The Playscript/Director panelists - Long Wharf Theatre artistic director Arvin Brown, playwright Howard Fast ("Citizen Tom Paine"), director/dramaturg Susan Gregg, playwright Israel Horovitz ("Today, I Am A Fountain Pen"), director Wilford Leach ("The Mystery of Edwin Drood"), playwright Leslie Lee ("The War Party"), playwright John Pielmeier ("Agnes of God"), and director Jim Simpson ("Citizen Tom Paine") - compare directing with the director's concept versus collaborating with the playwright and their vision; different interpretations and approaches in directing the same play; how a new approach manifests and influences everything from casting to the final production; why pre-production is a hands-off period for directors; and how theatre differs from the mediums of novels and films.

Their roles as understudies on Broadway was the focal point for this panel of actors -- Tony Carlin ("Lend Me A Tenor"), Bryan Fenkart ("Memphis"), Corinne Melançon ("Mamma Mia"), Jay Russell ("Our Town") and Paul A. Schaefer ("The Phantom of the Opera") -- as they discussed the first time they went on as an understudy; what kind of preparation is involved for their roles; the differences of understudies, swings and stand-bys; whether or not they continue to audition for other roles; how they handle stepping into a role mid-performance and covering for a "name" performer; and how much of their own voice is given to a character when they perform the role.

The producing team of the 1986 Tony-nominated play "The House of Blue Leaves" - press representative Merle Debuskey, executive producer Bernard Gersten, playwright John Guare, advertising representative James Russek, and director Jerry Zaks - discuss how they came to work on this mid-1960's domestic comedy at Lincoln Center Theatre, first in the off-Broadway Mitzi E. Newhouse Theater, then transferring to the much larger Vivian Beaumont Theatre which presented its own challenges, eventually moving to the Plymouth Theatre on Broadway; the economics of producing, subscriber base, and ticket prices at a not-for-profit theater; finding key designers; casting sessions, working with strong actors, and maintaining quality performances in an extended run.

The panel of performers - Trazana Beverley ("Death and the King's Horseman"),

Mark Hamill ("The Nerd"), George S. Irving ("Me and My Girl"), Linda Lavin ("Broadway Bound"), Lynn Redgrave ("Sweet Sue"), and Colm Wilkinson ("Les Miserables") - discuss when they started performing and how they got their first roles; directors and effective directing styles; the power and influence of critics; audience response especially on opening night; finding the next job and how to cope with the audition process.

Injecting new energy and a new perspective into both commercial and not for profit theatre was among the topics discussed by our panel of producers - Patrick Catullo, Eric Falkenstein, Jenny Gersten and Jill Furman Willis. They also talked about the role mentors' played in their development as producers; where they find new material; how they find investors for their shows; the need to be creative in selling tickets during tough economic times; using new media to promote their shows and to reach new audiences; the responsibility they feel to bring new writing voices into the theatre; and the risks they're willing to take to bring new and different material to the stage.

The panel - director Melvin Bernhardt ("The Beach House"), playwright Alice Childress ("Moms"), director Walter Dallas ("Moms"), playwright Nancy Donohue ("The Beach House"), playwright Patrick Meyers ("K2"), and director Terry Schreiber ("K2") - talk about where they started, how many acted before writing and directing, the relationship between directors and playwrights, developing a show particularly out-of-town, the challenges of casting a play, and the collaboration amongst actors, directors, and authors.

The production team of "Sweet Sue" - advertising representative Fred Golden, general manager Larry Goossen, playwright A.R. Gurney, casting director Donna Isaacson, and producer Arthur Whitelaw - discuss the path the play took to Broadway, each panelist's individual involvement, the challenges of casting, production costs, ticket prices, and how box office grosses effect the advertising campaign.

The panel of performers - from "Driving Miss Daisy", Morgan Freeman and Dana Ivey; Robert LuPone ("Late Night Comic"); John Malkovitch ("Burn This"); Jane Summerhays ("Me and My Girl"); and Courtney B. Vance ("Fences") - talk about milestones at the start of their careers; their attitude towards auditioning, rehearsing, and reviews; working on unsuccessful shows; and the positive differences of matinee performances.

The production team for "A Few Good Men" - producer David Brown; president of the Shubert Organization, Bernard Jacobs; Serino Coyne advertising representative Linda Lehman; and general manager Stuart Thompson - talk about selecting a script by unknown playwright Aaron Sorkin; the details of general management including budget, advertising, ticket sales, government taxes; rising costs in the current economics of Broadway; film rights to plays and the effect of a film release; and what it takes to produce a Broadway show.

The panel of performers - Jane Alexander ("Shadowlands"), Stockard Channing ("Six Degrees of Separation"), Sarah Jessica Parker ("The Substance Of Fire"), Jonathan Pryce ("Miss Saigon"), Ron Rifkin ("The Substance Of Fire"), Mercedes Ruehl ("Lost In Yonkers"), and Topol ("Fiddler on the Roof") - discuss playing the same role over the years, finding a rhythm in one's performance, learning about one's character during the rehearsal process, gaining discipline, and how each performer got their start.