Recent Essays

Ann James sits down with Chelsey Morgan to discuss the way their background in multiple intimacy work methodologies informs their work as a facilitator, director, writer, and intimacy specialist. Across all their work, Chelsey curates a practice that individualizes approaches to intimacy based on the needs of both the actors and the story.

Ann James introduces the Rebuilding for the Future: A Convergence of Thought Leaders in Intimacy Practice series with this call for intimacy professionals to build a foundation of equity in the industry by interrogating available mentorship and training structures. This essay begins that work by highlighting the need for a diverse pool of training ideologies and methods; and the interview-based series that follows takes up that need by highlighting the perspectives of eight practitioners who navigate the intimacy industry in a variety of ways.

Theatremaker Joel Schechter explains the importance of Karl Kraus’s The Last Days of Mankind and why he believes its anti-war message is still relevant today.

verity healey describes the power and significance of independent theatre in Türkiye by sharing her experience at the theatre festival, TheatreIST.

Katy Zapanta champions TikTok as a platform with the potential to revolutionize the theatre industry’s systemic issues.

Theatremaker Latrice Richardson addresses the ongoing misogynoir in storytelling by detailing one of her past experiences and advocates for better representation of Black women in theatre.

In part two of his essay, Russian theatremaker Viktor Vilisov delves deeper into the performative nature of war itself and how art can create spaces for collective remembrance and grief.

Russian theatremaker Viktor Vilisov analyzes the power performance protest holds in opposing war, oppressive governments, and state violence.

​​Join us in welcoming Alison Yueming Qu, HowlRound’s new associate producer!

Robert Hubbard discusses the South Dakota Shakespeare Festival production of Othello, which Tara Moses adapted and directed through an Indigenous Futurist lens. The resulting production employed its Shakespearean source text to model solidarity between Tribal Sovereignty and Black Liberation movements.