Recent Essays

Carlyle Brown’s Down in Mississippi is a celebration of a movement that gave birth to the Civil Rights Act of 1964 and the Voting Rights Act of 1965. Brown sat down with Todd London in October 2020 to discuss the creative process, historical context, and contemporary resonance of his play.

Eseovwe Emakunu sits down with theatre practitioner Israel Wekpe to discuss how he and other Nigerian theatre artists use theatre to address racism and discrimination.

Enid Brain reflects on the unique process of creating and performing the new work Our Childhood Sucked and shares what the theatre community can learn from creating digital “non-theatre.”

Michael Dewhatley sits down with playwright and director KJ Sanchez to talk about her experiences making plays based on real events. They discuss process, responsibility, perspective, and how to create without an agenda.

Ronee Penoi and Shanta Thake discuss their transitions into new leadership roles as Director of Artistic Programming at ArtsEmerson and Chief Artistic Officer of Lincoln Center, respectively—including their work to shift narratives on stage, see institutions as community resources, and keep deep listening at the core of their leadership practices.

From the “Gentleman Freak” to the “Rage-Filled Recluse,” simplistic tropes limit popular representation of disabled individuals. Ben Ranaan explains these tropes and advocates for more complex portrayals of disability in theatre and other media.

2021 was a strange year overall and an even stranger year to celebrate a milestone birthday. Read our recap of this year and what we're looking forward to in 2022.

Sean San José, artistic director of Magic Theatre, and Margo Hall, artistic director of the Lorraine Hansberry theatre discuss stepping into their positions as artistic directors and reflect on their work together as two of the co-founders of Campo Santo Theatre.

Ryan Ferrebee discusses the disadvantages of theatres attempting to balance fiscal responsibility with anti-racism work from his perspective as a white fundraising professional.

E.M. Lewis and a group of theatre artists connected with Artists Repertory Theatre come together to mark the ways they make it through the strange, dark days of the COVID-19 pandemic. Despite prolonged uncertainty across the theatre industry and the world, they find community in one another and strength in storytelling.