Stage managers Narda E. Alcorn and Lisa Porter—both women; one Black, one White—offer tools and practices to help build anti-racist stage managers.

Nisha Sajnani, a drama therapist and educator, offers a few tips to other theatre educators who may be feeling overwhelmed about the prospect of teaching online or in person again this fall.

Kamala Sankaram talks about the process of developing an opera on Zoom and shares advice based on what she and her team learned.

Kate Brennan and Kristen Cerelli argue that the education system needs to be radically restructured for fall 2020 and offer suggestions for how to go about this, including discounting tuition and accepting more students.

Genevieve Beller argues that the current forced pause on society provides a rare opportunity for theatres to take stock, inventory priorities, and enact positive and lasting change, and she provides tangible steps to do so.

Kaja Dunn reflects on how quickly the world turned upside down with COVID-19 and offers a simple idea before rushing into to creating new work: take a breath and allow for a moment to process all that is happening.

Tiffany Vega-Gibson shares information she gleaned from seven theatre companies around the United State about how to best work with young artists who may be struggling in their personal lives.

David Valdes talks about Boston Conservatory at Berklee’s work to shift their theatre department into a more truly equitable program, why using the right language matters in the process, and tips for individuals and institutions looking to be actively inclusive.

Nan Barnett, National New Play Network’s executive director, talks about the organization’s twenty-year evolution; the realization that, as a governing body, they were “really, really white”; and their commitment to turning the organization into a replicable model of a diverse and inclusive ecosystem.

Early career arts manager Al Heartley speaks with Jennifer Bielstein, executive director of American Conservatory Theater, about active listening, how to balance focusing on the details with looking at the bigger pictures, management values, and more.

Rachel Spencer Hewitt, founder of the Parent Artist Advocacy League (PAAL), talks about putting PAAL’s handbook of best practices for parent support into action in collaboration with New York City’s the Playwrights Realm.

Nicole Brewer talks about the term “child friendly,” reconstructing the issue of parent support as an issue of race and racism, supporting parent-artists with an anti-racist lens, and more.

Amelia Parenteau speaks with Lauren E. Turner about racialized trauma in American theatre, Lauren’s experience with it, and healing.

Part II of the conversation between Michael J. Bobbitt, the recently appointed artistic director of Boston’s New Repertory Theatre, and Raymond Caldwell, the new leader of Washington’s Theater Alliance, who talk about post-show conversations and self-care.

Eric Marlin reflects on theatre’s ephemerality, connecting the notion to capitalism, technology, legacies, and more.

Amy Steiger reflects on some of the classic acting texts—which are overwhelmingly written by cis white men and use colonialist, binary, and patriarchal language and narratives—and how teachers should be approaching them today.

Kitty Drexel and Regina Victor, both artists and critics, talk about working through biases, accountability, transparency, and more.

Alex Ates reflects on the Toddler Takeover at Atlanta, Georgia’s Alliance Theatre and shares what the growing field of theatre for the very young can teach adult theatremakers about their craft.

John Meredith and M Sloth Levine, of StageSource’s Gender Explosion Initiative, discuss ways theatremakers can dismantle stigmas against trans people and continue creating an inclusive theatre scene.

Professor Christin Essin talks about problematic staging of gendered violence at a production she recently brought her students to and the importance of content warnings and taking care of survivors in theatrical works.

Danielle Rosvally looks at the importance of theatre criticism, explores the idea that everyone’s a critic, and talks about the parking lot rule.