Gender

Is sexual assault a daring subject for satire? Cassidy Dawn Graves considers Michael Yates Crowley’s The Rape of the Sabine Women, by Grace B. Matthias and how satire may be the perfect tone to portray the empowerment of the disempowered.

Playwright Lisa Biggs and director Kristin Horton discuss the process of developing After/Life, a new play about the 1967 Rebellion in Detroit, Michigan with Detroit community members.

Following the success of The Wolves, Helen Schultz looks at why are there so few dramas about teenage girls on stage and compiles a short list of plays about teenage girls by women playwrights.

Marci McMahon reflects on how Diane Rodriguez’s The Sweetheart Deal breaks gendered stereotypes about the Chicano Movement of the 1960s and ’70s. 

Michael Wright discusses how his playwriting residency program WomenWorks is helping tackle the underrepresentation of female playwrights in the US. 

Alej Bustillos, Jr. discusses documenting and translating his lived experience in the field of theatre arts and performance studies by referencing scholars in the field and his own ethnographic scholarship methodologies.

Women musical theatre writers may exist but do they apply for funding opportunities? EllaRose Chary addresses this question and looks at how that information can be used by institutions to create solutions to support emerging musical theatre writers.

Massimo Monfiletto questions the representation of trans women in a commercial theatrical setting.

Playwright Kirsten Greenidge and her family travel to feminist historical landmarks around New England.

Shelby-Alison Hibbs analyzes Matthew Paul Olmos’ so go the ghosts of mexico, part 2.

Laura Marriott considers The Eurydice Project in Dublin in the context of Ireland’s Repeal the Eighth movement.

North Carolina based theatremaker Katy Koop reflects on the impact of the Women’s Theatre Festival on Raleigh’s theatre community since its launch in 2016.  

Chantal Bilodeau kicks off this week's series on Theatre in the Age of Climate Change, and argues that we as a theatre community need to recognize when our practices and systems are detrimental to the earth and other people, and strive to change them.

After a comment storm on a recent HowlRound post about bias in criticism in the American Theatre, P. Carl addresses how the democratization of the arts is a form of inclusion.

Porsche McGovern discusses the third phase of her study on LORT theatre designers.

Emily C. A. Snyder considers the differences in how women and men actors approach Shakespeare. 

A collectively authored essay by leading artists, academics, and theatre advocates about Paula Vogel’s Indecent and Lynn Nottage’s Sweat on Broadway amid a conversation about critical bias toward women playwrights and playwrights of color.

What happens to Nora after she slams that door? Cristina Sanza considers A Doll’s House, Part 2.

Erin Lindsay writes about being an early career theatre artist in Montreal, and shares quotes from inspirational women in the field.

Director and dramaturg Linda Lombardi discusses Lindsey Ferrentino’s Ugly Lies the Bone, and examines how changes to our political climate effect audience reaction.

Sarah Ruhl on The Lilly Awards, criticism, and the power of mothers.

Holly L. Derr looks at ethnodrama and Her Opponent, a restaging of excerpts of the 2016 presidential debates with gender-reversed casting.