In this installment, Irene Loy discusses how characters receive desire versus defend themselves against unwanted desire, delving into the difference of consent and dissent.

Two more of “Max’s” plays receive different responses than Mya’s did, leading her to affirm her belief that bias is at work in the submission process.

Summer Banks talks with Jaclyn Backhaus about bringing the story of Men On Boats to life on stage without any men.

Allison Raynor talks with other early-career theatre artists about how the narratives they grew up loving influenced their sense of self.

Josh Platt on The Merchant of Venice directed by Tina Packer in Lenox, Massachusetts. 

A prominent theatre figure in Lebanon and the Arab region, Hanane Hajj Ali reflects in this piece on the personal and professional encounters that have made her the free woman she is today.

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

Holly Derr contemplates how a director can foster a feminist production.

In this cultural moment of divisiveness, how is one of the true stories of abortion theatricalized? Holly Derr considers Oregon Shakespeare Festival’s co-production of Roe by Lisa Loomer. 

In this installment, Briandaniel Oglesby shares updates leading up to the performance of his students’ queer adaptation of Romeo & Juliet.

Maegan Clearwood on the all-male production of Taming of the Shrew, directed by Ed Sylvanus Iskandar at the Shakespeare Theatre Company in Washington, DC.

Carey Purcell talks to Diane Paulus and Liesl Tommy about all women creative teams.

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.

Carey Purcell looks at female artistic leadership of summer companies at New York Stage and Film, the Eugene O'Neill Theater Center, and Williamstown Theatre Festival.

Danielle Feder responds to the critical reception of the Broadway show Waitress.

Playwright Catherine Castellani kicks off a series investigating what makes a work of theatre feminist. 

Mya Kagan examines how taking on the persona of Max has impacted the way she communicates. 

P. Carl on transitioning, frames of whiteness, and taking control of the plot.

Playwright John J. Caswell, Jr. meditates on the trajectory of queer theatre, and the tendency to normalize the form.

Neal Reynolds discusses how a play's subject matter may increase the potential for an abusive production process.

Catherine M. Young reflects on the closing of the musical Shuffle Along.