Diversity, Equity, and Inclusion

LA arts administrator David Mack explores the topic of labor law, proposing that complying with it will help create and sustain a more equitable theatre community—both in his city and across the country.

Playwright Michelle Tyrene Johnson and director Claire Syler discuss their collaboration on The Green Duck Lounge, a play that delves into Kansas City, Missouri’s civil rights history.

Elana Gartner, founding co-chair of the International Centre for Women Playwrights 50/50 Applause Award, interviews Chilean playwright Sally Campusano about women in theatre in her home country.

Robert Goodwin and Mary Kathryn Nagle discuss decolonizing Western theatre, linear narrative structures, the historic silencing of underrepresented voices, Shakespeare, and more.

Annalisa Dias and Madeline Sayet introduce the Decolonizing Theatre series by exploring the ways the American theatre has been and still is complicit in the legacy of colonialism.

Mihaela Drăgan interviews Sandra and Simonida Selimovic of Mindj Panther about their show Roma Armee, and the activist work they are doing in Austria to fight against Roma oppression.

Jose Solís explores R.Evolución Latina’s production To Be or Not to Be, the culminating project of the company’s spring 2018 workshop, which brought Latinx artists from all over to New York to create a piece based on Shakespeare’s texts.

Founder and executive artistic director of Dallas’s Bishop Arts Theatre Center Teresa Coleman Wash looks at the realities of running a theatre company as a woman of color.

Rachel Bykowski speaks up about body-shaming in the theatre industry, and its effect on students in collegiate programs.

Emily White writes about Rebeccah Simone Bogue’s Piece by Piece, which was presented as a work in progress in New York City in February 2018.

Artistic Director Shawn Whitsell talks about the importance of Nashville, Tennessee's black theatre community.

Audra Almond-Harvey, executive director of abrasiveMedia, explores Nashville, Tennessee’s evolution as a city since the flood of 2010.

Elana Gartner, founding co-chair of the International Centre for Women Playwrights 50/50 Applause Award, interviews Rebecca Burton, co-founder of Equity in Theatre at the Playwrights Guild of Canada, about gender parity for women playwrights in Canada.

Ana Dinger explores theatre as a “place of listening” through the work of Mónica Calle and Rui Catalão.

Gab Cody reflects on the birth of The Monologue Project, an initiative that started in Pittsburgh, USA and Dallas, USA to increase the canon of audition-length monologues for women of African Descent.

Arts educator Hannah Sachs talks about how introducing Theatre of the Oppressed to her students in the Czech Republic helped address xenophobia in the classroom, and slowly began to change the culture of the school for the better.

Holly Derr discusses the dramaturgical implications of playwright Mary Kathryn Nagle changing one of her characters to a woman in her newest play Manahatta, which premiered at Oregon Shakespeare Festival in March 2018.

Kitty Drexel writes about the failure of Andrew Lloyd Webber's Love Never Dies to accurately represent the performers with disabilities that made New York City's Coney Island famous.