Since “Homecoming,” the company has produced shows like “The Horror of Dolores Roach,” starring Daphne Ruben-Vega and Bobby Cannavale; “Sandra,” starring Alia Shawkat and Kristen Wiig; and “The Two Princes,” a children’s adventure podcast that has gay themes and overflows with Broadway actors like Noah Galvin and the Tony Award winners Christine Baranski and Ari’el Stachel.

The podcast producers have found willing collaborators in the worlds of film, TV and theater. “Nobody has asked me so far to run around and punch aliens in the face,” said Slate, the “Earth Break” star , who does the voices of several cartoon children in “Big Mouth” and “Bob’s Burgers,” and has had lead roles in movies like “Obvious Child.” “I’ve been asked a million times over to be a pregnant lady, a comedian or a Jewish person, and in life I’ve been two out of three of those things — a comedian and a Jewish person. I just wanted to do something different.”

What podcasts lack — a pricey visual component — is the very thing that makes the medium such a rich opportunity for performers. “It was all going to rely on the listener’s imagination and then what I could provide as a voice actor,” Slate said. “To literally divest myself of my actual form but still play a woman was really freeing. Not that I don’t like how I look, but sometimes I get tired of people saying how they feel about it.”

If “Earth Break” had been written for the screen, the story would have had to change into something reliably marketable to recoup the price tag of a production heavy with special effects. If its action-movie protagonist had been conceived as a tall blonde with an eight-pack, Slate said, “I would have never even seen the script.”

The flexibility of podcast productions is also appealing. Coon had to spend only three days in a Downtown Brooklyn recording studio to voice “Motherhacker.” And Kelly Marie Tran recorded her starring role as Kaitlin Le in “Passenger List” over 10 days in London while she filmed “Star Wars: The Rise of Skywalker.” (Patti LuPone was able to record her role with Tran the same week she opened in the musical “Company” on the West End last year.)

Tran also had more influence over the story than she would have had for a typical big-budget movie. The show’s co-director, writer and producer, Lauren Shippen, went over every script with Tran to reflect the actress’s experiences and insights as the daughter of first-generation Vietnamese immigrants.