Kendra Fanconi explains why it might take us eighty-eight minutes to digest one simple sentence about climate change.

Pax Ressler looks at both the successes and challenges for non-binary theatre artists in Philadelphia.

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

Writer and performer Rob Onorato explores what makes the Chicago Neo-Futurists so special.

David Dudley explores the story behind John Cage’s Theater Piece No. 1 and discuses SITI Company’s recent production of it, which was conceived and directed by Anne Bogart.

Rachel Bykowski speaks up about body-shaming in the theatre industry, and its effect on students in collegiate programs.

James Wyrwicz reflects on how two shows, Say Something Bunny! and Margarete, use found audio and video recordings as the basis for storytelling.

Ana Dinger explores theatre as a “place of listening” through the work of Mónica Calle and Rui Catalão.

Gab Cody reflects on the birth of The Monologue Project, an initiative that started in Pittsburgh, USA and Dallas, USA to increase the canon of audition-length monologues for women of African Descent.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

Educator and actor Gary Sloan on teaching theatrical techniques to incarcerated adults and young men to provoke and inspire change.

An interview with Nancy Smith-Watson of Feast of Crispian and Tim Schleis, an army veteran and one of FOC’s actors.

Bob Martin talks about Hurricane Gap Community Theater Institute and how they're supporting an Appalachian grassroots theatre movement. 

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

Performer Stephanie Hayes reflects on how motherhood helped her reinvent her relationship to her own creativity.

Sara Brookner talks to playwright and performer Robbie McCauley about her one-woman show Sugar, and the power of sharing our stories.

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.

Olga Sanchez reflects on Day Four of the Encuentro de las Américas International Convening on 12 November, 2017 in Los Angeles, California.

What are female acting students learning in the classroom? Educator and director Katherine McGerr discusses how gender parity in theatre starts in the classroom.

Fight instructor Jamie Macpherson addresses objections to teaching stage combat to young people.