Playwright Caridad Svich reflects on the economic reality of working in theatre.

Matthew Clinton Sekellick discusses moving beyond awareness with action, advocating for theatre artists and administrators to join forces with existing social justice movements.

The New York Times posed this question on April 29 when the Tony nominations were announced. It’s a problem that’s getting long in the tooth: for years we’ve known that over 60 percent of the ticket buyers and “butts in seats” are women, and yet less than 20 percent of the stories staged are written, directed or designed by them. Hmm.

Matthew Sekellick argues that identifying as entrepreneurs is not merely a survival strategy, but a false consciousness that alienates us further from our fellow artists and artisans. As theater artists, what we have to do is … imagine a world outside the confines of the present: a world beyond the horizon of entrepreneurship.

After a comment storm on a recent HowlRound post about bias in criticism in the American Theatre, P. Carl addresses how the democratization of the arts is a form of inclusion.

Matthew Sekellick explores what New York’s proposed minimum wage increase would mean for theatre artists.

In this installment of a new series leading up to the IETM Plenary Meeting in Bucharest, Theodor-Cristian Popescu writes about being an actor in Romania.