In the wake of the deluge of reports of sexual harassment in Hollywood and American culture at large and the overdue conversation about gender equality, moderator Amy Sherman-Palladino (creator of Gilmore Girls and now Golden Globe-winning series The Marvelous Mrs. Maisel) turned to her panel of women directors—Margot Bordelon, Kathleen Marshall, Leigh Silverman, Rebecca Taichman, and Whitney White—and asked the hard question: Is the theatre industry any more progressive than film and television when it comes to parity in the workplace.

This is a list of past interviews done by American Theatre.

A fixture of Off-Broadway and regional theater spaces, Rebecca Taichman has been at the helm of many productions including “Familiar,” “Stage Kiss,” “The Oldest Boys,” “Winter’s Tale,” and “The Clean House.” She’s also a champion of female playwrights, having worked closely with Danai Gurira, Rachel Sheinkin, Sarah Ruhl, Kirsten Greenidge, Theresa Rebeck, and many others.

When we walked into Diane Paulus’ rehearsal room at The New 42nd Street Studios, there were a lot of women in it. Okay, to clarify, yes, Emma and I added two more women to the room, but there were a lot of women in the rehearsal room. It’s something that one would think we’d be past commenting on by now, but I bring it up because it’s actually still rare enough to be comment worthy. The play being rehearsed was Eve Ensler’s In the Body of the World, which is premiering at A.R.T. where Diane is Artistic Director. This season, she’s the director of Waitress on Broadway, which is making headlines for having an all-female creative team. She’s also represented on Broadway by last season’s Finding Neverland. Other Broadway credits include Hair, Porgy and Bess, and Pippin. For Pippin she won the 2013 Tony Award for Best Director of a Musical, making her only the third woman to be awarded theatre’s highest honor for direction of a musical. Shortly before opening night of Waitress, while women got ready for rehearsal around us, we talked to Diane about her directing process for Waitress, the challenges of directing theatre in 2016, her work as artistic director of A.R.T., audience engagement, and more.