Amelia Parenteau explores the most recent Seuls en Scène Festival, which took place in September 2020 on Zoom and had a programmatic mix of video recordings of live performance, “staged” readings, one making-of documentary, and a series of docutheatre work. / Amelia Parenteau explore l’édition du festival Seuls en Scène la plus récente, celle qui a eu lieu en septembre 2020 sur Zoom et a présenté une programmation variée avec des captations vidéo de performances, des lectures des pièces, une documentaire sur un processus de création et une série des travaux docu-théâtres.

Barbara Fuchs chats with director and designer Jared Mezzocchi about his digital theatre production Russian Troll Farm, how to reverse-engineer Zoom, Isadora as the way forward, and more.

We at HowlRound reflect on the past year of conversations, convenings, livestreams, and more—all in the name of creating a more equitable, just, and progressive theatre field—and look forward to 2021.

Porsche McGovern shares the results of the sixth year of her study on who designs and directs in LORT theatres by pronoun.

Priscilla Solis Ybarra reflects on her experience watching Virginia Grise’s a farm for meme at home, during the pandemic, with her eighty-two-year-old mother whose life shares parallels with the story in the play.

Playwright and environmentalist Alice Stanley Jr. shares her experience of Capital W’s newest immersive theatre piece, Fire Season—a play about climate change that took place in the Santa Monica Mountains during this year’s wildfires.

E. M. Lewis shares thirteen ways writers can think about the plays they’re writing, including the stakes, the world, and the music.

HowlRound Theatre Commons is excited to lift up the work of The Flashpaper as today’s featured article. In issue two of this print-only publication composed of plays, manifestos, short stories, monologues, essays, and art work, theatre artists imagine what moments of justice could look like in our future. We are excited to share “End of the Lark: The Role of Nonprofits in an Actually Just World,” an essay co-written by Jennifer Haley and Olivia George about New York City’s theatre and lab the Lark.

Allie Marotta discusses how a new realm of accessibility opened up with remote performances but argues that the rush to return to in-person events is leaving disabled and high-risk populations behind.