verity healey discusses Charlene James’ new play Cuttin’ It at the Young Vic in London, England.

Judith Jerome discusses the recent Broadway production of Blackbird by David Harrower.

Regina Buccola discusses Ed Proudfoot’s Chewing on Beckett, a contemporary reimagining of Samuel Beckett’s Waiting for Godot with an all-female cast. 

How Chicago’s theatre community is seeking to address sexual harrassment in theatre.

In the first installment of his series, playwright Briandaniel Oglesby discusses adapting Romeo & Juliet with youth.

Playwright Kathleen Warnock reports on WOW Café Theatre’s reunion and book launch for Memories of the Revolution, which chronicles the first ten years of WOW Café.

Jonathan Mandell explores the gender politics of Broadway offerings such as American Psycho, Waitress, Eclipsed, The Color Purple, and more.

In this first installment, Playwright Irene Loy discusses how the Hero’s Journey traditionally exists in Western dramatic form and advocates alternative ways of portraying heroes.

Mya Kagan muses on the implications of a script “Max” submitted being named a finalist for a competition.

In this third installment, Victoria Masteller discusses her experience as Associate Director and examines how space informed the production of Love Sonnets.

In this first installment, Director Caitlin Bailey shares her directorial process for Love Sonnets: Things Women Say, a compilation of monologues for women written by Chuck Mee.

In this installment, Matthew Minnicino discusses gender politics in Shakespeare’s work, and productions of King Lear with women starring in the title role.

Mya addresses what she’ll do if one of Max’s submissions is accepted.

Chantal Bilodeau on writing ourselves out of the pyramid and why she is breaking up with Aristotle.

Carey Pucell reports on the harassment faced by women street performers in NYC and the preponderance of street harassment of women in our society.

Scholar Caroline Heafey reports on Fordham University’s Waking the Feminists symposium and the quest for gender parity in Irish theatre.

Theatre artists Rachel Kauder Nalebuff and Deena Selenow discuss issues of accessibility regarding the pregnant body and the development of The Bumps, their collaboration about a play written for pregnant performers.

Moriah Flagler interviews Roxanne Schroeder-Arce about her process and recurring themes in her work.

Brian Sonia-Wallace considers the Jubilee initiative’s possible implications for artists and the field, and weighs the pros and cons.

In this first installment, C. Fischer starts their series, exploring the intersections of gender, drag performance, and acting.

Mya Kagan ponders the standards of submissions: the frequent lack of responses, the ethics of charging fees, and the pros and cons of submitting blindly.

Azure D. Osborne-Lee and Kestryl Cael Lowery recap the Trans Theatre Artists Convening that took place in December, 2015.

Mya Kagan explores the tradition of female writers using male or ambiguous pen names, and questions whether or not doing so is an empowering choice.

Playwright Donna Hoke discusses her play The Way It Is, which includes the rape of a male character, and the response she got from readers.

Mya Kagan reveals the first response to a script submitted under the name Max.