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.

Lani Fu introduces the Climate Commons, an initiative that emerged from the Theatre in the Age of Climate Change convening in June 2018. 

Playwright MJ Halberstadt reports on Theatre of the Age of Climate Change convening, which took place 8-10 June 2018 in Boston, MA. 

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.

Katherine Swimm discusses New Rep Theatre’s Boston production of Ripe Frenzy, and the innovative collaboration between playwright Jennifer Barclay and projection designer Jared Mezzocchi.

Associate Producer Ramona Ostrowski and Fellow JD Stokely reflect on how HowlRound made the Theatre in the Age of Climate Change Convening on 8-10 June 2018 our greenest convening yet.

Dramaturg Gaven D. Trinidad reflects on workshopping Snowflakes, or Rare White People by Dustin Chinn as a part of UMass Amherst's New Play Lab in December 2017.

Olivia D’Ambrosio, Producing Artistic Director of Bridge Repertory Theater in Boston, Massachusetts discusses how the company's early ambitions led to challenges, and how they're learned to course-correct.

Kitty Drexel writes about the failure of Andrew Lloyd Webber's Love Never Dies to accurately represent the performers with disabilities that made New York City's Coney Island famous.

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

Alison Weller reflects on the process of writing Boundless, a play about a fishing community on Cape Cod that faces climate change every day.

Emerson College student Mary Frances Noser reflects on a campus-wide teach-in about race. 

Rachel Spencer Hewitt, PAAL founder, kicks off the parent advocacy in the arts series with an overview of the history of PAAL and a rationale for family-friendly practices in the theatre.

Movement director and professor Yo-El Cassell reflects on how movement should help people access playfulness and joy, regardless of ability.