Recent Essays

Barbara Fuchs writes about Game Over, a devised piece by the Spanish company Grumelot, which was a profound exploration of storytelling across multiple platforms, including Zoom, WhatsApp, Instagram, and Spotify.

Parvathi Ramanathan talks about the community-based, cross-cultural theatre project, d.r.i.f.t., in India’s Dharamshala region.

Stage managers Narda E. Alcorn and Lisa Porter—both women; one Black, one White—offer tools and practices to help build anti-racist stage managers.

Teresa Coleman Wash reflects on how the current state of affairs has fueled an urgency to interrogate all systems of oppression and argues that it’s past time to stop holding Eurocentric theatres up as the pinnacle of success.

Nisha Sajnani, a drama therapist and educator, offers a few tips to other theatre educators who may be feeling overwhelmed about the prospect of teaching online or in person again this fall.

Jan Cohen-Cruz shares the results of her recent survey about community-based and socially engaged theatremakers in the United States, which looked at commonalities across the field, the practices and principles adhered to, where people work and with whom, and more.

Playwriting professor Tom Horan talks about a recent dilemma he faced at his university: Should he add an official playwriting option for his students? Would that be ethical? In this piece, he presents his arguments for and against, and discloses his decision.

Elsa Hiltner discusses equity issues for designers in the theatre industry and offers tips for how artists can work together to change the system.