Gender

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.

Calling for more female-driven musicals.

Actor Billy Flood discusses his performance as the Earthworm in StageOne Family Theatre’s production of James and the Giant Peach, sharing how he engaged with the role to resist gender norms.

Director and playwright Tara Brooke Watkins discusses the process of creating The Bible Women’s Project, which fuses women’s stories from the Bible and the stories of women from conservative, Christian backgrounds.

Erin Murray discusses the echo of history in upstart crow collective’s Bring Down the House.

The grace and fury in the performance of Jo Lampert as Joan in Joan of Arc: Into the Fire.

Erin Washington highlights Black women who are doing extraordinary work, and encourages others to leave shout-outs in the comments.

In this installment, scholar-artist Dominique C. Hill interviews Omi Osun Joni L. Jones about the Theatrical Jazz aesthetic, and how it intersects with academic theatre.

Sola Bamishigbin and Tia-Simone Gardner look at plays by Lorraine Hansberry and Lynn Nottage with intersecting themes, written at different times in US history.

Artist Delia Kropp discusses the state of transgender theatre in Chicago, Illinois and shares current initiatives to produce work by and for trans and gender-variant artists.