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

Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

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.

Playwright Michelle Tyrene Johnson and director Claire Syler discuss their collaboration on The Green Duck Lounge, a play that delves into Kansas City, Missouri’s civil rights history.

Annalisa Dias and Madeline Sayet introduce the Decolonizing Theatre series by exploring the ways the American theatre has been and still is complicit in the legacy of colonialism.

Mihaela Drăgan interviews Sandra and Simonida Selimovic of Mindj Panther about their show Roma Armee, and the activist work they are doing in Austria to fight against Roma oppression.

Founder and executive artistic director of Dallas’s Bishop Arts Theatre Center Teresa Coleman Wash looks at the realities of running a theatre company as a woman of color.

Artistic Director Shawn Whitsell talks about the importance of Nashville, Tennessee's black theatre community.

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

Playwright David Valdes Greenwood discusses the importance of writing more diverse and intersectional characters, and reflects on the conundrum of “color conscious” casting. 

Matt DiCintio describes a tactic for playwrights who wish to oppose white dominance and to challenge the prevailing assumption within US theatre culture that a playscript's characters are white by default.

Alex Ates looks at how the Free Southern Theater established a model of artmaking and activism in the South in the '60s and considers how the New South is primed for another generation of civic action artmaking. 

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

Jonathan Mandell reports on the Martin Segal Theatre Center's 2018 Theatre and Resistance Symposium, and lists ten things theatre community can do right now to make a change.

Maria Patrice Amon describes how she developed and produced San Diego Repertory Theatre’s first Latinx New Play Festival. 

Stage manager Carmelita Becnel reflects on the need to support mothers, women of color, and stage managers as creative collaborators in the rehearsal room.

Asif Majid addresses some of the flaws in minority development programs and suggests some tips for how to improve such programs.

HowlRound announces the four selected convening proposals for the HowlRound Challenge, a new initiative to incubate ideas and seed action to make a better theatre and a better world.

While researching and developing his musical The Rising Sea, playwright Eric Schorr reflects on the parallels between the historical narrative of slavery and the modern narrative of climate change.

Arlene Martínez-Vázquez discusses the rise of bilingual, Latinx plays produced in Seattle, Washington, advocating for hiring bilingual, Latinx artists involved in the programming and decision-making for these shows.