Diversity, Equity, and Inclusion

Jonathan Mandell looks at several current plays that depict violence by or against African Americans, including LeKethia Dalcoe's A Small Oak Tree Runs Red, Gabriel Jason Dean's Terminus, and Althea Harris's Is God Is.

Kaite O’Reilly considers how Richard III has been portrayed on stage, the alignment of atypical embodiment with evil and suffering, and her inspiration with The Llanarth Group to create a new staging of Richard III.

Playwright David Valdes discusses the importance of writing more diverse and intersectional characters, and reflects on the conundrum of “color conscious” casting.

Matt DiCintio describes a tactic for playwrights who wish to oppose white dominance and to challenge the prevailing assumption within US theatre culture that a playscript's characters are white by default.

Jonathan Mandell reports on the accessibility panel at BroadwayCon, which explained the forthcoming changes aiming toward a future theatre seamlessly accessible for everyone, all the time.

Cassidy Dawn Graves writes about Thomas Ostermeier’s production of Richard III and questions why we still see able-bodied actors playing characters with disabilities.

Jonathan Mandell reports on the Martin Segal Theatre Center's 2018 Theatre and Resistance Symposium, and lists ten things theatre community can do right now to make a change.

Sam Ethan Rubin writes about being an actor on the autism spectrum.

Carla Della Gatta and Marci R. McMahon look back on the 2017 Encuentro de las Américas International Theatre Festival that took place 2-12 November at the Latino Theatre Center in Los Angeles, California.

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.