Gender

Kitty Drexel discusses how the New England theatre community is working to improve their harassment policies, and what the critic's role can be in making inclusive spaces that are safe for all.

Using three different plays—M. Butterfly, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and QPH—playwright Massi Monfiletto examines theatre’s revolutionary potential.

Elana Gartner, founding co-chair of the International Centre for Women Playwrights 50/50 Applause Award, interviews Chilean playwright Sally Campusano about women in theatre in her home country.

Annalisa Dias and Madeline Sayet introduce the Decolonizing Theatre series by exploring the ways the American theatre has been and still is complicit in the legacy of colonialism.

Mihaela Drăgan interviews Sandra and Simonida Selimovic of Mindj Panther about their show Roma Armee, and the activist work they are doing in Austria to fight against Roma oppression.

Pamela McQueen talks to Irish playwright Deirdre Kinahan about the political nature of her work, her creative process, and how she's sustained a prolific career as a female playwright.

Founder and executive artistic director of Dallas’s Bishop Arts Theatre Center Teresa Coleman Wash looks at the realities of running a theatre company as a woman of color.

Producer and director Jessika Malone explores the theatre scene in her hometown of Nashville, Tennesee focusing on the powerhouse women who are at the helm of many of the city’s most significant arts organizations.

Elana Gartner, founding co-chair of the International Centre for Women Playwrights 50/50 Applause Award, interviews Rebecca Burton, co-founder of Equity in Theatre at the Playwrights Guild of Canada, about gender parity for women playwrights in Canada.

Holly L. Derr writes about recent cases of sexual harassment in the American theatre, and asks when and how institutions and abusers will truly be held accountable.

Gab Cody reflects on the birth of The Monologue Project, an initiative that started in Pittsburgh, USA and Dallas, USA to increase the canon of audition-length monologues for women of African Descent.

Holly Derr discusses the dramaturgical implications of playwright Mary Kathryn Nagle changing one of her characters to a woman in her newest play Manahatta, which premiered at Oregon Shakespeare Festival in March 2018.

Playwright and professor Tammy Ryan explores three initiatives seeking to introduce historic and contemporary plays written by women (back) into the canon.

Yan Chen talks with poet, performer, and playwright Kit Yan about the intersections of genre and intersections of identity in his work.

Chantal Bilodeau kicks off this week’s series on Theatre in the Age of Climate Change by suggesting that women in the arts may be our planet’s best bet for survival.

Can friendships survive a separation in time, values, and life choices? Carey Purcell looks at the quiet questioning of the role of women in Sheila by The Associates.

Jordan Schwartz, director of literary programs and outreach at Phoenix Theatre in Indianapolis, discusses a project that originated at the Indiana Women’s Prison and culminated in a production in the neighborhood that was the setting of the story.

Laura Shamas reports on the successes and challenges of launching the year-long social media campaign #52PlaysbyWomen.