It's Dex! I’m doing a special Ask Me Anything episode of the podcast so you can get to know a little more about me. You can submit your questions on my website—theaterdistrictdc.com—through email, or DM me. 

The AMA episode will come out in late August 2025, just before I kick off season three! 

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Be sure to follow and connect with the show on Instagram: @theater_district

"Where the puppet people at?" Because you need to know Luke Hartwood, a rising designer and performer in the DMV. A George Mason alum, Luke is a visual artist, a props designer, and all-around puppet maven--he can design them, make them, teach them, and operate them, including his notable work in Keegan's February 2025 production of Hand to God. He's also worked on many Theater for Young Audience shows at the Kennedy Center and has been known to sing and act a few times, too. He shares some hard-won wisdom about learning to set boundaries and advocate for yourself as a freelance artist and more. 

 Learn more about Luke and his experiences at lukehartwood.com, and follow him at @lukehartwood. 

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Mollie Greenberg is many things--an actor, a puppeteer, a teaching artist, and an emerging director. She's also a recovering 'shy kid,' who found theater as a way to learn more about herself and others. That curiosity has led Mollie to try--and excel, IMHO--many new things, from going to an open call at The Puppet Co., to directing her first show there, and now starting Ingrid & Mollie. The way she talks about how her various practices inform one another and continue to push her towards new projects is inspiring, as is how much she champions having fun while making theater. 

 Learn more about Mollie's background, experiences, and credits at molliegreenberg.com, and follow her at @gollymollie. 

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Caleen Sinnette Jennings is an award-winning playwright and Professor of Theatre Emerita at American University. Theaters across the country have produced her celebrated Queens Girl trilogy, including Theatre J, Mosaic Theatre, Everyman Theatre, Clackamas Repertory Theatre, and Hangar Theatre. Her plays of all lengths have regularly been published and anthologized. She has received commissions from the Kennedy Center, Arena Stage, Round House, and others. A multiple Helen Hayes-nominee, Prof. Jennings was also founding member of the DC playwrights’ collective The Welders. 

During her 31-year tenure at AU, she served as the Director of the Theatre/Musical Theatre Program and Chair of the Department of Performing Arts, winning the university’s Scholar/Teacher of the Year in 2003. Prof. Jennings has been a faculty member of the Folger Shakespeare Library's Teaching Shakespeare Institute since 1994. 

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If you’ve ever asked yourself “Where do I put this blood bag?,“ or “How do I make the best fake wine?,”  or even “Is a parasol a prop or a costume?,” then you need to listen to Chris Young. The prop shop director at Shakespeare Theatre Company, Chris has been figuring out those questions for over 30 years. A treasure trove of stories, talents, and ideas, Chris shares his process of making props, from reading the script to weekly maintenance during a run. Hibiscus tea, by the way.   

Follow Chris at @furnitureweapons, and learn more about the Society of Properties Managers (SPM) at propmanagers.org. 

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If there’s one part of the theatrical process that can be mysterious, scary, and unfair, it’s casting. Danica Rodriguez is here to change all of that. A native New Yorker, Danica worked in casting for television and theater, including for the Public Theater, before becoming the resident casting director of the esteemed Shakespeare Theatre Company in fall 2021. An open, joyful, and canny person, Danica is perfectly suited to her role and her mission of championing representation, authenticity, nuance and specificity on stage. 

“The goal of the artist is to make the revolution irresistible.”  - Toni Cade Bambara

Learn more about Danica’s background, experiences, and values at danicarodriguez.com, and follow her at @danicarodriguezcasting. 

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Aubri O'Connor deftly wears so many hats she could make a milliner blush. The DC-based theater maker is the co-founder, co-producer, and artistic director of Nu Sass Production, which promotes marginalized genders in all aspects of theater, especially in those roles traditionally dominated by cis-men. Our open, joyful, and clear-eyed conversation covers the company's beginnings and growth, as well as our region's supportive small theater community (including a big hint about upcoming opportunities!). She speaks passionately and compassionately about promoting and taking care of the people making theater, as well as the current landscape for artists and the arts. 

Follow Aubri at @aubrilee and the company at @nu_sass. Learn more about the Indie Stage Collective, a group of small and micro theatres in the DMV, and support our small theaters! 

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Who can carry on four conversations at once, keep track of an ever-growing list of props and ques, and fix the plot hole in the second act? A stage manager, and Che Wernsman is one of the best in the DMV. The resident SM at Round House Theatre, Che shares her journey to become an equity stage manager, her thoughts on why military members make great theater makers, and how SMs maintain the integrity of a show over its run. We also discuss important changes in tech and rehearsal processes to take better care of crew members, and more. 

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When waacking and disco and crafting come up in one conversation, it must be about something deep and powerful and transformative like community engagement. Katherine Harroff (Director of Engagement and Associate Director of Public Programming with the Folger Shakespeare Library) and Kristen Jackson (Associate Artistic Director and Director of Connectivity at Woolly Mammoth) join forces to speak about the joy and necessity of creating spaces of communal recognition and growth, how an engagement ethos can infuse an entire organization, and how to both plan ahead and remain flexible in this important work. 

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Eric Ruffin is a professor of theatre arts at Howard University, focusing on acting and directing. A Howard alum himself, he has helmed productions at Mosaic Theatre Company, Studio Theatre, 1st Stage, African Continuum Theatre Company, Imagination Stage, the Kennedy Center, and more. His 2015 production of Langston Hughes' Black Nativity with Theater Alliance won three Helen Hayes Awards. A gregarious and charming interlocutor, Eric discusses the importance of Howard to the American entertainment industry, how love and transcendence should be central to the theatrical experience, and the kind of work we need to make today. 

Send Dex a text!

Be sure to follow and connect with the show on Instagram: @theater_district