every performance of this emotional play, how she chose this part as her first Broadway role following the conclusion of "Sex and the City", and her early stage work including "The Philadelphia Story", "Romeo and Juliet" and her simultaneous appearances in "Hurlyburly" and "The Real Thing". Original airdate - March 31, 2006.

Composer Michael John LaChiusa explains his longtime fascination with the works of Lorca, which led to his new musical work "Bernarda Alba"; how he transformed a trio of Japanese stories into "See What I Wanna See"; tantalizingly hints at other literary works that he may pull off his shelf and adapt one day; and describes writing for the voices of performers like Audra McDonald and others. Original airdate - March 24, 2006.

Two-time Tony winner Jonathan Pryce describes his journey from a small political theatre company in England to being the star of such musicals as "My Fair Lady" in London, "Miss Saigon" in London and New York, and the current Broadway production of "Dirty Rotten Scoundrels", with stops along the way for "The Taming of the Shrew", "Hamlet" and "The Goat". Original airdate - March 17, 2006.

During previews for the new musical "Bernarda Alba", director-choreographer Graciela Daniele recalls being compelled to explore American musical theatre after encountering "West Side Story" while she was living in Paris, her apprenticeship with such dance masters as Jack Cole and Bob Fosse, and her collaborations with composers Michael John LaChiusa, William Finn, and Stephen Flaherty and Lynn Ahrens. Original airdate - March 10, 2006.

Malcolm Gets talks about being groomed for musical comedy from his very earliest years, his sudden transition from Radio City Christmas Spectacular dancer to Yale School of Drama graduate student, his deep affinity for the work of William Finn and-very carefully-what he thinks conspired against the success of "Amour". Original airdate - March 3, 2006.

"The Color Purple"'s LaChanze talks about The Oprah Effect on that show, as well as her personal identification with the challenges faced by her character Celie; reflects on her fruitful artistic partnerships with director Graciela Daniele and the team of Lynn Ahrens and Stephen Flaherty; and considers the challenges and opportunities she's had on occasion to explore roles originally conceived for causcasian actors. Original airdate - February 24, 2006.

With Adam Rapp's "Red Light Winter" marking another export from Chicago to New York for the Steppenwolf Theatre Company, Steppenwolf's artistic director Martha Lavey talks about the company's 30th anniversary all-premiere season, the maturation of a company once identified as rough and tumble rock-and-roll theatre, and her own experiences becoming part of, and ultimately the leader of, this acclaimed actor-driven theatre. Original airdate - February 17, 2006.

While Mrs. Lovett playing the tuba may seem strange to some, "Sweeney Todd"'s Patti LuPone explains that she's no stranger to the tuba, as she recalls her years in the high school band, as well her formative years at Juilliard and in John Houseman's Acting Company, the mixed blessings of her triumph as "Evita" and why she always wants to be thought of as an actor, not a star. Original airdate - February 10, 2006.