Diversity, Equity, and Inclusion

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.

HowlRound announces the four selected convening proposals for the HowlRound Challenge, a new initiative to incubate ideas and seed action to make a better theatre and a better world.

Director and educator Luane Davis Haggerty reflects on how prioritizing movement as a form of communication encouraged diversity and intersectionality in her New York City summer classroom. 

Playwright Kirsten Greenidge and her family travel to feminist historical landmarks around New England.

Clarie Glubiak talks with several theatre companies at the forefront of the inclusive theatre industry asking about sustainability.

North Carolina based theatremaker Katy Koop reflects on the impact of the Women’s Theatre Festival on Raleigh’s theatre community since its launch in 2016.  

Chantal Bilodeau kicks off this week's series on Theatre in the Age of Climate Change, and argues that we as a theatre community need to recognize when our practices and systems are detrimental to the earth and other people, and strive to change them.

Brett Aresco discusses Radical Evolution's New York City production of Loving and Loving, inspired by the famous 1967 Loving v. Virginia case. 

Viviana Vargas compares West Side Story and La Carreta by looking at the history of Puerto Ricans migrating to New York to better understand an example of cultural appropriation in the arts, its effects, its telltale signs, and some lessons for the future.

Theatre practitioner and educator Sophia Skiles interrogates unconsciously artificial and increasingly antiquated casting practices and urges understanding of casting practices that advance equity, inclusion, and access.

Aaron Sawyer and Terri Hudson reflect on what they learned from the Access Auditions, and offer tangible steps theatres can take to become more accessible to performers who are d/Deaf and disabled.

A conversation between Judith Smith and John Killacky with resources and tips at the Americans for the Arts 2017 Annual Conference, Friday June 16, 2017.

Abigail Vega writes about the process for choosing shows for the 2017 Encuentro de las Américas festival. / Abigail Vega escribe sobre el proceso de selección de obras para el festival Encuentro de las Américas 2017.

Samantha Mueller, a theatre practitioner who works with the special needs community, talks about Seesaw Theatre which creates multi-sensory work for children with autism.