Dramaturg Sara Brookner interviews actor/director Megan Simcox about equitable casting, and why they founded ACTive Roles Theatre Company.

Annalisa Dias and Madeline Sayet introduce the Decolonizing Theatre series by exploring the ways the American theatre has been and still is complicit in the legacy of colonialism.

Emily White writes about Rebeccah Simone Bogue’s Piece by Piece, which was presented as a work in progress in New York City in February 2018.

Maria Vlachou, Executive Director of Acesso Cultura | Access Culture, a not-for-profit that promotes access to cultural participation in Portugal, writes about work being done in the country to break down structural and geographical barriers to arts and culture.

For the fourth installment of the Chronic Theatremaker series, Sara Brookner interviews playwright Lisa Kenner Grissom about living with lupus and learning to balance her health practice with her writing practice. 

Kaite O’Reilly considers how Richard III has been portrayed on stage, the alignment of atypical embodiment with evil and suffering, and her inspiration with The Llanarth Group to create a new staging of Richard III.

Jonathan Mandell reports on the accessibility panel at BroadwayCon, which explained the forthcoming changes aiming toward a future theatre seamlessly accessible for everyone, all the time.

Sam Ethan Rubin writes about being an actor on the autism spectrum.

Jack Reuler discusses nearly two decades of incorporating work about, for, or with people with disabilities or on issues of disability at Mixed Blood Theatre.

Continuing the series on parent-artists, Ineke Ceder and Catherine Mueller Melwani discuss how research can play a role in creating a bridge between the parent-artist experiencing isolation and the solutions recommended for equity and parity.

Rachel Spencer Hewitt, PAAL founder, kicks off the parent advocacy in the arts series with an overview of the history of PAAL and a rationale for family-friendly practices in the theatre.

Playwright and actor Tim Collingwood reflects on the workshop production of his play Depth Perception, a piece based on his experiences with Aspergers, and why he thinks the theatre can be a safe space for people of all abilities.

Movement director and professor Yo-El Cassell reflects on how movement should help people access playfulness and joy, regardless of ability.  

Kate Langsdorf finishes the series by reflecting on her experience attending different shows as an audience member in Los Angeles, California.

Aaron Sawyer and Terri Hudson reflect on what they learned from the Access Auditions, and offer tangible steps theatres can take to become more accessible to performers who are d/Deaf and disabled.

Talleri McRae summarizes a breakout session she co-led at the 2017 Theatre Communications Group Annual Conference.

A conversation between Judith Smith and John Killacky with resources and tips at the Americans for the Arts 2017 Annual Conference, Friday June 16, 2017.

Ryan Donovan considers the critical reception of casting an actor with a disability in the current Broadway revival of Tennessee Williams's The Glass Menagerie.

Ricky Young-Howze writes about why people with invisible disabilities might be wary to disclose that information.

Contributor Rachel Spencer Hewitt reports on the Parents in the Performing Arts consortium that is working to finding solutions for caregivers in the performing arts.

Kate Langsdorf writes about why she never took an unpaid internship.