Playwright Rachel Bonds reflects on being a working artist since the birth of her son, and maps out tips for theatres working with other parent-artists. 

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

Playwright Caridad Svich reflects on the economic reality of working in theatre.

Yasmin Zacaria Mikhaiel talks about the importance of “good” criticism through the lens of Kristiana Rae Colón’s play Tilikum.

Leslie C. Lewis looks at how playwrights are working together and building community with Rough Draught Playwrights in Denver, Colorado.

Ishmael Hope (Tlingit) writes about why we need to support Native playwrights.

Playwright Lucas Rowley (Inupiaq) reflects on navigating expectations of Western theatre while also balancing his Inupiaq traditions and community responsibilities.

Vera Starbard (Tlingit/Dena’ina) introduces the series on Alaskan theatre through the lens of Alaska Native performance and storytelling.

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.

Writer and performer Rob Onorato explores what makes the Chicago Neo-Futurists so special.

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.

Regan Postma-Montaño reports on the 2018 Latinx Theatre Commons' Carnaval of New Latinx Work, which took place on 19-21 July in Chicago, Illinois.

Playwright and scholar Julie Taiwo Oni reflects on the experience of casting an actor with albinism for her play Chisel, and discusses why authentic casting is worth the work.

Playwright Lauren Gunderson offers other writers lessons on dramatic structure, building characters, and crafting a powerful ending.