Artistic directors Hana Sharif and Kwame Kwei-Armah discuss transitions in leadership in the US and UK and how they've helped define success in their respective institutions.
Why is Mary Ann Yates the greatest actress you've never heard of? Dr. Elaine McGirr introduces us to this eighteenth-century star and recounts her fascinating career.
B!RTH International presents B!RTH livestreaming on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Thursday 4 October.
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.
Dr. Nora Williams joins us to talk about Measure (Still) for Measure, a devised theatre project in the US that revises Shakespeare's infamous "problem play" in order to engage with issues such as sexual consent.
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.
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.
Amy Meyer joins us to talk about acrobatic accidents in the nineteenth and early twentieth centuries, as well as what they tell us about our appetite for risky entertainment.
Talya Kingston reports on the BIRTH project, a UK-based initiative that features plays about reproductive justice written by an international group of women.
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.
Producer, dramaturg, and grant writer Heather A. Beasley writes about the challenges and ethics of collecting audience demographic data, and offers a radical proposition.
