Charlene V. Smith talks about asking hard questions around the interpretation of early modern English classics, Brave Spirits Theatre’s production of The Changeling, and five tips for dealing with sexual assault in art responsibly.

Emer McHugh and Jess R. Pfeffer discuss Hamlet’s nunnery scene, how gendered violence onstage is often about the perpetrator’s character development, problematic assaults on TV, and more.

Rebecca Benzie Fraser uses Her Naked Skin as an example in the exploration of the different decisions made when it comes to staging violence by women and staging violence against women.

Nora J. Williams launches the staging gendered violence series, talks about the importance of creating responsible cultural representations of assault, and introduces the contributors of the series.

Applications for the third round of the National Playwright Residency Program, an intervention into the traditional relationships between artists and institutions, are now live!

Mariela López talks about her research on independent theatres across Mexico, including the challenges, the benefits, and recommendations for anyone wanting to create a company. / Mariela López nos habla de su investigación sobre los teatros independientes en México, incluyendo los desafíos, los beneficios y recomendaciones para cualquiera que quiera crear uno.

Jill Marie Bradbury reflects on the Deaf Theatre Action Planning Session, co-produced by HowlRound, when thirty Deaf, DeafBlind, and hard of hearing theatre artists, administrators, and scholars gathered in Boston for a weekend-long convening.

Part II of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on inspiring leadership choices, pacing yourself, and cultivating diverse audiences.

Part I of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on personal values, gratitude, and how the joy lives in the struggle.

Catherine M. Young discusses the recent Broadway production of Oklahoma!, which she believes, despite inclusive casting and adventurous aesthetics, asks audiences to pay more attention to white men than anyone else.