Puppeteer Fedelis Kyalo shares his puppet background, and discusses how puppetry intersects with popular entertainment and street protests in Kenya.

Laura Marriott explores Daniel Wade’s The Collector and Mark Richardson’s Anonymous, two recent productions in Dublin that explore contemporary social issues.

Kirsten Greenidge reflects on the playwright's relationship to this unruly moment of cultural shift and what happens to one’s work when the world around us is changing so rapidly?  

Allison Raynor interviews Anthony Atamanuik, a Donald Trump impersonator who critiques both the president and audiences in his latest solo piece.

Kitty Drexel writes about Stephen Sondheim's Assassins , and the need for artists to defend natinoal arts funding.

Playwright Charles Gershman talks with seven fellow theatre practitioners about the impact of the 2016 presidential election on their work and view of theatre.

Holly Derr writes about Jacqueline E. Lawton’s new play at Arena Stage, part of their Power Plays commissioning initiative.

Seth Baumrin, artistic director of Subpoetics International, discusses the history, process, and journey of a company working with the stories of refugees and displaced peoples to find their way.

Paul Gagliardi, a scholar of the Federal Theatre Project, considers recent productions of It Can’t Happen Here and why the play is resonating with both directors and audiences today.

Tiffany Antone makes a case for why we have to reconsider how/why we engage audiences, and why it is now every artist’s job to be out on the frontlines, cultivating radical empathy and civil discourse.

Harvey Young, chair of Northwestern University’s theatre department, looks at how American theatre has responded to a rise in conservativism to forecast not only what may appear on the horizon but also to anticipate a renewed attention to political/activist theatre following the 2016 election.

Jamil Khoury writes about curating a series of six staged readings about the Israeli-Palestinian conflict, and that power of theatre to speak to controversial issues.

Bryn Boice writes about how a rift with her father led her to begin work on a devised piece called I, Snowflake.

Henrik Eger interviews Tina Brock about how her company is responding to the current political climate in the US, and what she feels that absurdist theatre has to offer.

Jonathan Mandell digs into three recent productions in New York City—Made in China, Confucius, and Caught—that explore US-China relations.

Abraham Benson-Goldberg discusses Khan Theatre’s production of Philoctetes, examining the intersections of young soldiers, heroism, war, and politics.

Edward Einhorn discusses the relevance of absurdist theatre.

On the eve of the inauguration of Donald J. Trump, Jonathan Mandell looks at how the political resistance of theatre artists is playing out on and off stage in New York.

Emily White writes about how her research on posttraumatic growth informs her belief that theatre can be an important tool to help America unite and heal.

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

Gary English, artistic associate at The Freedom Theatre on the West Bank in the Jenin refugee camp, discusses the complications of presenting work on the Palestinian/Israeli conflict in the US.

Rachel E. Diken on Aglio e Olio, a “kitchen theatre” piece written and performed by Meg Persichetti and produced and directed by Laura Gilkey in Maplewood, New Jersey.

Rachel Spencer Hewitt talks to members of Mothers Artists Makers, a collective of feminist mothers in Irish theatre with children.

Playwright Abbey Fenbert on the new mandate for theatre artists.