Gender

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. 

Madeline Easley describes how an assignment inspired her to create a platform where people can share stories and write monologues.

Andrew Bailes on the critical reception of The Bachelors, written by Caroline V. McGraw and directed by Erica Weiss in Chicago, Illinois. 

Artistic Director Kimmothy Cole discusses gender fluidity and advocates the need for creating more opportunities transgender, gender-queer, androgynous, and other non-binary actors.

Meg Greene explores the casting process as a socially responsible practice that considers and values gender identity.

Porsche McGovern unveils the results of the latest phase of her study of LORT theatre designers. 

Marcina Zaccaria discusses Rolando Sanz’s role in producing and presenting the opera I Am Anne Hutchinson/I Am Harvey Milk by Andrew Lippa.

Mya Kagan wonders if perhaps women’s submission habits differ from men’s, and whether this affects production statistics.

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.