Recent Essays

Kitty Drexel discusses how the New England theatre community is working to improve their harassment policies, and what the critic's role can be in making inclusive spaces that are safe for all.

Leslie C. Lewis looks at how playwrights are working together and building community with Rough Draught Playwrights in Denver, Colorado.

Ishmael Hope (Tlingit) writes about why we need to support Native playwrights.

Actor and former Naa Kahidi Theatre ensemble member Allan Hayton(Gwich’in) reflects on the history of the company and how theatre can be used as a tool for community building and healing.

Playwright Lucas Rowley (Inupiaq) reflects on navigating expectations of Western theatre while also balancing his Inupiaq traditions and community responsibilities.

Vera Starbard (Tlingit/Dena’ina) introduces the series on Alaskan theatre through the lens of Alaska Native performance and storytelling.

Using three different plays—M. Butterfly, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and QPH—playwright Massi Monfiletto examines theatre’s revolutionary potential.

Writer and performer Rob Onorato explores what makes the Chicago Neo-Futurists so special.

Katherine Swimm discusses New Rep Theatre’s Boston production of Ripe Frenzy, and the innovative collaboration between playwright Jennifer Barclay and projection designer Jared Mezzocchi.

Associate Producer Ramona Ostrowski and Fellow JD Stokely reflect on how HowlRound made the Theatre in the Age of Climate Change Convening on 8-10 June 2018 our greenest convening yet.