Diversity, Equity, and Inclusion

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.

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.