A ghost story...but not. A time-travel tale...but not. Describing Austin Tichenor's new play Puritans accurately and intriguingly reveals that writing the play and describing the play are two completely different skillsets. Austin talks with Daniel Mothershed, the director of Puritans's world premiere in Greeley, CO and shares the challenges of marketing a kind of play that's never been seen before; how the play “tesseracts through time” and what association that phrase conjures up; how Puritans both is and isn’t “a Bible- and door-slamming farce”; how the play resembles both Slaughterhouse-Five and Dr. Manhattan; the power of a fraught sibling dynamic; how a house both is and isn’t a metaphor; a shout-out to the New Play Exchange and some excellent examples of play descriptions; and how describing your play successfully sometimes starts with examining the reasons why you wanted to write it in the first place. (Length 23:08) (Poster design by Josiah Mothershed at Mothershed Design Company.)

RSC alum Dee Ryan returns to the 2026 Edinburgh Festival Fringe to perform the European premiere of Broadguess, her interactive comic Shakespeare solo show. Dee discusses the evolution of her show's script, and its roots in both Shakespeare and improvisation; how she finds the balance between the deep cuts and the funny; her favorite things to do in Edinburgh and where to find the best cream tea; how long it's been since she last performed at the Fringe (in The Complete Millennium Musical (abridged)); the joys of self-production; how Broadguess fits into the grand tradition of Shakespearean solo shows; and how she's looking forward to passing out flyers on the Royal Mile. Come say hi – she loves a chit-chat on a high street! (Length 17:53)

Michael Doherty and Will Mobley return to talk about the continuing adventures of their very funny buddy comedy Dogberry & Verges Are Scared, which runs at Cincinnati Shakespeare Company through July 25, 2026, and the Edinburgh Festival Fringe from August 5-30, 2026 (with the RSC's own Austin Tichenor as Verges). Doherty and Mobley share how the play just keeps getting sharper and tighter; how the clowning manages to also provide insight into Shakespeare’s characters and the plays from which they came; how audiences are surprised to encounter unexpected humanity; how it's inspired by Tom Stoppard's Rosencrantz & Guildenstern Are Dead; the difference between watching the show from the audience and living inside the words as a cast member; how both authors lead from the codpiece; and the the vital importance of combining silly comedy with heart and humanity. (Length 22:23) (PICTURED, above: Anthony Lawton as Verges, Michael Doherty as Dogberry in the Cincinnati Shakespeare Company production of Dogberry & Verges Are Scared, directed by Matthew Decker, 2026. Photo by Melanie Malicote.)

Michigan Shakespeare Festival artistic director Janice L. Blixt returns to discuss MSF’s new season, their first in several years, and their new home at Wayne State University in Detroit. Blixt reveals how MSF, like so many arts organizations, not only endured but survived “death by a thousand cuts;” the importance of having a supportive board of directors; putting their best foot forward in a new venue; how they embrace being a fully professional company as well as Shakespeare’s sheer epic-ness; how MSF likes to mix it up with both its programming and its casting; and now everybody should be eating McClure’s Pickles, the Official Pickle of the Michigan Shakespeare Festival™. (Length 20:20) (PICTURED: MSF actor Rico Bruce Wade, courtesy of Michigan Shakespeare Festival.)

Reduced Shakespeare Company founder Daniel Rover Singer returns to talk about his new play Louisa At Fruitlands, about the intersection of Louisa May Alcott, the author of Little Women, when she was a little ten-year-old herself, and the Fruitlands transcendentalist community. Daniel talks about the origins of the RSC and how the landmark work The Complete Works of William Shakespeare (abridged) burst the bonds of "the perfect context" of the Northern California Renaissance Faire; how he balances creativity and commercialism; the perils of illegal beard display; the importance of including a tiny bit of Transcendentalism 101; the value of playwrights supervising their own readings before passing it off to a director; and the absolute truism that plays are not written, they’re rewritten. (Length 20:34)

Jason King Jones, artistic director of the Pennsylvania Shakespeare Festival, shares details about PSF's current season, their plans to host the 2027 Shakespeare Theatre Association conference, and how he's retained his ability to laugh and his capacity for joy. Jason shares how he threads the needle of programming work that reaches his diverse audience; how the entire western canon of theatrical literature is descended from Shakespeare; how theatre is important to the health of the community; the virtues of hosting a really great party; how Pennsylvania's Lehigh Valley is "Fest Central;" fantastic advice from playwright Ken Ludwig; and how Shakespeare is every modern playwright’s great-great-great-great-grandfather. (Length 21:17)

Carey Perloff (Pinter and Stoppard: A Director's View) discusses how she worked with Tom Stoppard to bring his last and most personal play Leopoldstadt to Chicago's Writers Theatre and shape it into a form American theaters will be able to produce more easily. Perloff, the former artistic director of San Francisco's American Conservatory Theatrewhere she directed the U.S. premieres of several of Stoppard's plays, reveals how she brings her personal history into this production; how much she enjoys working with Chicago actors; how this epic muscular work plays in an intimate non-proscenium space; how she's able to encourage the actors to "look after" important threads or information; and how she embraces Stoppard's firm and unshakeable belief that "ideas are sexy." (Length 19:10) (PICTURED, above: Adeline Rosenthal and Asha Dale Hopman in the Writers Theatre production of Leopoldstadt, directed by Carey Perloff. Photo by Hugo Hentoff.)

Caroline Bicks, the inaugural Stephen E. King Chair of Literature at the University of Maine, returns to continue our conversation about her new book, Monsters in the Archives: My Year of Fear with Stephen King. Caroline reveals her own terrifying fears and shares the kind of book she did not want to write; how she dared to infuse her academic writing with (gasp!) personality; her desire to become a bridge that connects King to the Renaissance to academia and back again; why anyone would want to sleep in room 217; the prospect of reading King aloud at bedtime to your kids; some surprising love for King’s underrated zombie novel Cell; and the most horrifying moment in cinema from the last thirty years. (Length 32:02) (Above photo: Austin Tichenor's King shelfie. Used by permission.)

In the glorious American Blues Theater production of Always...Patsy Cline, Molly Hernández discusses how her character of Louise brings a lively theatricality to what could be "just" a well-produced jukebox musical. Molly shares how she was encouraged to bring her authentic "chaos gremlin" self to the role; how this show differs from other shows she's done in Chicago (including Lookingglass Theater's Lookingglass Alice); the privilege of playing in theaters ranging from giant auditoriums to tiny storefronts; how she brings all her skills to convey an improvised unpredictability; and how The Actor's Gymnasium not only trained her to be a circus artist but literally changed her life. (Length 20:42)

In his own personal Year of Lear, Daniel Mothershed (above) is playing both King Lear and the Fool in the Bowls With The Bard production of King Lear, immediately after directing the second production of Austin Tichenor's adaptation of Christopher Moore's novel Fool. Daniel discusses this experiment with theatrical duality; how the RSC Podcast interview with famous Fool Adrian Scarborough unlocked Daniel’s interpretation (plus appreciation for the even deeper cut of this "Drawing on Shakespeare" conversation); shout-outs to previous Lears; and the potential danger of playing both roles driving you genuinely mad. (Length 24:40)