Emily Cicchini draws parallels between the process of making a new play to designing a new website, and offers inspiration on how that comparison can serve future new play development. 

The needs of non-arts organizations, and theatre artists' assets can intersect through Civic Practice. This guide from Michael Rohd offers examples of application and what this work can accomplish.

In this installment, Mike Lew discusses the Ma-Yi Writers Lab, the fraught practice of yellow face, and what equity for people of color actually looks like.

Holly Derr speaks with Lynn Nottage about her new play Sweat, a co-commission of Oregon Shakespeare Festival and Arena Stage, currently playing in Washington, DC.

Nelson T. Eusebio III addresses the argument that the “best” actor must always be cast in a role, regardless of race.

Artist Delia Kropp discusses the state of transgender theatre in Chicago, Illinois and shares current initiatives to produce work by and for trans and gender-variant artists. 

Playwright Tiffany Antone discusses Little Black Dress INK’s “We’re Not Playing” initiative, advocating the need for theatrical protest for social change.

Eco theater is not meant as a protest or an art installation at a climate change conference. It is a complete and independent artistic practice that happens to focus on ecological issues.

Arlene Martínez-Vázquez calls out the racism of Ayad Akhtar’s Disgraced, the most widely produced play of 2015 in America.

In this installation, playwright  and artistic dirctor Jamil Khoury reflects on the controversey spurred over the adaptation of The Jungle Book, which opened this summer in Chicago. 

Jenny Lyn Bader looks at theatre’s gender parity movement.

Porsche McGovern discusses the third phase of her study on LORT theatre designers.

P. Carl on why the lack of stories on American Stages about those who do not identify with a single gender, and the need to change it. 

A collectively authored essay by leading artists, academics, and theatre advocates about Paula Vogel’s Indecent and Lynn Nottage’s Sweat on Broadway amid a conversation about critical bias toward women playwrights and playwrights of color.

Anchuli Felicia King on the Second Stage production of Lydia R. Diamond’s Smart People in New York.

The only reason that I am alive, sober, and surviving is because I have community and the performing arts. The performing arts community offers the perfect setting to share my story without being judged or condemned. It has been the performing arts that has kept me from being yet another veteran statistic. By examining and acting Shakespeare through my veteran lens I was able to understand what happened to me.

Dani Snyder-Young writes about the 2014 Chicago Home Theater Festival, which places participatory performances inside private homes.

Talleri McRae shares a conversation hosted by StageOne Family Theatre in Louisville, Kentucky about making theatre specific to a particular community.

Playwright Cherry Lou Sy discusses Vineyard Theatre’s production of Indecent, reflecting on the culture of fear and the queer artists who have influenced her.