U.S. by State

Maria Patrice Amon describes how she developed and produced San Diego Repertory Theatre’s first Latinx New Play Festival. 

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

Jack Reuler discusses nearly two decades of incorporating work about, for, or with people with disabilities or on issues of disability at Mixed Blood Theatre.

Director and theatre professor Holly Derr gives advice on how to identify whether your theatre department might be ripe for sexual harrassment, and offers tangible steps for professors to change the culture of their departments.

Adriana Gaviria speaks on how entertainment industry unions and institutions in the US can step up to better advocate for parent artists.

Performer Stephanie Hayes reflects on how motherhood helped her reinvent her relationship to her own creativity.

Continuing the series on parent-artists, Ineke Ceder and Catherine Mueller Melwani discuss how research can play a role in creating a bridge between the parent-artist experiencing isolation and the solutions recommended for equity and parity.

Stage manager Carmelita Becnel reflects on the need to support mothers, women of color, and stage managers as creative collaborators in the rehearsal room.

Devon Berkshire lays out some tangible steps for decision-makers on creating a more family-friendly work environment.

Rachel Spencer Hewitt, PAAL founder, kicks off the parent advocacy in the arts series with an overview of the history of PAAL and a rationale for family-friendly practices in the theatre.

Jonathan Mandell gets a grip on Glass Guignol: The Brother and Sister Play, a mashup with Tennessee Williams, Mary Shelley, Lord Byron, and cockroaches—the debut production at the Mabou Mines Theater.

Precious Yamaguchi takes part in Take Them Into the Dirt, a participatory production at OSF about legacy, storytelling, memory, and identity.

Christine Wright, member of the Northeast Ohio community theatre community, analyzes gender parity in recent Northeast Ohio community theatre seasons.

Sara Brookner talks to playwright and performer Robbie McCauley about her one-woman show Sugar, and the power of sharing our stories.

Noe Montez discusses Indiana University’s recent decision to discontinue the PhD in Theatre and Drama program, and discusses the need for public institutions to advocate for the futures of their doctoral students.

What is being taught in playwriting classes on college campuses? Les Hunter compiled data from thirty syllabi from college classes to find out and compared the results to playwriting pedagogy in the field.