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.

Charlie Peters, who has spent the early days of the pandemic thinking about and experimenting with how physical comedy can (and can’t) live online, shares what he’s learned.

Elsa Hiltner discusses equity issues for designers in the theatre industry and offers tips for how artists can work together to change the system.

Irina Kruzhilina discusses the importance of visuals as a means of expression in politically and socially engaged theatre.

James Montaño discusses The Donkey Show, cross-gendered performances vs. drag, camp as an aesthetic concept, and more.

Shari Caplan discusses Opera del West’s recent production of Cendrillon at the Boston Center for the Arts.

David Z. Saltz—director, installation artist, and teacher of digital performance—talks about the early days of digital media in theatre and the six main roles it plays in live performance.

Mallory Kay Nelson and Michael Maag talk about the low number of full-time designers working in theatre; the realities of costume, lighting, and projection design as a disabled artist; and how delegation is a skill they’ve both had to master.

Talleri A. McRae and Mickey Rowe, co-founders of the National Disability Theatre, introduce their series “The Future of Theatre is Accessible,” talk about some key takeaways from the upcoming articles, and discuss how language is a barrier to inclusion.

D.R. Baker examines some of the realities of artists working in the American theatre and explores how empathy can be harnessed to make the industry a more positive place to work.

Daniel Jackson talks about creating an interactive DIY lighting system—that the audience partially controlled—for a recent production that took place almost entirely in the dark.

Gaven Trinidad examines the recent exhibition Dance We Must: Treasures from Jacob’s Pillow and wrestles with cultural appropriation vs. cultural appreciation when it comes to costume design throughout history.

Porsche McGovern wraps up Phase Four of her research on the gender of LORT theatre designers.

Porsche McGovern shares phase four of her research on the gender of LORT theatre designers.

For the fourth year, Porsche McGovern shares her research on the gender of LORT theatre designers. In this second installment of this essay, Porsche focuses on region.

For the fourth year, Porsche McGovern shares her research on the gender of LORT theatre designers. 

Costume designer Valerie St. Pierre Smith explores the major issue of cultural appropriation in costume and fashion design, touching on every aspect of the production process, from research to execution.