Diversity, Equity, and Inclusion

Esther Fernández discusses how the emerging field of transnational studies is illuminating when it comes to early modern Hispanic theatre and uses productions of Sor Juana’s The House of Desires to dive into the topic.

Performance artist Hanna Cormick talks about how she uses her body as a metaphor for the damage humans do to the earth, and calls for a more sustainable relationship to our bodies and nature.

Playwright Herbert Sigüenza talks to seven of his Latinx playwriting friends about how they’ve been affected by COVID-19, writing during this time, the future of Latinx theatre in the United States, and more.

Roxanne Schroeder-Arce talks about Dallas Children’s Theater’s production of ANDI BOI and the importance of seeing trans stories in theatre for young audiences.

AJ Schwartz responds to Will Wilhelm’s recent HowlRound piece about trans inclusivity in theatre casting, arguing that, while that’s important, theatre companies have to go a lot further.

Ann C. James reflects on the quickly growing field of intimacy direction, arguing that it is vital for the leadership to include people of color so that stories centering on racialized sexual trauma and non-white romantic intimacy can be told in the most truthful ways.

Jonathan McCrory talks about the JUBILEE’s initiative of spotlighting “cultural architects”—theatre organizations that have been producing work of historically marginalized voices for years, before it was a “trendy” thing to do.

Through the lens of developing his show Gasping Whiteness, Will MacAdams talks about the value of creating theatre in partnership with community organizers.

Will Wilhelm argues that trans* actors are particularly skilled at performing gender and questions why it is so rare to see them perform on large stages.

Aley O’Mara discusses Will Davis’s production of Everybody at the Shakespeare Theatre Company in Washington, DC.

Donny Repsher talks about a new permutation of American racism he calls “woke supremacy,” race and the institution, white fragility, and more.

David Valdes talks about Boston Conservatory at Berklee’s work to shift their theatre department into a more truly equitable program, why using the right language matters in the process, and tips for individuals and institutions looking to be actively inclusive.

Nan Barnett, National New Play Network’s executive director, talks about the organization’s twenty-year evolution; the realization that, as a governing body, they were “really, really white”; and their commitment to turning the organization into a replicable model of a diverse and inclusive ecosystem.

In part two of their conversation, Vera Starbard and Pearl Cleage—playwrights-in-residence at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—talk about different cultural practices, the white gaze, moving away from anger, and more.

In part one of their conversation, playwrights Vera Starbard and Pearl Cleage talk about their respective residencies—at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—race and representation at their institutions, not writing for a white audience, and more.

Loren Noveck discusses the Oregon Shakespeare Festival’s Play On! project, which commissioned thirty-six playwrights to translate the entire corpus of Shakespeare into contemporary modern English.

Armando Huipe, new Latinx Theatre Commons producer, announces the next four years of programming which include the Creative Renewal Retreat, a Comedy Carnaval, and furthering the internal work of anti-oppression, coalition building, and combating colorism.