Betty Shamieh offers a response to the “We See You, White American Theater” open letter as a non-Black American of color.

Todd London reflects on why and how we gather, and looks at the canons-in-the-making of four African American playwrights—Jackie Sibblies Drury, Aleshea Harris, Anna Deavere Smith, and Dael Orlandersmith—for how they serve as a map for this moment of revision.

Karishma Bhagani asks: “How do we, the Kenyan artist community, choose to understand our place in this contemporary, independent nation? And how do we use our art to express the realities of our contemporary experience in Kenya?”

Miranda Haymon argues that liberal arts theatre programs are failing their students of color and offers four concrete steps that colleges and universities can adopt as they work to rectify this.

Al Heartley and Kelvin Dinkins, Jr., Black theatre managers who work in predominantly white American theatres, respond to the recent “solidarity” statements posted by theatres across the country after George Floyd was killed.

In this last installment of the Beyond the Western Canon series, Sadie Berlin questions how marginalized voices are represented on stage and calls for more experimental work by artists of color on Canadian stages.

Carmen Aguirre talks identity politics and the casting of Latinx plays in Canada.

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.

ted witzel, artistic associate for the Stratford Festival Lab in Ontario, Canada, introduces his series based on learnings from the Lab’s recent explorations under a mission of “gesturing toward a decolonial canon.”

Esther Fernández discusses how the emerging field of transnational studies is illuminating when it comes to early modern Hispanic theatre and uses productions of Sor Juana’s The House of Desires to dive into the topic.

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

Playwright Herbert Sigüenza talks to seven of his Latinx playwriting friends about how they’ve been affected by COVID-19, writing during this time, the future of Latinx theatre in the United States, and more.

Ann C. James reflects on the quickly growing field of intimacy direction, arguing that it is vital for the leadership to include people of color so that stories centering on racialized sexual trauma and non-white romantic intimacy can be told in the most truthful ways.

Jonathan McCrory talks about the JUBILEE’s initiative of spotlighting “cultural architects”—theatre organizations that have been producing work of historically marginalized voices for years, before it was a “trendy” thing to do.

Denmo Ibrahim reports on the National Convening for Artists of Middle Eastern, Southwest Asian, and North African Descent, which took place in San Francisco in November 2019.

Aley O’Mara discusses Will Davis’s production of Everybody at the Shakespeare Theatre Company in Washington, DC.

Donny Repsher talks about a new permutation of American racism he calls “woke supremacy,” race and the institution, white fragility, and more.

David Valdes talks about Boston Conservatory at Berklee’s work to shift their theatre department into a more truly equitable program, why using the right language matters in the process, and tips for individuals and institutions looking to be actively inclusive.

Nan Barnett, National New Play Network’s executive director, talks about the organization’s twenty-year evolution; the realization that, as a governing body, they were “really, really white”; and their commitment to turning the organization into a replicable model of a diverse and inclusive ecosystem.