Diversity, Equity, and Inclusion

Maria Patrice Amon describes how she developed and produced San Diego Repertory Theatre’s first Latinx New Play Festival. 

Laura Shamas reports on the successes and challenges of launching the year-long social media campaign #52PlaysbyWomen.

Jack Reuler discusses nearly two decades of incorporating work about, for, or with people with disabilities or on issues of disability at Mixed Blood Theatre.

Adriana Gaviria speaks on how entertainment industry unions and institutions in the US can step up to better advocate for parent artists.

Performer Stephanie Hayes reflects on how motherhood helped her reinvent her relationship to her own creativity.

Continuing the series on parent-artists, Ineke Ceder and Catherine Mueller Melwani discuss how research can play a role in creating a bridge between the parent-artist experiencing isolation and the solutions recommended for equity and parity.

Stage manager Carmelita Becnel reflects on the need to support mothers, women of color, and stage managers as creative collaborators in the rehearsal room.

Devon Berkshire lays out some tangible steps for decision-makers on creating a more family-friendly work environment.

Rachel Spencer Hewitt, PAAL founder, kicks off the parent advocacy in the arts series with an overview of the history of PAAL and a rationale for family-friendly practices in the theatre.

Christine Wright, member of the Northeast Ohio community theatre community, analyzes gender parity in recent Northeast Ohio community theatre seasons.

Asif Majid addresses some of the flaws in minority development programs and suggests some tips for how to improve such programs.

Noe Montez discusses Indiana University’s recent decision to discontinue the PhD in Theatre and Drama program, and discusses the need for public institutions to advocate for the futures of their doctoral students.

What is being taught in playwriting classes on college campuses? Les Hunter compiled data from thirty syllabi from college classes to find out and compared the results to playwriting pedagogy in the field.

Playwright and actor Tim Collingwood reflects on the workshop production of his play Depth Perception, a piece based on his experiences with Aspergers, and why he thinks the theatre can be a safe space for people of all abilities.

Talya Kingston reports on the BIRTH project, a UK-based initiative that features plays about reproductive justice written by an international group of women.

Olga Sanchez reflects on Day Four of the Encuentro de las Américas International Convening on 12 November, 2017 in Los Angeles, California.

Movement director and professor Yo-El Cassell reflects on how movement should help people access playfulness and joy, regardless of ability.  

What are female acting students learning in the classroom? Educator and director Katherine McGerr discusses how gender parity in theatre starts in the classroom.

Dragon Lady, written and performed by Sara Porkalob, brings bring race, female stories, and intersectionality into the American theatre conversation.

Playwright Lisa Biggs and director Kristin Horton discuss the process of developing After/Life, a new play about the 1967 Rebellion in Detroit, Michigan with Detroit community members.

Following the success of The Wolves, Helen Schultz looks at why are there so few dramas about teenage girls on stage and compiles a short list of plays about teenage girls by women playwrights.