Theatre practitioner Caridad Svich on art and activism and After Orlando.

Artistic Director Joan Lipkin discusses the inspiration and process for “Dance the Vote,” a voting registration campaign in St. Louis, Missouri that included performances by local artists. 

Jonathan Mandell looks at some recent plays that explore this wackiest of election seasons in novel ways, and asks: Is mockery proper...or even possible?

David Dower talks with Tony Taccone about his adaptation of It Can’t Happen Here at Berkeley Rep, and what it means for an institution to program a new work that speaks directly to our present moment.

Writer and performer Oscar Lozano reports on the artistic and labor movement in France among theatre professionals and in doing so considers the public theatre, social performance, and the role of intermittents (contract and short-term creative professionals) in the global Occupy protests.

Priscilla Page on Ricardo Gamboa and Sean James William Parris’ Space Age at Free Street Theater in Chicago, Illinois.

Playwright Zoe Kamil writes about casting a play of hers, and the difficult conversations that arose because she didn’t specify the race of certain characters.

In this cultural moment of divisiveness, how is one of the true stories of abortion theatricalized? Holly Derr considers Oregon Shakespeare Festival’s co-production of Roe by Lisa Loomer. 

Paul Adolphsen on the 2016 National Arts Festival in Grahamstown, South Africa.

Jonathan Mandell on the wealth of offerings of African-American theatre at the twentieth New York International Fringe Festival. 

In this installment, Jelisa Jay Robinson profiles Gustavo Melo Cerqueira, a Brazilian arts activist based in Austin, Texas.

Jonathan Mandell on “Broadway for Black Lives Matters,” the Theatre of the Oppressed NYC production of Apprehension, and the role of theatre in protest and human rights movements.

Corey Bradberry’s theme and production considerations for staging Moby Dick for a contemporary audience in the deep South.

Jonathan Mandell looks at the new production of Runaways, thirty-eight years after the first, and asks: Should a work of theatre allow us to escape from, or force us to engage in, the world?

Susan J. Terrio reflects on Marissa Chibas Preston’s new play, Shelter, about journey of unaccompanied minors from Mexico to the US, directed by Martin Acosta.

Laura Brueckner reports on the recent Arts in a Changing America’s REMAP Bay Area convening.