Nicole Kelly and Jenn Poret, two arts managers with disabilities, reflect on the most and least accessible aspects of the jobs, accommodations they need, and the future of accessible theatre management.

Mallory Kay Nelson and Michael Maag talk about the low number of full-time designers working in theatre; the realities of costume, lighting, and projection design as a disabled artist; and how delegation is a skill they’ve both had to master.

Claudia Alick talks about growing up as an abled youth and her sudden onset illness as an adult, how areas of inaccessibility in the theatre suddenly became hypervisible to her, “crip time,” and more.

Andrea Kovich talks about the glaring need for more disabled theatremakers, the importance of new plays and musicals, and working with a disabled dramaturg during a new work’s development.

Talleri A. McRae and Mickey Rowe, co-founders of the National Disability Theatre, introduce their series “The Future of Theatre is Accessible,” talk about some key takeaways from the upcoming articles, and discuss how language is a barrier to inclusion.

Amelia Parenteau, along with theatremakers Eva Doumbia and Marie Houdin, explores the similarities and differences of parades and protests.

D.R. Baker examines some of the realities of artists working in the American theatre and explores how empathy can be harnessed to make the industry a more positive place to work.

Pamela López and Andrés Kalawski talk about the research they have done around theatre programmers in Chile.

Herbert Siguenza, co-founder of the Latino performance troupe Culture Clash, talks about his unconventional writing path, his time working with the collective, and finding his unique voice.