Brídín Clements talks about the accessibility of educational and professional programs, like internships, in theatre administration.

Ezra Brain discusses the experience of creating a piece of theatre in the dark, the theory of “rasa,” the act of performance, and more.

Michaela Goldhaber, current artistic director of Wry Crips, talks to the founding and early members of the disabled women’s theatre group about their history.

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.

Nicole Kelly and Jenn Poret, two arts managers with disabilities, reflect on the most and least accessible aspects of the jobs, accommodations they need, and the future of accessible theatre management.

Mallory Kay Nelson and Michael Maag talk about the low number of full-time designers working in theatre; the realities of costume, lighting, and projection design as a disabled artist; and how delegation is a skill they’ve both had to master.

Talleri A. McRae and Mickey Rowe, co-founders of the National Disability Theatre, introduce their series “The Future of Theatre is Accessible,” talk about some key takeaways from the upcoming articles, and discuss how language is a barrier to inclusion.

Alix Rosenfeld talks about the difference between inclusion and belonging when it comes to working with the disability community, using the Philadelphia-based FringeArts production of A Fierce Kind of Love as an example.

Anne Hamburger, founder of En Garde Arts, talks about the beginnings of her company, and, with it, the beginnings of site-specific theatre in New York City.

Adam Roberts talks about the devising process used at TILT, a performance company in Austin, Texas, that celebrates the creative work of adult actors with disabilities.

Andrea Kovich talks about the importance of disability representation on Seattle’s stages and Sound Theatre Company’s recent work in that area.

Tim Collingwood talks about the importance of creating “ability-positive” theatre so that people with different ability statuses have the chance to see themselves represented on stage.

Jacob Juntunen, who has bipolar disorder, speaks with several other artists who struggle with mental illness about the realities and challenges working in the field.

Parent Artist Advocacy League for the Performing Arts (PAAL) founder Rachel Spencer Hewitt discusses three crucial ways theatres can improve their support for parent artists.