Theatrical dialect coach Stephen Gabis talks about his craft and how he started by listening to his Irish-Lithuanian family and early television; why he describes "The 39 Steps" as "an aerobic dialect event"; Gabis works with actor Eric Hissom on multiple characters; and how a knowledge of phonetics provides a basis for individual styles of speech.

Greg Graham, Dance Captain of "Billy Elliot", talks about the ongoing task of maintaining the choreography of the show; how one becomes a dance captain; the mix of civilian movement and tradition dance styles in this production. He is seen here teaching a tricky tap routine to new cast member David Hibbard.

Make Up Designer Angelina Avallone outlines her design process; the research that goes into a design; how desinging the "no-make up" look can be much more of a challenge than chaacter make up - we see some of her designs from "Rock of Ages", "Little Mermaid" and "How the Grinch Stole Christmas", as well as her work with actors Constantine Maroulis and James Carpinello from "Rock of Ages" and Rogelio Douglas, Jr. from "Little Mermaid".

Lighting Supervisor Dan Montano facilitates the lighting designs created for productions at Two River Theater Company. Previously an actor, Montano took a 10-day job as a carpenter, then stayed to learn as much as possible about the equipment. He works with many of the same designers, executing lighting plots, and working long hours during the tech process. He takes pride in being constantly challenged by this job and successfully problem solving with creative ideas.

Scenic Charge Artist Jason Edwards paints walls, backdrops, and props to create the visual surface details of a show's set. At the Woolly Mammoth Theatre Company, Edwards works with each production's scenic designer and interprets their vision, using paint and a variety of materials. Each project brings unique challenges which he solves with a simple trial-and-error approach by creating samples. Here Edwards shows how he created a cinderblock surface.

Puppet Designer Emily DeCola of The Puppet Kitchen has been designing and building puppets in New York for 7 years. She explains the wide scope of creating characters, sculpting puppets from a variety of materials, and both the possibilities and limitations in performing using puppets. She shares how her puppeteering career began and has led to partnering with Michael Schupbach and Eric Wright at their own puppetry studio. DeCola shows how the puppets were developed and designed for "John Tartaglia's ImaginOcean".

Voice Teacher Linda Benanti shows performers how to develop their voice to make their singing sound easy and natural. Singing requires both athletic and mental abilities, along with dedication and hard work. Benanti walks us through the parts of a voice lesson; recounts being asked to work with notable performers; traces her performing career that led to teaching; and shares what it's like teaching her daughter, Tony Award winner Laura Benanti.

Tony Award winning Sound Designer Robert Kaplowitz is responsible for the sound system and sound content of a production. In a play, that content includes both music and sound effects. His primary skills are listening and the ability to understand a play and help an audience connect to the text. Kaplowitz demonstrates creating sound effects and score. In a musical such as "Fela!", he brings the existing music to the audience to create an immersive aural environment. Kaplowitz shares how he began his career and why he loves being a sound designer.

Casting Director Tara Rubin talks about the casting process, working with the director and creative team; her career beginnings at Johnson & Liff casting the original company of "Les Miserables", and seen here holding auditions for its 25th anniversary tour; the excitement of casting a variety of shows; and how the biggest challenge is replacing celebrities.

Scenic designer Riccardo Hernandez creates sets built from the text of a production, creating an honest space for actors and ideas to work within. Hernandez knew he wanted a career designing opera sets by age 10, went on to study at Yale with Ming Cho Lee, and later broadened his work to theatre. At Yale Repertory Theatre, he displays the simple yet aggressive set of "Battle of Black and Dogs" that reflects a cold inhuman world. Also shown is the seemingly collapsing set for the Atlantic Theater Company's "Gabriel" during the most important part of the production process - the technical rehearsal.