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.

Kate Busselle talks about the invisible emotional labor inherent to teaching theatre and how, while leading a six-week summer intensive, she was able to establish professional boundaries and delegate some of the labor.

Linnea Valdivia discusses the weight of reviews in theatre, the failure in arts journalism to approach queer stories with respect and empathy, how a critic should react if they misgender an artist, and more.

Introducing the second installment of the Parent-Artist Advocacy series, Sally Lobel talks about how the parent-artist community and the disability community have the potential to be excellent accomplices and allies.

James Montaño discusses The Donkey Show, cross-gendered performances vs. drag, camp as an aesthetic concept, and more.

Marshall Botvinick shares the results of the research he undertook about new plays premiering across the United States in the 2019–20 season: who is being produced, what characters are appearing on stage, and what forms and themes are common.

Sam Williams dives into several of the productions at Finland’s Tampere Theatre Festival, which ran between August 5 and 11 and which was curated based on the theme of bravery.

Linda Parris Bailey and Diane Rodriguez talk about their own leadership transitions and what’s next, gender, race, and economic barriers; documenting work; and more.

Melisa Pereyra talks about how suffering goes hand in hand with being a woman of color actor, how trauma is held in the body, and how audiences react when stories lack grief.

Aley O’Mara reflects on Daniel Winder’s Hamlet and speaks to the lead—trans actor Jenet Le Lacheur—about the titular character in this production being nonbinary and transfeminine.

Juan Recondo looks at Luis Alfaro’s reimaging of Euripides’s Medea, in which the title character is a Mexican undocumented immigrant who arrived in New York after facing the horrors of the border.

Michaela Goldhaber, current artistic director of Wry Crips, talks to the founding and early members of the disabled women’s theatre group about their history.

Dave White dives into the programming at this year’s Nová Dráma Festival in Slovakia, where women were front and center.

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.

Professor Christin Essin talks about problematic staging of gendered violence at a production she recently brought her students to and the importance of content warnings and taking care of survivors in theatrical works.

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.