Playwright Ricky Young-Howze shares his experience working in theatre with invisible disabilities.

David Bruin on Teatro Patologico’s production of Medea at La Mama in New York City. 

Playwright Catherine Castellani responds to some of the outcry about the Jubilee proposal.

Chicago-based theatre practitioner and scholar Eli Van Sickel dispells the prevalent notion of Spring Awakening being the first deaf production on Broadway—it’s not.

The Committee of  the Jubilee makes a call to action to support a vision of every theatre in the United States of America producing work by women, people of color, artists of varied physical and cognitive abilities, and/or LGBTQIA artists in the 2020–2021 season.

Jonathan Mandell on the Deaf West Broadway production of Spring Awakening. 

Justin Kaiser explores the issues of representation and neurodiversity in casting for The Curious Incident of the Dog in the Night-Time.

Producer Jack Eidson writes about the challenges he’s faced casting  The Lilliput Troupe  with little person actors.

Ruth Zamoyta of New Jersey Theatre Alliance describes obstacles to theatre attendance faced by patrons with disabilities, and some programs in New Jersey that are working to overcome them. 

Actor Natalie Osborne discusses the misconception that an actor’s body needs to be “perfect” through the teachings of Jerzy Grotowski.

Is it appropriate for a non-autistic to play the part of an autistic? 

 looks at how Magic Theatre's initative for young theatre-goes went beyond a discount, and how the premiere of Taylor Mac's Hir at the Magic complemented their earlier production of Buried Child.