Kate Langsdorf’s series continues with this description of her time as a teaching artist.

Kate Langsdorf describes her experiences as an actor with a physical disability.

Annie Wiegand and JW Guido write about the work of New York Deaf Theatre, and the importance of Deaf by Deaf for Deaf theatre work.

Leah Katz-Hernandez, Receptionist of the United States (ROTUS), writes about the power of having Deaf characters represented in narratives.

In this installment, Playwright and poet Sabina England shares her process for creating performances for deaf and hearing audiences.

Several dozen artists, administrators, and activists met at the Lark Play Development Center in January 2016 to consider challenges and successes and the state of deaf theatre.

Series curator DJ Kurs writes about the history of ASL and Deaf actors.

Howard Sherman writes about the responsibility theatres have to comply with the Americans with Disabilities Act.

Author Sara Nović writes about the state of Deaf education, and its implications for the theatre.

Kate Langsdorf kicks off a new series in which she will write about her experiences with different jobs in theatre. 

Malesha Taylor shares her experience working in audience development and emphasizes the need for regional theatres to continue building relationships with diverse audiences. 

Ricky Young-Howze challenges theatre companies to rethink the conventional aesthetic of silent audiences and find creative ways to accommodate audience members with invisible disabilities.

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?