Barbara Fuchs and Rafael Jaime argue that beyond the English-language theatrical canon lies a rich corpus of classical work that remains remarkably hospitable to women, focusing their discussion on two playwrights: Ana Caro and Sor Juana Inés de la Cruz.

Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to witness staged readings of six French Caribbean plays in English translation.

Matthew McMahan talks to playwright Herbert Siguenza about branching out as a solo writer after years as a member of Culture Clash, writing bilingual comedy, and more.

Amanda Shank, associate artistic director of California’s CalArts Center for New Performance, talks about bringing an international, cross-cultural collaboration to life with Warsaw’s STUDIO teatrgaleria.

Leon J. Hilton explores the recent production of One Flew Over the Cuckoo’s Nest created by Spectrum Theatre Ensemble, a company dedicated to making theatre with and for neurodiverse artists and communities.

Juan Recondo looks at Luis Alfaro’s reimaging of Euripides’s Medea, in which the title character is a Mexican undocumented immigrant who arrived in New York after facing the horrors of the border.

Shari Caplan discusses the Huntington Theatre’s production of Yerma.

Roxanna Myhrum looks at the history of the iconic puppet show Punch and Judy and Sarah Nolen’s feminist adaptation of it, Judy Save the Day.

Emily Garside discusses Y Brain/Kargalar, in which the playwright, Turkish refugee Meltem Arikan, who settled in Wales, explores her conflicting identities. 

Howard Shalwitz, Karen Houppert, and Yury Urnov reflect on the productions they saw at this year’s Golden Mask Theatre Festival in Moscow, Russia.

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.