Keith Barker and Lindsay Lachance talk about the challenges and rewards of working in mixed company with Indigenous and non-Indigenous artists, including what it’s like to navigate work with sensitive subject matter, including Indigenous histories and colonization.

Indigenous playwright David Geary takes us on a journey through his ancestral lineage and land, and highlights the role of the trickster.

In part two of their conversation, Vera Starbard and Pearl Cleage—playwrights-in-residence at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—talk about different cultural practices, the white gaze, moving away from anger, and more.

In part one of their conversation, playwrights Vera Starbard and Pearl Cleage talk about their respective residencies—at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—race and representation at their institutions, not writing for a white audience, and more.

Annalisa Dias and Ronee Penoi discuss decolonizing theatre, building trust and relationships across difference, and the act of witnessing.

Marshall Botvinick shares the results of the research he undertook about new plays premiering across the United States in the 2019–20 season: who is being produced, what characters are appearing on stage, and what forms and themes are common.

Playwright and professor Theresa May talks about creating a show about the planet, Sky Woman, and the Youth Climate Movement, and how collaborating with students enhanced the development process.

Ben Barson and Gizelxanath Rodriguez, part of the Afro Yaqui Music Collective, talk about artivism—what it means, what it can look like—in relation to building a jazz opera with various communities around the world.

Robert Hubbard discussions Madeline Sayet’s production of A Midsummer Night’s Dream at the South Dakota Theatre Festival.

Playwright Vera Starbard (Tlingit/Dena’ina) reflects on her journey through rural Alaskan Native communities to reawaken the ancestral spirit of her work, Native Pride (and Prejudice).

Kim Peter Kovac looks at the way the theatre for young audiences field has changed over the last few years, where it’s at today, and what his hopes are for the future.

Ākea Kahikina traces the geneology of hana keaka (Hawaiian theatre), and muses on the future of the theatrical form.

Kiki Rivera talks about the importance of telling stories from underrepresented communities in Hawai‘i’s theatrical landscape.

Kau‘i Kaina writes about combining her love of theatre with her desire to be part of the Hawaiian language and cultural revitalization.