Annalisa Dias and Ronee Penoi, on behalf of Groundwater Arts, argue that there cannot be a just arts sector within an unjust world, and that contrary to what people think, arts workers do have the means and the agency to make change. What is needed is a new narrative.

Vijay Mathew asks, and then offers ideas to approach, the question: "How will the performing arts field contribute to climate justice during the sixth mass extinction?"

Elsa Hiltner examines the value of pay equity in the theatre through a fresh lens: how it benefits companies.

As artists and companies re-examine the failures of their infrastructures and unconscious biases, Emily C. A. Snyder argues that the lessons learned and challenges faced so far within the field of intimacy direction may be of particular value.

Isaac Mafuel shares a recent debate had amongst theatremakers in Malawi about how to best price shows, considering both that low prices are a way of coping with the circumstances of their economy and that art should claim its value.

Blair Cadden explores how immersive theatre can adopt BDSM practices—including negotiations, safewords, and aftercare—to create safer experiences for both actors and audience members.

In this last installment of the Beyond the Western Canon series, Sadie Berlin questions how marginalized voices are represented on stage and calls for more experimental work by artists of color on Canadian stages.

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.

Clare Hennessy discusses the challenges of developing a play that sheds light on eating disorders—depicting them accurately, avoiding triggers—and offers suggestions for other writers in a similar position.

Amelia Parenteau speaks with Lauren E. Turner about racialized trauma in American theatre, Lauren’s experience with it, and healing.

Brídín Clements talks about the accessibility of educational and professional programs, like internships, in theatre administration.

Choreographer Malik Nashad Sharpe and film & TV director Liza Johnson talk gravity, abstraction and risk, ethics, and more.

Amy Steiger reflects on some of the classic acting texts—which are overwhelmingly written by cis white men and use colonialist, binary, and patriarchal language and narratives—and how teachers should be approaching them today.

Kitty Drexel and Regina Victor, both artists and critics, talk about working through biases, accountability, transparency, and more.

Karen Malpede argues that significant theatrical engagement with the climate crisis cannot occur in the United States without governmental intervention, and looks at the Federal Theatre Project as a model.

Holly L. Derr looks at the history of the Method, where it deviates from Stanislavsky’s System, and the connection between the Method and the behavior called out by #MeToo.

Carl(os) Roa offers thoughts on how organizations can create healthier workspaces, weaving in ideas from artists at Philadelphia Young Playwrights and Applied Mechanics.

Within the context of the new emergency climate change deadline of 2030, Vijay Mathew encourages the nonprofit arts sector to completely divest from fossil fuels by no longer using air travel for conferences, shows, or any other programming while offering models and solutions to help our thinking about transitioning to a post-carbon arts future.