Scholar Emily Garside explores the ideas at the heart of Matthew Lopez’s play The Inheritance and the way in which the story acts as a response to Tony Kushner’s Angels in America.

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.

UK-based theatremaker Naomi Joseph looks at a problem many emerging theatre creators face: that artist development opportunities for them have upper age limits.

Caitlin Cassidy discusses ten principles and practices she's learned as an artist working at the intersection of arts and cross-cultural exchange, and as one of Georgetown University's Laboratory for Global Performance & Politics Fellows.

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.

Director Amy Clare Tasker on how the organizing practice of Open Space has revolutionized her work.

Scholar Emily Garside looks at the significance of the revival of Tony Kushner’s Angels in America and asks how a play about 1980s America and the AIDS epidemic fits in our current theatre scene.

Kaite O’Reilly considers how Richard III has been portrayed on stage, the alignment of atypical embodiment with evil and suffering, and her inspiration with The Llanarth Group to create a new staging of Richard III.

Anchuli Felicia King explores use of motion capture and the construction of an embodied and artificial Ariel in the RSC’s version of The Tempest.

Laura Shamas reports on the successes and challenges of launching the year-long social media campaign #52PlaysbyWomen.

Asif Majid addresses some of the flaws in minority development programs and suggests some tips for how to improve such programs.

Talya Kingston reports on the BIRTH project, a UK-based initiative that features plays about reproductive justice written by an international group of women.

Enterprise is a satire of American business-speak that is also a critique of capitalism.

Alej Bustillos, Jr. discusses documenting and translating his lived experience in the field of theatre arts and performance studies by referencing scholars in the field and his own ethnographic scholarship methodologies.

Clarie Glubiak talks with several theatre companies at the forefront of the inclusive theatre industry asking about sustainability.

Producer, dramaturg, and grant writer Heather A. Beasley writes about the challenges and ethics of collecting audience demographic data, and offers a radical proposition.