Donny Repsher argues that racial justice needs a new inclusion paradigm and offers a proposal for predominantly white arts institutions and their white leadership to reflect on this historic opportunity to finally pursue real and lasting change.

Amanda Spooner talks about launching Year of the Stage Manager 2020, a grassroots endeavor meant to make visible those who continually operate in the background, and how the movement shifted after the pandemic hit and with the murder of George Floyd.

Ali-Reza Mirsajadi talks about struggles for Middle Eastern and North African (MENA) artists in the American theatre community and details some of the changes that are happening for inclusivity and equity.

Michelle Souza looks at how costume designers and educators can dismantle the status quo of Western-focused, chronological teaching of historical garments and move toward a pedagogy that acknowledges and honors diversity, intersectionality, and globalism.

Madeline Sayet argues that promoting Shakespeare as the best writer of all time is a dangerous and white supremacist viewpoint, and she believes it’s time to interrogate the Bard’s placecent as the pinnacle of theatrical achievement.

Holly Derr interviews Lavina Jadhwani about the document she created called Dismantling Anti-Black Linguistic Racism in Theatre, which offers several examples of potentially anti-Black language, such as Ethiopian, master, and minstrel; their use in Shakespeare; why they might be problematic; and possible substitutions.

While global protests have amplified calls for defunding the police, Chelsea Whitaker shares thoughts on how theatre needs to end its own policing of Blackness as well.

David Valdes shares the main excuses theatres give when not programming shows created by and with BIPOC artists, how moving to online theatre offers new opportunities, and what the benefits are of making change.

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.

Betty Shamieh offers a response to the “We See You, White American Theater” open letter as a non-Black American of color.

Todd London reflects on why and how we gather, and looks at the canons-in-the-making of four African American playwrights—Jackie Sibblies Drury, Aleshea Harris, Anna Deavere Smith, and Dael Orlandersmith—for how they serve as a map for this moment of revision.

Al Heartley and Kelvin Dinkins, Jr., Black theatre managers who work in predominantly white American theatres, respond to the recent “solidarity” statements posted by theatres across the country after George Floyd was killed.

Ann C. James reflects on the quickly growing field of intimacy direction, arguing that it is vital for the leadership to include people of color so that stories centering on racialized sexual trauma and non-white romantic intimacy can be told in the most truthful ways.