Ashley Marinaccio examines the importance of youth theatre in Palestine through the work of a number of organizations, including ASHTAR Theatre, the Freedom Theatre, and Al Rowwad Cultural and Theater Training Center.

Annalisa Dias discusses her work with the newly formed Groundwater Arts Collective, and suggests ways that other theatremakers committed to climate justice can adopt the framework of a Just Transition.

Ashley Teague discusses how Notch Theatre Company is using community-led theatre and storytelling to help fight to protect public land. 

Playwright MJ Halberstadt reports on Theatre of the Age of Climate Change convening, which took place 8-10 June 2018 in Boston, MA. 

Playwright Caridad Svich reflects on the economic reality of working in theatre.

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

Using three different plays—M. Butterfly, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and QPH—playwright Massi Monfiletto examines theatre’s revolutionary potential.

Katherine Swimm discusses New Rep Theatre’s Boston production of Ripe Frenzy, and the innovative collaboration between playwright Jennifer Barclay and projection designer Jared Mezzocchi.

Actor and literature/theatre professor Courtney Bailey Parker talks about national anthem protests, performance as activism, and theatre artists as mediators.

Cassidy Dawn Graves writes about the anti-capitalist narrative present in Sweeney Todd: The Demon Barber of Fleet Street and the significance of producing the musical in 2018.

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.

Theatre activist Hjalmar Jorge Joffre-Eichhorn reflects on the founding of the Afghanistan Human Rights and Democracy Organization, a political theatre group that has been working together for over ten years to create social change.

Jessica Litwak, artistic director of the H.E.A.T Collective, explores the growing field of artist rights and safety, and talks about her dedication to “art of service,” the work that serves communities by facilitating creative personal and social change.

Gab Cody reflects on the birth of The Monologue Project, an initiative that started in Pittsburgh, USA and Dallas, USA to increase the canon of audition-length monologues for women of African Descent.

Arts educator Hannah Sachs talks about how introducing Theatre of the Oppressed to her students in the Czech Republic helped address xenophobia in the classroom, and slowly began to change the culture of the school for the better.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

American Studies scholar and educator Nassim Winnie Balestrini reports on how Climate Change Theatre Action relates to her seminar on cultural studies at the University of Graz in Austria.

Peterson Toscano describes his solo show Everything is Connected, which tackles religion, LGBTQ issues, privilege, and climate change.

Chantal Bilodeau kicks off this week’s series on Theatre in the Age of Climate Change by suggesting that women in the arts may be our planet’s best bet for survival.

Robert Duffley reflects on four shows from the 2017 Divine Theatre Comedy Festival in Kraków, Poland.

Jonathan Mandell looks at several current plays that depict violence by or against African Americans, including  LeKethia Dalcoe's A Small Oak Tree Runs Red, Gabriel Jason Dean's Terminus, and Althea Harris's Is God Is.

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.