Gender

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

Mya Kagan continues her Submitting Like a Man series with this discussion of the logistics and emotional implications of creating a differently-gendered alter-ego.

Journalist Carey Purcell discusses her takeaways from December’s Percolating Gender Parity symposium, and how gender-based pay discrepancies affect women in theatre. 

Playwright Mya Kagan introduces her new blog series about her project Submitting Like a Man, in which she submits her plays to calls under a male pseudonym.

In this second installment, Matthew Minnicino discusses legendary women characters in ancient Greek theatre. 

Hailey Bachrach explores the subtle bias of audiences and directors toward female characters by surveying audiences following a performance with male and female actors trading roles.

Martha Steketee writes about ongoing data collection efforts to track gender disparities in theatre, and emphasizes the need for cooperation between people doing the work in different regions. 

Sophia Romma writes about the ideas for working toward gender parity that came out of the April 2015 Equity in Theatre Symposium in Toronto, Ontario.

Actor and teaching artist Valerie Weak discusses her experience freelancing and shares her strategies for promoting women theatre artists.

Director Christine Young advocates for casting more women in university theatre productions, ranging from the classics to contemporary work.

Citizen-artist Yvette Heyliger discusses the aftermath of her petition and advocates a call to action for gender parity legislation.

Executive Director of WomenArts, Martha Richards, calls for women and allies to collaborate on building a $10 million a year network of 100 women working full-time to achieve gender parity in the arts.

Patricia Davis on the world premiere production of Audrey Cefaly’s Maytag Virgin at Quotidien Theatre in Washington, DC.

Researchers Sumru Erkut and Ineke Ceder discuss their study and offer suggestions for including more women and people of color in leadership positions in US regional theatres.

Julie Hennrikus, Executive Director of StageSource in Boston, MA, writes about initiatives toward gender parity in New England.

Shellen Lubin launches a series on gender parity on HowlRound this week. She addresses how this is a critical moment in time for women in theatre to make a huge irreversible leap forward.

Holly L. Derr on Destiny of Desire by Karen Zacarías, Animal by Claire Lizzimore, Queens Girl in the World by Caleen Sinette Jennings, Women Laughing Alone with Salad by Sheila Callaghan, and Uprising by Gabrielle Fulton, all part of the Women’s Voices Theater Festival in Washington, DC.

Erin Butcher writes about the difficult experiences she faced producing a show in a public park with an all-female cast and crew. 

This installment of the Gender Power and Politics Series is written by Rosza Daniel Lang/Levitsky, who discusses the lack of opportunities for trans women artists.