Alice Stanley won a grant to conduct a young women's after school improv program for an underserved CPS school, but the program almost didn’t happen. Here she considers obstacles to launching the program and makes a case why the arts have to integrated into schools.

Alice Stanley talks about what she learned teaching high school students in underserved communities in Chicago.

Alice Stanley Jr. reviews Chris Danowski’s endofplay/7, a wild ride of gender exploration, narcissism, and longing

Alice Stanley Jr. writes about Red Planet Respite by Katherine Harroff a play about "the first luxury space vacation to Mars in 2044" and the balance of its value as entertainment and as encouragement for audiences to engage with science and education

Alice Stanley Jr writes about three site-specific and interactive and/or immersive theatrical experiences.

Alice Stanley Jr. writes about an event she attended, responding to the suspension of an Arizona high school drama teacher that included Albee's who in his curriculum.

Alice Stanley Jr. discusses her experience at a workshop of Ariel Luckey's solo performance Amnesia, and the talkback which followed.

Alice Stanley Jr. reviews Orange Theatre’s experimental production of Federico García Lorca’s Blood Wedding, which incorporated contemporary multimedia technology in its warehouse set.

Alice Stanley reflects on Binary Theatre Company's production of Jester's Cap, by Daniel Pennyway and making theatre that contains feminism and same-sex love for a possibly-conservative audience.

New Carpa Theater Company’s The Mighty Vandals puts a spotlight on Latino and Arizona lore, two cultures underrepresented in theater, by delving deep into the grain of Arizona culture and history.

A Good Death examines how those who might be termed “professionals” of death matters (hospice care workers) strive to make the unthinkable into something good.

Outside of Phoenix, the reading of Harvey Girls at Arizaon’s Performing Arts Center tackles the question of what, who and where is Arizona’s culture other than a "wasteland." 

Space 55’s lack of censorship and reminder of the “free-speech” aesthetic of the show promotes a spirit of liberation while providing an insurance policy for the theater company.

Alice Stanley Jr. describes her experince at The Toch Theatre's "Improvised Book Club" and writes about how an audiences' preparation affects their involvement.

The Encyclopedia Show Arizona, an offshoot of a national project started in Chicago, brings professionals and amateurs together with an audience under one topic to educate, laugh, and share.

Alice Stanley writes about experiencing Chuck Mee's soot and spit, an experimental play about the artist James Castle featuring deaf and cognitively challenged actors.