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.

Donny Repsher talks about a new permutation of American racism he calls “woke supremacy,” race and the institution, white fragility, and more.

Playwright Aleshea Harris reflects on the tensions of being a Black theatremaker and "negotiating bodily presence" in a speech at the 2020 Under the Radar Festival Professional Symposium.

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.

Melisa Pereyra talks about how suffering goes hand in hand with being a woman of color actor, how trauma is held in the body, and how audiences react when stories lack grief.

Nicole Brewer examines a prominent racist policy in theatre—when plays written by people of color are staged by white directors—through the lens of actors, theatregoers, and playwrights themselves.

Playwright Pearl Cleage reflects on the power of truth-telling to find common ground and discusses how Alliance Theatre in Atlanta, GA is working to confront the legacy of Southern racism.