Diversity, Equity, and Inclusion

Eseovwe Emakunu sits down with theatre practitioner Israel Wekpe to discuss how he and other Nigerian theatre artists use theatre to address racism and discrimination.

From the “Gentleman Freak” to the “Rage-Filled Recluse,” simplistic tropes limit popular representation of disabled individuals. Ben Ranaan explains these tropes and advocates for more complex portrayals of disability in theatre and other media.

Sean San José, artistic director of Magic Theatre, and Margo Hall, artistic director of the Lorraine Hansberry theatre discuss stepping into their positions as artistic directors and reflect on their work together as two of the co-founders of Campo Santo Theatre.

Ryan Ferrebee discusses the disadvantages of theatres attempting to balance fiscal responsibility with anti-racism work from his perspective as a white fundraising professional.

Playwright, author, screenwriter, and actor Betty Shamieh discusses her experience navigating the complexities of new motherhood as a woman in the theatre industry.

Jackson Cooper calls on fundraising professionals to reinterrogate their institutions’ relationships with wealth and value to forge more equitable development practices.

Glenn Davis, co-artistic director of Steppenwolf Theatre Company, sits down with Ken-Matt Martin, artistic director of Victory Gardens Theater, to talk about shifting relationships with donors, the concept of term limits for leadership, the joys of returning to rehearsal rooms, and their shared experiences as Black men at the helm of Chicago theatres.

Actress and diversity, equity, and inclusion consultant Tania Richard gets candid about her experience having long-haul COVID as a theatremaker and offers tips on how to create more inclusive and equitable rehearsal spaces.

Brooke Ishibashi, performer and co-founder of Be An #ArtsHero, shares her experiences organizing with and advocating for arts workers during the COVID-19 global pandemic.

Rika Iino and Marc Bamuthi Joseph talk about the way trust and transparency have shown up in their work, both individually and as a duo, and how theatre practitioners and organizations can use those elements to work towards a more equitable future.

Miranda Wright discusses the vitality of supporting new work development in the field and shares learnings from her experiences doing so as the founder of Los Angeles Performance Practice (LAPP) and the Live Arts Exchange (LAX) Festival.

Carlos Diaz Stoop shares the impact of mentorship on his career as an arts administrator, educator, and independent producer and explains how the Creative Independent Producer’s Alliance (CIPA) and the International Creative Producers (ICP) are creating organizational environments that encourage co-learning and collective decision-making.

Regina Victor paints a picture of a future for the theatre industry with cultural strategy at the center.