Miguel Ángel Vargas unfolds the history of Gitano (Romani) theatre in Spain, from the eighteenth century to today.

Arman Heljic uses the play Roma Armee to discuss how European Roma are rejecting their colonial legacy and reclaiming their narrative.

Katarzyna Pabijanek reflects on Roma presence in Hungarian theatre, both throughout history and today.

Trevor Boffone examines Isaac Gómez’s new play La Ruta, which focuses on the feminicides in Mexico, and talks about the growing canon of Latinx theatre that dramatizes and theorizes on gendered violence.

William Hand reflects on Germany’s Politik im Freien Theater Festival and discusses several shows that were presented there in November 2018.

Howard Shalwitz gives us a glimpse into the theatre community in Budapest, Hungary, after a recent trip to the city.

verity healey looks at how refugees in Paris are using theatre to create connections, break down barriers, and find community.

Jenifer Schmidt examines Heidi Schreck’s new solo play that speaks to women’s political, cultural, and social history in the United States.

Joanna Lugo and Leah Harris use Chimamanda Ngozi Adichie’s Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions as a framework to speak out about gender inequalities they've notice in the theatre community, and call on the larger theatre community to fight for gender parity. 

Emily White takes a deeper look at the parallels between artist Artemisia Gentileschi’s sexual assault trial from the 1600s and the trial testimonies of today, all of which is explored in the show Artemisia’s Intent.

Rachel Grossman and Kirk Lynn announce the JUBILEE, a year-long nationwide festival in 2020/20201 that asks companies to commit to producing a season of work by artists who have been traditionally excluded from the American theatre.

Theatre professor Robert Hubbard writes about Kit Bix’s recent adaptation of Louis Lantz and Oscar Saul’s 1937 play Revolt of the Beavers for the 2018 Minnesota Fringe Festival.