Gender

In this third installment, Jadele McPherson discusses how artists (both past and present) influence each other across the African diaspora, and advocates for more contemporary artists to acknowledge their ancestors.

In this second installment, Playwright Sharon Bridgforth gives a reading based on her performance novel dat Black Mermaid Man Lady.

The launch of #BLKARTS Presents: Black Womyn Going Dark! a look at the history and legacy of black womyn in the arts.

Contributor Rachel Spencer Hewitt reports on the Parents in the Performing Arts consortium that is working to finding solutions for caregivers in the performing arts.

Cheryl Davis defines sexual harassment and hostile working environments, offering tips to both artists and administrators. 

Jenny Lyn Bader looks at theatre’s gender parity movement.

Mya Kagan discusses the successes and challenges of self-producing a nationwide festival.

Matthew Clinton Sekellick discusses the work of David Mamet and Neil LaBute, challenging the theatre community to be more inclusive and to not produce work that reinforces the dominant narrative. 

Ramona Ostrowski speaks with director Gary Hynes about Druid Theatre Company, revisiting Beauty Queen of Leenane twenty years after its first production, and new political movements within Irish theatre.

Daniel Alexander Jones talks about the women who raised him in theatre, and encourages artists to not lose sight of the power of imagination.

The LTC steering committee announces a name change to the Latina/o Theatre Commons. 

Playwright Catherine Weingarten writes about her fatigue with the Strong Female Character, and pushes playwrights to strive for real nuance.

Playwright Tiffany Antone discusses Little Black Dress INK’s “We’re Not Playing” initiative, advocating the need for theatrical protest for social change.

Naomi Elster discusses gender imbalances in theatre programming in the UK and Ireland.

Playwright Chisa Hutchinson and Artistic Director Wesley Frugé discuss the current climate for work by playwrights of color, and advocate producing more work by women writers of color.

Hailey Bachrach reflects on Phyllida Lloyd’s The Tempest, the final installment of her Shakespeare trilogy featuring all-female casts, produced by the Donmar Warehouse at London’s King’s Cross Theatre.

Rachel Spencer Hewitt talks to members of Mothers Artists Makers, a collective of feminist mothers in Irish theatre with children.

Rob Oronato on Taylor Mac’s A 24-Decade History of Popular Music, a “communal, intelligent, erotic, participatory, spectacular performance art concert; a marathon survey dedicated to destroying through exposure the racism, patriarchy, supremacy, and fascism suppressing the fabulosity of all our country’s different beleaguered Others over the years.”

Paco José Madden presents fifteen points for a play or other theatrical work to be considered feminist.

Playwright Carolyn Kras discusses The Subject Project, in which her period play, The Subject, serves as a tool for addressing sexual assault in both past and contemporary society and culture.