Unlike European countries, the U.S. doesn’t do summer theater festivals, at least not on a huge scale. (A quick second of silence for the dearly missed Lincoln Center Festival.)

Peter went …

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Jonathan’s play “Eureka Day,” which won the Tony Award for best revival last year, was about the debate around vaccines at a Bay Area school in the middle of a mumps outbreak.

Now he’s back with “Birthright,” at MCC Theater through Aug. 23, about six people who met on a birthright trip to Israel (some knew each other before, but the trip was the binding agent for them as a group). The play follows these three women and three men over the course of 18 years, through relationships and jobs, domestic politics and international conflicts — the action ends in 2024 so you can probably guess what figures in the show’s explosive third act.

“Birthright” is very much a play of ideas and there’s something highly satisfying about watching a writer stretch them over a big canvas — Teddy Bergman’s production is three hours and 20 minutes.

We asked Jonathan about the genesis of “Birthright,” tackling a very fraught subject, writing for an ensemble and a lot more.

To wraps things up, Elisabeth brought up the Adult Film company’s “Woyzeck,” which she’d recently seen in Queens (it’s included in this roundup of reviews of Off Off Broadway shows).

Thanks to Christian Huygen for our theme music.

Nicole’s own reported piece came out on July 5, and there have been more since (including this one by Rebecca Ritzel in NOTUS on July 6 and this one by Trey Graham in Washingtonian on July 8).

We discussed the events with Nicole on the podcast, but we also used the opportunity to take a bird’s eye view of Arena Stage’s history as a historical leader of regional theater in the U.S. and the challenges of running an institution in the current arts environment.

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We’d assumed that the play was named after a family but no, the title refers to the kind of small pillar that supports stairs or a porch, and becomes an object of tension in the story. Not that the characters lack opportunities to bicker, because they’re all members of a neighborhood association’s board and the play takes places over several of their meetings.

David’s plays include the Pulitzer Prize-winning “Rabbit Hole” as well as “Good People” and Ripcord.” He’s also written books for musicals including “Kimberly Akimbo” (based on his play of the same name) and “Shrek.” Don’t miss the part of the episode when David immediately identifies the prominent critic Elisabeth overheard making a callous comment during “Good People”!

As for Richard, he’s a stage staple and his avuncular mien is put to particularly pointed use in “The Balusters,” where he plays the board president, Elliot.

Oh, and they did “The Queen of Versailles” this season as well. Yes, we talked about that one, too.

But most of the conversation was about “The Lost Boys,” which is based on the 1987 movie of the same title. And there was a lot to talk about because this show is a lot, from vampires flying up and down several stories’ worth of rafters to characters jumping off a bridge that suddenly appeared on stage.

So sit down, press “play” and listen to Michael and Dane explain how they turned the Palace Theater into a playground for Californian vamps.

Mark talked to us about his years working in theater (usually as a director); what prompted him to turn to playwriting; the inspiration behind “Giant” and how he navigates the perils of writing about antisemitism these days. It’s a bracing conversation, and often funny — as is the play, which makes you laugh one second and shudder the next.

Thanks to Christian Huygen for our theme music.

Ann’s been a fan favorite since her breakthrough as Christmas Eve in “Avenue Q” but we’re also longtime fans of her turn as Trina in the National Asian American Theater Company’s revival of William Finn’s “Falsettoland.” And remember her as the harried stage manager in the series “Smash? Few play harried as expertly as she does. She also talked to us about her experience in shows like “M. Butterfly.”

We had to overcome some technical gremlins for this episode but it was well worth it, because Ann was funny and candid as she talked about journey, including the obstacles she faced as an Asian American performer in an industry that for a long time was not hospitable. Happily, she’s proof that there’s more in the repertoire than “The King and I.”

Gift link to Elisabeth’s review of “Schmigadoon!”

Thanks to Christian Huygen for our theme music.

