Isaac Mafuel shares a recent debate had amongst theatremakers in Malawi about how to best price shows, considering both that low prices are a way of coping with the circumstances of their economy and that art should claim its value.

While global protests have amplified calls for defunding the police, Chelsea Whitaker shares thoughts on how theatre needs to end its own policing of Blackness as well.

David Valdes shares the main excuses theatres give when not programming shows created by and with BIPOC artists, how moving to online theatre offers new opportunities, and what the benefits are of making change.

Chloe Hyman reflects on M Sloth Levine’s play Nosferatu, The Vampyr, which she believes serves to dismantle anti-Semitic tropes, due to the fact that Jewishness and queerness are inextricably bound in vampire lore.

Join us in welcoming Deen Rawlins-Harris, HowlRound’s new associate producer!

Barbara Fuchs writes about Game Over, a devised piece by the Spanish company Grumelot, which was a profound exploration of storytelling across multiple platforms, including Zoom, WhatsApp, Instagram, and Spotify.

Parvathi Ramanathan talks about the community-based, cross-cultural theatre project, d.r.i.f.t., in India’s Dharamshala region.

Stage managers Narda E. Alcorn and Lisa Porter—both women; one Black, one White—offer tools and practices to help build anti-racist stage managers.

Teresa Coleman Wash reflects on how the current state of affairs has fueled an urgency to interrogate all systems of oppression and argues that it’s past time to stop holding Eurocentric theatres up as the pinnacle of success.