Community-Engaged Theatre

Maine artist Jennie Hahn explores environmental stewardship in Maine’s Penobscot River Watershed with the performance project IN KINSHIP and shares her three guiding principles for making art in a time of climate change.

In the second installment of this series, Lanxing Fu discusses The Living Stage NYC, an intergenerational collaboration between Superhero Clubhouse and the community of Meltzer Towers.

Ash Marinaccio shares her experience working with seniors through a four-month residency with the Queens Theatre in New York City.

Gavin Damore shares about Artists From Surburbia, a theatre initiative on the south shore of Massachusetts.

Finally, we would like to present the sole representatives of community theatre in Hungary: Koma Base, who took up a very important role in the life of a community in the outskirts of Budapest. / Végül a Koma Bázist szeretnénk bemutatni, a közösségi színház egyetlen képviselőit ma Magyarországon, akik nagyon fontos szerepet vállaltak magukra egy budapesti, külvárosi közöség életében.

Lojo Simon writes about creating a reading and conversation series for her community.

Actor Elizabeth Willow writes about how Rumble Theatre’s Living Room program has helped her find community and inspiration among other artists in Vancouver, Canada.

Playwright Tiffany Antone discusses Little Black Dress INK’s “We’re Not Playing” initiative, advocating the need for theatrical protest for social change.

Cherry Lou Sy reports on the first day of 2016 NOW AFRICA Playwrights Festival, which included a panel discussion and performances addressing connection across the African Diaspora.

Matt Błażejewski discusses the Me Too Monologues and its impact as a community-based theatre project that spreads awareness of mental health issues to college students.

Sean Daniels writes about the successes and challenges of his first year as Artisitic Director of Merrimack Repertory Theatre. 

Director Marc David Pinate discusses his process for Barrio Stories, reflecting on how the production is an example of sacred theatre.

Playwright Carlos Murillo writes about how he and Adventure Stage Artistic Director Tom Arvetis created an original play for and about the young people of Chicago’s West Town neighborhood.

Isaac Gomez, Director of New Play Development at Victory Gardens, shares the engagement programs around their production of Marcus Gardley’s The House That Will Not Stand.

Artistic Director Joan Lipkin discusses the inspiration and process for “Dance the Vote,” a voting registration campaign in St. Louis, Missouri that included performances by local artists. 

Andrew Jacobs discusses his senior theatre project in college, sharing his observations about what it means to create and maintain a socially responsible theatre on a local level. 

Lauren Smith discusses Westgate Music, a local music store in Missouri, and offers tips for how theatres can engage with their audiences.

Abraham Benson-Goldberg writes about how theatres can be better at attracting young audiences, based on his experiences in Seattle, WA and Tel Aviv, Israel.

In this second installment, Milta Ortiz discusses her role as the project’s coordinator, and overviews the production process of Barrio Stories.

verity healey on Cardboard Citizens’ Meta in London, England, and theatre for social change.