Well, we’re glad to have Gina back, and that she found the time to drop by our virtual studio to talk about all that stuff and a lot more — including her upcoming stage adaptation of a novel starring a very, very famous serial killer.

Also: if you’ve seen her plays, which include “Rapture, Blister, Burn” as well, you know that Gionfriddo has a wicked sense of humor. Listen to this episode and you’ll see she’s not saving it for the stage.

Thanks to Christian Huygen for our theme music.

Theater fans certainly are familiar with O’Brien — but as a director. He’s won three Tonys, and for wildly different productions: “Hairspray,” “The Coast of Utopia” and “Henry IV.” Pretty good range, and that’s even before O’Brien stepped in to fill the void left on “The Comeback” by the death of Robert Michael Morris, who adorably played Tommy’s predecessor, Mickey, in the first two seasons. In addition to his many, many credits on Broadway — he landed his first Tony nomination for a revival of “Porgy and Bess” in 1977, and most recently directed the play “The Roommate” and the musical “Shucked!” — he also led San Diego’s Old Globe Theater from 1981 to 2007.

At 86, O’Brien remains indefatigable and found the time to drop by the podcast. He’s as funny and chatty as you might expect. We talked about “The Comeback,” of course, but also about some of his signature shows. Dive in!

Thanks to Christian Huygen for our theme music.

This led us to the star system that’s become a huge part of Broadway, …

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Now the show is back in New York in a fab production — Elisabeth gave it a critic’s pick in the Times — that includes Lilli Cooper and Jason Kravits as Rona Lisa Peretti and Vice Principal Douglas Panch, two adults who steer the contest but also the show: One of their responsibilities is to make the guest spellers who are selected from the audience at every performance stay on track, and leave at the right moment.

Lilli and Jason came on the podcast to talk about their experience in the musical — don’t miss the part about them spotting showboaters and wannabe performers almost instantly, then plotting to get rid of them!

They also talk about some of their other roles: Lilli’s credits include David Yazbek’s “Tootsie” (Tony nom!) and the Encores! “Titanic” with dad Chuck and brother Eddie; and Peter waxed poetic about seeing Jason in many plays in D.C area theaters.

Tune in — this is a particularly funny episode!

Elisabeth wrote a glowing review of “Mother Russia” in the New York Times, praising Steven and Adam’s performances as a pair of mismatched friends in 1992 St. Petersburg, trying to figure out how to make a quick ruble as capitalism takes over Russia. This is their first time working together, which is unexpected because they have been regulars on New York stages for the past 15 years. Adam got his break break in “Next to Normal,” then went on to terrific turns in “Peter and the Starcatcher” and “The Fortress of Solitude.” Steven earned a Tony nomination for his memorable turn as a teenager and his evil hand puppet in “Hand to God,” and you would remember him from playing Victoria Clark’s dad in “Kimberly Akimbo.” Freakishly, they both played John Hinckley in different NYC revivals of “Assassins”!

We talked with them about the new show, including the epic scene in which their characters chomp on their first-ever filet-o-fish, as well as some of their earlier credits — Steven has an amazing anecdote about the little-seen “Trevor” (which Elisabeth remembers vividly) and its surprisingly trajectory.

So what happens when the local legacy newspaper stops covering the local theater? In this episode we talk to Nicole Hertvik and Eric Colchamiro, who are editor in chief and board chair, respectively, of DC Theater Arts — which now finds itself propelled to the forefront of theater coverage in the DMV (DC-Maryland-Virginia) area.

Tune in as we discuss where local companies stand, the challenges and rewards of covering D.C. in the Trump era, and of course that Lesbian “Othello” everybody — OK, just Richard Grenell of the Kennedy Center — is talking about.

Some reading:

Nicole Hertvik’s live report from the Kennedy Center Honors.

Her reaction to the Kennedy Center closing and the WaPo layoffs.

