Community-Engaged Theatre

Latinx theatremakers Jorge Piña and Christin Eve Cato sit down for a conversation about their paths through the theatre field and their advice for future generations looking to sustain this work while caring for themselves and each other.

Jan Cohen-Cruz delves into the process of bringing The Most Beautiful Home… Maybe, a multi-city project that aims to use art to influence how people think about housing, to Pennsylvania’s Lehigh Valley. Through this process, Jan saw how theatre can bring together housing advocates from different walks of life to find their commonalities and collectively imagine a world with equitable housing for all.

Alberto Justiniano and Milta Ortiz, artistic leaders at Teatro del Pueblo and Borderlands Theater, respectively, have to balance organizational leadership and prioritizing their art. They discuss this work and the ways they engage their Latine communities while providing them with avenues to reflect on social justice issues. 

When Ty Defoe and Larissa FastHorse’s For the People premiered at the Guthrie Theater this fall, it became the theatre’s first mainstage production by Indigenous authors. Robert Hubbard reviews the play, lauding its comedy, spectacle, and commitment to the Native community of the Twin Cities.

Applied theatre scholars and practitioners Jennifer Schaupp and Dr. Felicia Owusu-Ansah discuss the empowering potential of Theatre of the Oppressed, and how Felicia has been able to utilize it in Ghana and other places around the world.

Spurred on by the National Theatre production of James Graham’s Dear England, verity healey discusses the notion that theatre in the United Kingdom might have a few things to learn from football.

Eseovwe Emakunu and Dennis U. Obire, co-founders of the Shanty Theatre, chronicle their work in the Adagbabiri Community in Bayelsa State, which is one of the most educationally deprived states in Nigeria. Using a theatre for development model, the group worked with local children to create a performance that demonstrated the importance of education in the social development of a community and nation.

Robert Hubbard reviews Larissa FastHorse’s Wicoun, a transformative story of a teen finding power through gender and cultural identity—with the support of some Lakota superheroes.

Genevieve Schroder-Arce discusses her experience attending—and co-creating—Teatro Vivo’s Las Pastorela 2022, which invited audience members to construct the piece and perform it for one another as a way of modeling collaboration among community members.

Artist, facilitator, and cultural innovator Nikki Shaffeeullah kicks off this series by sharing her journey to creating Undercurrent Creations, a Toronto-based arts organization, and Parallel Tracks, a gathering of BIPOC artists that offers training in visioning, producing, and facilitating community arts projects.

Yaşam Özlem Gülseven interviews Mikheil Charkviani about his work on Exodus, a production that traded grand historical narratives for granular perspectives on the impact of war in Georgia. Their interview, like the production, hinges on an important question: how do we learn to live with the past?