Summer Robinson interviews playwright Lynden Harris about her work creating theatre with men on death row across the United States.

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.

Kirsten Bowen reflects on Slovakia’s 2019 International Theatre Festival Divadelná Nitra, which was programmed based on the theme “faces of freedom.”

Lama El Homaïssi reflects on her experience working with American Repertory Theater on their musical We Live in Cairo, diving into representation in storytelling, the oral Hakawati tradition, and more.

ArtsEmerson Artistic Director David Dower speaks with Chilean playwright Guillermo Calderón about the ongoing protests in Chile.

Sean Anthony Chia examines the impact of a powerful story—one without spectacle—through the lens of Isaac Gomez’s the way she spoke.

Isaac Mafuel talks about Malawi’s most prevalent form of theatre, its history, and its impact and challenges.

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.

Sam Williams dives into several of the productions at Finland’s Tampere Theatre Festival, which ran between August 5 and 11 and which was curated based on the theme of bravery.

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.

Choreographer Malik Nashad Sharpe and film & TV director Liza Johnson talk gravity, abstraction and risk, ethics, and more.

Michaela Goldhaber, current artistic director of Wry Crips, talks to the founding and early members of the disabled women’s theatre group about their history.

Ben Barson and Gizelxanath Rodriguez, part of the Afro Yaqui Music Collective, talk about artivism—what it means, what it can look like—in relation to building a jazz opera with various communities around the world.

Shari Caplan discusses the Huntington Theatre’s production of Yerma.

Karen Malpede argues that significant theatrical engagement with the climate crisis cannot occur in the United States without governmental intervention, and looks at the Federal Theatre Project as a model.

Rebecca Benzie Fraser uses Her Naked Skin as an example in the exploration of the different decisions made when it comes to staging violence by women and staging violence against women.