Barbara Fuchs and Rafael Jaime argue that beyond the English-language theatrical canon lies a rich corpus of classical work that remains remarkably hospitable to women, focusing their discussion on two playwrights: Ana Caro and Sor Juana Inés de la Cruz.

Matthew McMahan talks to playwright Herbert Siguenza about branching out as a solo writer after years as a member of Culture Clash, writing bilingual comedy, and more.

Armando Huipe, new Latinx Theatre Commons producer, announces the next four years of programming which include the Creative Renewal Retreat, a Comedy Carnaval, and furthering the internal work of anti-oppression, coalition building, and combating colorism.

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.

Linda Parris Bailey and Diane Rodriguez talk about their own leadership transitions and what’s next, gender, race, and economic barriers; documenting work; and more.

Carl(os) Roa reflects on the 2019 Latinx Theatre Commons Miami Regional Convening, which took place between 12 and 14 July.

Luis Alfaro and Herbert Sigüenza talk about their experience in the National Playwright Residency Program, learning about the inner workings of theatre companies, portraying Latinx people in a positive light, the importance of comedy, and more.

Melisa Pereyra talks about how suffering goes hand in hand with being a woman of color actor, how trauma is held in the body, and how audiences react when stories lack grief.

Juan Recondo looks at Luis Alfaro’s reimaging of Euripides’s Medea, in which the title character is a Mexican undocumented immigrant who arrived in New York after facing the horrors of the border.

Shari Caplan discusses the Huntington Theatre’s production of Yerma.

Todd London celebrates one of the most prolific and prominent Latino playwrights in America, Octavio Solis.

Mariela López talks about her research on independent theatres across Mexico, including the challenges, the benefits, and recommendations for anyone wanting to create a company. / Mariela López nos habla de su investigación sobre los teatros independientes en México, incluyendo los desafíos, los beneficios y recomendaciones para cualquiera que quiera crear uno.

Herbert Siguenza, co-founder of the Latino performance troupe Culture Clash, talks about his unconventional writing path, his time working with the collective, and finding his unique voice.

Sean Anthony Chia discusses Kristiana Rae Colón’s good friday, placing it within what he calls “theatre of the unashamed.”

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.

Andres Osorio reflects on the fact that as a student of playwriting, he was never once assigned a play by a Latinx writer.