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Playwright Catherine Trieschmann lists useful suggestions for giving feedback on new plays.

Bob Martin talks about Hurricane Gap Community Theater Institute and how they're supporting an Appalachian grassroots theatre movement. 

Jonathan Mandell looks at six theatre pieces in January that used words in unorthodox ways—as gibberish, or out-of-sync with the action; some didn’t use words at all.

Emerson College student Mary Frances Noser reflects on a campus-wide teach-in about race.

Can friendships survive a separation in time, values, and life choices? Carey Purcell looks at the quiet questioning of the role of women in Sheila by The Associates.

Cassidy Dawn Graves writes about Thomas Ostermeier’s production of Richard III and questions why we still see able-bodied actors playing characters with disabilities.

Jonathan Mandell reports on the Martin Segal Theatre Center's 2018 Theatre and Resistance Symposium, and lists ten things theatre community can do right now to make a change.

Sam Ethan Rubin writes about being an actor on the autism spectrum.

Off the Rails, which was produced at OSF in October, shows how Native plays can include depictions or descriptions of Native history as an element of lived experience, not as the entirety of the play’s purpose.

Tanya Selvaratnam, a  co-founder of The Federation—a coalition of artists and activists—discusses their Art Action Day on 20 January 2018. 

On the twentieth anniversary of its founding, Nan Barnett reflects on the National New Play Network’s growth, and discusses the organization’s impact.

Jordan Schwartz, director of literary programs and outreach at Phoenix Theatre in Indianapolis, discusses a project that originated at the Indiana Women’s Prison and culminated in a production in the neighborhood that was the setting of the story.

For Orientation at the UChicago 2017, an alternate reality game was created by faculty, designers, and students that engaged social media, virtual reality and real life to encourage students to explore campus and build relationships with one another.

This month Jonathan Mandell looks at A Room in India by French company Théâtre du Soleil, which considers the question ‘If all theatres were demolished tomorrow, would anybody miss them, and for how long?’

Holly Derr interrogates green(drama)turgy at Oregon Shakespeare Festival and how stories can be used to reconnect people to their physical world.

Carla Della Gatta and Marci R. McMahon look back on the 2017 Encuentro de las Américas International Theatre Festival that took place 2-12 November at the Latino Theatre Center in Los Angeles, California.