Sharanya shares her thoughts on restaging gendered violence, including how the representation of sexual violence has the power to be scripted and also to script, the importance of de-spectacling violence, and more.

Charlene V. Smith talks about asking hard questions around the interpretation of early modern English classics, Brave Spirits Theatre’s production of The Changeling, and five tips for dealing with sexual assault in art responsibly.

Emer McHugh and Jess R. Pfeffer discuss Hamlet’s nunnery scene, how gendered violence onstage is often about the perpetrator’s character development, problematic assaults on TV, and more.

Rebecca Benzie Fraser uses Her Naked Skin as an example in the exploration of the different decisions made when it comes to staging violence by women and staging violence against women.

Nora J. Williams launches the staging gendered violence series, talks about the importance of creating responsible cultural representations of assault, and introduces the contributors of the series.

Catherine M. Young discusses the recent Broadway production of Oklahoma!, which she believes, despite inclusive casting and adventurous aesthetics, asks audiences to pay more attention to white men than anyone else.

Roxanna Myhrum looks at the history of the iconic puppet show Punch and Judy and Sarah Nolen’s feminist adaptation of it, Judy Save the Day.

Howard Shalwitz, Karen Houppert, and Yury Urnov reflect on the productions they saw at this year’s Golden Mask Theatre Festival in Moscow, Russia.

Toronto performers Maev Beaty and Bahia Watson discuss being women in theatre, covering everything from the differences between male-led rooms and female-led ones, being a pawn in a director’s work, creating safe environments, and more.

Playwright and performer Rhiannon Collett examines the queer theatre landscape in Toronto.

Owais Lightwala talks about how Toronto’s Why Not Theatre grew from a scrappy startup to an institution in their own right—which came with a greater responsibility to tackle some of Toronto theatres’s biggest challenges: space, childcare, and diversity.

Chantal Bilodeau examines data from the Climate Change Theatre Action initiative, which she runs, to better understand how racial and gender bias plays out in the theatre world.

Arman Heljic uses the play Roma Armee to discuss how European Roma are rejecting their colonial legacy and reclaiming their narrative.

Nitsan Scharf argues that while cis playwrights are more than welcome to write trans narratives in their plays, they must put in the work necessary to write multidimensional trans characters.

Lydia Milman Schmidt, founder of the advocacy group Parents in Chicago Theatre, looks at the progressive policies Rivendell Theatre Ensemble has in place when it comes to working with parent artists on production.

Jenifer Schmidt examines Heidi Schreck’s new solo play that speaks to women’s political, cultural, and social history in the United States.

Porsche McGovern wraps up Phase Four of her research on the gender of LORT theatre designers.

Porsche McGovern shares phase four of her research on the gender of LORT theatre designers.