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.

For the fourth year, Porsche McGovern shares her research on the gender of LORT theatre designers. In this second installment of this essay, Porsche focuses on region.

For the fourth year, Porsche McGovern shares her research on the gender of LORT theatre designers. 

Joanna Lugo and Leah Harris use Chimamanda Ngozi Adichie’s Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions as a framework to speak out about gender inequalities they've notice in the theatre community, and call on the larger theatre community to fight for gender parity. 

Parent Artist Advocacy League for the Performing Arts (PAAL) founder Rachel Spencer Hewitt discusses three crucial ways theatres can improve their support for parent artists. 

Emily White takes a deeper look at the parallels between artist Artemisia Gentileschi’s sexual assault trial from the 1600s and the trial testimonies of today, all of which is explored in the show Artemisia’s Intent.

Isaac Mafuel examines the role women have played in the theatre industry in Malawi, from its birth in the late 1960s until now.