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.

In part two of their conversation, Vera Starbard and Pearl Cleage—playwrights-in-residence at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—talk about different cultural practices, the white gaze, moving away from anger, and more.

In part one of their conversation, playwrights Vera Starbard and Pearl Cleage talk about their respective residencies—at Juneau, Alaska’s Perseverance Theatre and Atlanta, Georgia’s Alliance Theatre, respectively—race and representation at their institutions, not writing for a white audience, and more.

Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to witness staged readings of six French Caribbean plays in English translation.

Nicole Brewer talks about the term “child friendly,” reconstructing the issue of parent support as an issue of race and racism, supporting parent-artists with an anti-racist lens, and more.

Amelia Parenteau speaks with Lauren E. Turner about racialized trauma in American theatre, Lauren’s experience with it, and healing.

Lisa Channer, professor at the University of Minnesota Twin Cities, talks about her school’s work in crafting a pledge to join the JUBILEE—a yearlong, nationwide theatre festival featuring work by traditionally excluded artists.

Beatrice Perez-Arche and Livian Yeh have a conversation about their experience in the Young Critics Program, “cancel culture” and criticism, gaining confidence, and more.

Pascale Florestal talks about the lack of critics of color in theatre and creating a training program in Boston, through Front Porch Arts Collective, to counter this problem.

Marshall Botvinick shares the results of the research he undertook about new plays premiering across the United States in the 2019–20 season: who is being produced, what characters are appearing on stage, and what forms and themes are common.

Producer Tobi Kyeremateng and poet/writer Roger Robinson talk about Black writers in the UK, creative citizenship, activism in the arts, and more.

Katy Rubin, founder and former exeuctive director of Theatre of the Oppressed NYC, talks with new executive director Meggan Gomez about how long leaders should hold their roles in an organization, mission drift, founder’s syndrome, and more.

Linda Parris Bailey and Diane Rodriguez talk about their own leadership transitions and what’s next, gender, race, and economic barriers; documenting work; and more.

Black British writers Matilda Ibini and Oladipo (Dipo) Agboluaje talk about choosing to study theatre at school, crowdfunding, Afrofuturism, and more.