Climate Emergency

Annalisa Dias discusses her work with the newly formed Groundwater Arts Collective, and suggests ways that other theatremakers committed to climate justice can adopt the framework of a Just Transition.

Ashley Teague discusses how Notch Theatre Company is using community-led theatre and storytelling to help fight to protect public land. 

Lani Fu introduces the Climate Commons, an initiative that emerged from the Theatre in the Age of Climate Change convening in June 2018. 

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

Playwright MJ Halberstadt reports on Theatre of the Age of Climate Change convening, which took place 8-10 June 2018 in Boston, MA. 

Associate Producer Ramona Ostrowski and Fellow JD Stokely reflect on how HowlRound made the Theatre in the Age of Climate Change Convening on 8-10 June 2018 our greenest convening yet.

Alison Weller reflects on the process of writing Boundless, a play about a fishing community on Cape Cod that faces climate change every day.

American Studies scholar and educator Nassim Winnie Balestrini reports on how Climate Change Theatre Action relates to her seminar on cultural studies at the University of Graz in Austria.

Peterson Toscano describes his solo show Everything is Connected, which tackles religion, LGBTQ issues, privilege, and climate change.

Aysan Celik talks about the ways she’s found laughter to be a catalyst for honest conversations with her students about Climate Change.

Chantal Bilodeau kicks off this week’s series on Theatre in the Age of Climate Change by suggesting that women in the arts may be our planet’s best bet for survival.

Jonathan Mandell reports on the Martin Segal Theatre Center's 2018 Theatre and Resistance Symposium, and lists ten things theatre community can do right now to make a change.

Holly Derr interrogates green(drama)turgy at Oregon Shakespeare Festival and how stories can be used to reconnect people to their physical world.

HowlRound announces the four selected convening proposals for the HowlRound Challenge, a new initiative to incubate ideas and seed action to make a better theatre and a better world.

Canadian playwright Colleen Murphy writes about the importance of including Indigenous characters in plays and Indigenous artists in the process of making them.

While researching and developing his musical The Rising Sea, playwright Eric Schorr reflects on the parallels between the historical narrative of slavery and the modern narrative of climate change.

In the third installment of this series, Australian playwright David Finnigan discusses how he navigated the attacks of climate deniers on his provocatively titled play.