Pax Ressler looks at both the successes and challenges for non-binary theatre artists in Philadelphia.

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.

Jose Solís explores R.Evolución Latina’s production To Be or Not to Be, the culminating project of the company’s spring 2018 workshop, which brought Latinx artists from all over to New York to create a piece based on Shakespeare’s texts.

Educator and actor Gary Sloan on teaching theatrical techniques to incarcerated adults and young men to provoke and inspire change.

Kaite O’Reilly considers how Richard III has been portrayed on stage, the alignment of atypical embodiment with evil and suffering, and her inspiration with The Llanarth Group to create a new staging of Richard III.

An interview with Nancy Smith-Watson of Feast of Crispian and Tim Schleis, an army veteran and one of FOC’s actors.

Cassidy Dawn Graves writes about Thomas Ostermeier’s production of Richard III and questions why we still see able-bodied actors playing characters with disabilities.

Anchuli Felicia King explores use of motion capture and the construction of an embodied and artificial Ariel in the RSC’s version of The Tempest.

Williams and Shakespeare at The 12th Annual Provincetown Tennessee Williams Theater Festival.

What is the significance of staging Coriolanus in Sao Paulo where the new mayor is a businessman who was the host of two seasons of the Brazilian version of TV show The Apprentice?

Following the controversy around the Public’s Shakespeare in the Park Julius Caesar production, Nora Williams provides a parallel story about a play that was censored and caused the Globe to be shut down in 1624 because it depicted living monarchs unfavorably.

Emily C. A. Snyder considers the differences in how women and men actors approach Shakespeare. 

Hailey Bachrach reflects on Phyllida Lloyd’s The Tempest, the final installment of her Shakespeare trilogy featuring all-female casts, produced by the Donmar Warehouse at London’s King’s Cross Theatre.

Matthew Minnicino discusses what canonical works of theatre we can turn to in light of the current political situation in the US.

Director and educator Jessica Bauman writes about her experience teaching theatre in a refugee camp in Kenya.

Playwright Mia McCullough discusses how teaching classic plays in high school alienates future young audiences, and advocates for contemporary playwrights to craft comprehensive anthologies of their work. 

Shari Caplan on Love’s Labour's Lost as performed by The Commonwealth Shakespeare Company in Boston, Massachusetts.

Josh Platt on The Merchant of Venice directed by Tina Packer in Lenox, Massachusetts.