And you can connect with their socials here:

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The show mostly takes place during meetings of a feminist consciousness-raising group in 1970s Ohio. Susannah takes on two roles: Lizzie, who founded the group, and Lizzie’s daughter, who’s narrating the story. She talked to us about getting into theater, working with the playwright Bess Wohl and the director Whitney White (check her out on the pod here!), and what doing this specific play has meant to her.

Of course we also talked about other shows on Susannah’s C.V., like Anne Washburn’s now-iconic “Mr. Burns, a Post-Electric Play.”

But wait, there’s more: Susannah plays the lead character’s mother in Kristen Stewart’s directorial debut, “The Chronology of Water,” and talked about that project as well. Don’t say we don’t spoil you!

These days the dominant one is Under the Radar, which has overcome many odds to celebrate its 21st season with its biggest slate yet. We’re delighted to welcome founder Mark Russell, now the fest’s director (with co-creative directors Meropi Peponides and Kaneza Schaal).

Russell leads us through UTR’s ups and downs, its challenges and triumphs, the fest’s embarrassing inaugural name, and how the NYC avant and experimental scene has changed over the decades. It’s a story of survival in a tough environment that keeps getting tougher: less money, changing venues, logistical issues (often having to do with visas).

And lest you think this is just a boon for NYC audiences: UTR overlaps with the annual conference by the Association of Presenting Arts Professionals (APAP) and a lot of programmers use the opportunity to check out shows that may eventually appear at stages around the country.

Check it out: Elisabeth picked a few shows from this year’s selection for the NY Times (gift link).

Thanks to Christian Huygen for our theme music.

Then they remained behind the Iron Curtain for a chat about the recently departed Tom Stoppard (who was born in the former Czechoslovakia, as this podcast’s listeners may know).

Finally, they went over some of their favorite shows of the year, with a focus on Off Broadway productions that may have garnered less press — though Elisabeth’s favorite, “Weer,” was one of the fall’s hits, and here’s a gift link to her profile of its creator, Natalie Palamides.

Thanks to Christian Huygen for our theme music.

In this episode, Dohrn, who is the director of the MFA program in Writing for Screen and Stage at Northwestern University, talks about the inspiration for the show, what it was like to do this particular story in Chicago when the city was facing militarized federal forces, and how he approaches political theater.

Some sources:

Elisabeth’s interview with Tom Morello (gift link).

Zayd’s award-winning podcast series about his family, the Weather Underground and the Black Panthers: “Mother Country Radicals” — Elisabeth says it's basically an audio thriller.

Thanks to Christian Huygen for our theme music.

Don’t worry, we are not falling prey to cheap “anti-woke” vapors! In this episode we welcome Andrew Fox, who wrote the “Slam Frank” score and currently even appears in the show. He talks about his initial inspiration (a tweet from three years ago that accused Anne Frank of white privilege) and a lot more. Fox is very informed about musical-theater history and tropes, and his score is packed with numbers that nod in the direction of “Hamilton” and “Suffs,” among current references.

Thanks to Christian Huygen for our theme music.

Stachel is back with his own show, the autobiographical solo play “Other,” and he dropped by our (remote) studio to talk about it. We’re happy to report that he didn’t sweat, a reference you’ll understand when you listen to the episode.

We also gave some recommendations — and they’re not all in New York!

Peter was very excited by the return of Heather Christian’s “Oratorio for Living Things,” which is at the Signature Theater on W. 42nd St until Nov. 6.

Elisabeth came back from a quick trip to Chicago, where she reported on “Paranormal Activity,” a horror play by Felix Barrett and Levi Holloway (at Chicago Shakes until Nov. 2), and “Revolution(s),” a musical featuring music by the Rage Against the Machine guitarist Tom Morello (at the Goodman until Nov. 16). Did you ever think you’d see a mention of Morello here? Neither did we.

Oh, she also loved David Cale’s new show, “Blue Cowboy” (at the Bushwick Starr until Nov. 8).