Diversity, Equity, and Inclusion

One year into organizing, the Committee of the Jubilee reports out on progress, answers common questions, and re-extends an invitation to the American Theatre to join the year-long nationwide festival of 2020.

Ricky Young-Howze writes about one of the simplest ways staff members can make the theatre an accessible and welcoming environment to people of all abilities.

In this installment of the Triple Play series, Artistic Director Torange Yeghiazarian shares Golden Thread Productions' process for creating space for conversations with artists and audiences both about identity in and representation of the Middle East.

Director Lavina Jadhwani shares her experience as an Asian American director, advocating the need for more spaces and opportunities for Asian American theatre artists to collaborate together. 

In this #IdentityWeek blog, Erica Nagel of the McCarter Theatre discusses how, and why, they’ve made Relaxed Performances part of their equity, diversity, and inclusion work. 

Kicking off #IdentityWeek, Playwright Larissa FastHorse discusses workshopping her play What Would Crazy Horse Do? at Santa Clara University, and advocates the playwright’s voice in casting choices. 

Catherine M. Young on Théâtre des Bouffes du Nord’s production of Molière and Lully’s Le Bourgeois Gentilhomme, directed by Denis Podalydès’at the Lincoln Center Festival in New York.

Students at Ramapo College interview eight of the playwrights on the 2015 Kilroys list for a Contemporary Women Playwrights course.

Educator and director Luanne Davis Haggerty directs a musical with a Deaf and hearing cast and considers how the rehearsal room creates and reveals forms of Deaf leadership.

Playwright Zoe Kamil writes about casting a play of hers, and the difficult conversations that arose because she didn’t specify the race of certain characters.

Renée Camus reports on this summer’s Song, Stage, and Screen Conference in New York City.

Playwright Cherry Lou Sy discusses Vineyard Theatre’s production of Indecent, reflecting on the culture of fear and the queer artists who have influenced her.

Dramaturg and Physicist Lina Pulgarin-Duque shares her experience working with Attack Theatre, and their approach to teaching science and math to young students in Pittsburgh, PA.

Caitlin Crombleholme discusses diversity at the 2016 Tony Awards, taking a look at Broadway’s 2016-17 Season and reflecting on August Wilson’s “The Ground on Which I Stand.”

Daniel Kelin describes the process of working on a play with a multi-racial and -ethnic ensemble playing characters from many different backgrounds.

The American Conservatory Theater with Wellesley Centers for Women present findings on a three-year study on the gender equity of leadership opportunities in the nonprofit American theater.

Following a series of casting controversies in Chicago, Tlaloc Rivas offers counsel and perspective to Latinx actors while calling out theatres that practice whitewashing.

Matt DiCintio explores the orientalism in Ringling Bros. and Barnum & Bailey Circus.

Carlos Morton questions whether Hamilton should be considered a piece of Latina/o theatre.