Theatremaker Sloth Levine uses the casting conceit in Jaclyn Backhaus’s play Men On Boats as a jumping off point to explore gender diversity in casting.

Pax Ressler looks at both the successes and challenges for non-binary theatre artists in Philadelphia.

Playwright Abraham Johnson reflects on the 2018 Lambda Emerging LGBTQ Voices Retreat, and the importance of supporting emerging Queer playwrights.

Writer Warren Hoffman dives into the history of God of Vengeance, the Yiddish play from 1907 that inspired Paula Vogel's Indecent, and the questions around language and sexuality the play raised and continues to raise.

Scholar Emily Garside explores the ideas at the heart of Matthew Lopez’s play The Inheritance and the way in which the story acts as a response to Tony Kushner’s Angels in America.

Jonathan Mandell writes about The Boys in the Band, The Gentleman Caller, and 217 Boxes of Dr. Henry Anonymous, and discusses their portrayal of gay male characters.

Social researcher Bincy Mary George details the history of the proscenium theatre in India and explores what independent artists and festivals like the Delhi International Queer Theatre and Film Festival are doing to change cultural norms.

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

Peterson Toscano describes his solo show Everything is Connected, which tackles religion, LGBTQ issues, privilege, and climate change.

Thirty years after M. Butterfly opened on Broadway, Jen Gushue interviews playwright David Henry Hwang about the 2017 revival.

K. Woodzick talks about creating The Non-Binary Monologues Project, and the need for more resources for non-binary theatremakers.

Alej Bustillos, Jr. discusses documenting and translating his lived experience in the field of theatre arts and performance studies by referencing scholars in the field and his own ethnographic scholarship methodologies.

Massimo Monfiletto questions the representation of trans women in a commercial theatrical setting.

P Carl talks with Taylor Mac about drag, aesthetics, gender, performance, and politics.

Patrick Gaughan interviews Christian Appel and Renée Imperato about how they used applied theatre, writing, and utopian world-envisioning to create the all-trans, ensemble- based TransGenerational Theatre Project in NYC. 

In the last installment of the series, Briandaniel Oglesby reflects on his queer adaptation of Romeo and Juliet, and advocates for more queer-centered theatre made with and for young people.

Ryan Leeds interviews Ty Defoe about winning the Jonathan Larson Grant, his show Crane: On Earth, In Sky, and how his identity influences his work.

Trevor Boffone writes about teaching Emilio Rodriguez’s Swimming While Drowning in an Intro to LGBT Studies class at the University of Houston.

Artist Delia Kropp discusses the state of transgender theatre in Chicago, Illinois and shares current initiatives to produce work by and for trans and gender-variant artists. 

Max Cerci discusses watching Gemma Cooper-Novak’s Through the Glory Hole and What We Found There as a summer intern for The Theater Offensive, reflecting on his theatre background and his queer identity.

Tatiana Gil reflects on her experience interning for The Theater Offensive in Boston, Massachusetss last summer, sharing her vision of organizing creative spaces for queer youth.

CJ Byrd on Taylor Mac’s A 24-Decade History of Popular Music, a “communal, intelligent, erotic, participatory, spectacular performance art concert; a marathon survey dedicated to destroying through exposure the racism, patriarchy, supremacy, and fascism suppressing the fabulosity of all our country’s different beleaguered Others over the years.”