Recent Essays

Esther Fernández talks about closing the gap that separates classical and contemporary theatre and discusses the piece En otro reino extraño, a polyphonic work composed of scenes from Lope de Vega’s plays; snippets of informal conversations between the actors in Zoom chats; poems transmogrified into electrocumbia, punk, and pop songs; and video montage.

Michelle Souza looks at how costume designers and educators can dismantle the status quo of Western-focused, chronological teaching of historical garments and move toward a pedagogy that acknowledges and honors diversity, intersectionality, and globalism.

Playwright Hallie Palladino chats with intimacy director Gaby Labotka about how intimacy directors approach scripts, the importance of a well-chosen adverb, and the necessity of innovation, now more than ever, to keep performers healthy and safe.

Madeline Sayet argues that promoting Shakespeare as the best writer of all time is a dangerous and white supremacist viewpoint, and she believes it’s time to interrogate the Bard’s placecent as the pinnacle of theatrical achievement.

Holly Derr interviews Lavina Jadhwani about the document she created called Dismantling Anti-Black Linguistic Racism in Theatre, which offers several examples of potentially anti-Black language, such as Ethiopian, master, and minstrel; their use in Shakespeare; why they might be problematic; and possible substitutions.

Seattle-based Jasmine Mahmoud talks to New York–based Autumn Knight about Knight’s recent performance Our Water is Melted Snow, geography and audiences, and staging and presence across screens.

As artists and companies re-examine the failures of their infrastructures and unconscious biases, Emily C. A. Snyder argues that the lessons learned and challenges faced so far within the field of intimacy direction may be of particular value.

Barbara Fuchs and Elena Araoz share information about their new projects that attempt to make sense of the transformations to the theatre field and put a call out for artists to help chart these transformations.

Seth Wilson argues that the relatively low reputation of the study and pursuit of theatre is the primary way antitheatricalism manifests itself today.