Patricia Davis on Ambassador Theater’s production of They Don’t Pay? We Won’t Pay! by Dario Fo in Washington, DC.

verity healey on Cardboard Citizens’ Meta in London, England, and theatre for social change. 

Have jokey depictions of elections on stage and screen helped cause a joke of a real-life presidential campaign?  Jonathan Mandell visits two experimental theatre projects that are tackling this year’s presidential election in serious and intriguing ways.

Marshall Botvinick contemplates how the theatre community can respond to Donald Trump’s political rise.

Paul S. Flores traces the path to creating and touring his play PLACAS through community engagment with acknowedgment and palabra, and offers suggestions to supporting peace within extremely marginalized communities in conflict when making theater.

David Dudley on The Goodman Theatre production of José Rivera’s Another Word for Beauty, directed by Steve Cosson in Chicago, Illinois.

Jonathan Mandell writes about the work of The Civilians, which he says "may be the most vibrant socially conscious, avant-garde, investigative theatre company in the country."

Patricia Davis on Mosaic Theatre's US premiere in Washington, D.C. of I Shall Not Hate, based on the life of Palestinian doctor Izzeldin Abuelaish.

Carlos Morton on the recent Los Angeles production of José Sanchis Sinisterra’s Ay Carmela. 

Charlotte Meehan and Adara Meyers sit down with playwrights Deborah Lake Fortson and Amy Merrill, director Robbie McCauley, and law enforcement and community stakeholders to talk about youth sex trafficking and The BODY & SOLD Project.

Josh Williams discusses the Barrydale Reconciliation Day Puppet Parade and its socio-political impact in contemporary South Africa.

Holly Derr speaks with Lynn Nottage about her new play Sweat, a co-commission of Oregon Shakespeare Festival and Arena Stage, currently playing in Washington, DC.

verity healey reviews Belarus Free Theatre’s Being Harold Pinter at the Young Vic in London, England.

Martha Steketee talks with Associate Artistic Director Estelle Parsons about a public series on social justice that has been created out of Actors Studio session work.

José Torres-Tama writes about the development of Aliens, Immigrants & Other Evildoers, a sci-fi Latino noir performance about the Latino immigration experience.

Jonathan Mandell reviews the Second Stage production of Invisible Thread, a musical based on the real-life experience of theatre artists Matt Gould and Griffin Matthews creating a charity in Uganda.

Citizen-artist Yvette Heyliger discusses the aftermath of her petition and advocates a call to action for gender parity legislation.

David Dudley reflects on Steel Hammer and the John Henry myth, at the Krannert Center in Urbana, Illinois.

Jeff Chang on Detroit-based Complex Movements’ Beware of the Dandelions, a narrative, concert, visual installation, architectural piece, and convening space to distribute revolutionary ideas and activate creative ecosystems and economies of change. 

Part interview, part photo essay, part play excerpts, Rebecca Stevens goes in-depth with playwright Marcus Gardley on his two recent productions at Victory Gardens Theater in Chicago, Illinois. 

In the second installment of his The Audience Position series, Damon Krometis describes the unwritten contract and relationship between actors and audience members.  

Shellen Lubin summarizes the discussions and themes of the Equity in Theatre Symposium and International Summit on Gender Parity in Theatre, which took place in Toronto in April, 2015.

Actor/playwright Joe Wilson, Jr. discusses his experience and the cultural climate in St. Louis during the Every 28 Hours Project workshops.