Dragon Lady, written and performed by Sara Porkalob, brings bring race, female stories, and intersectionality into the American theatre conversation.

Arlene Martínez-Vázquez discusses the rise of bilingual, Latinx plays produced in Seattle, Washington, advocating for hiring bilingual, Latinx artists involved in the programming and decision-making for these shows.

Erin Murray discusses the echo of history in upstart crow collective’s Bring Down the House.

Playwright Chisa Hutchinson and Artistic Director Wesley Frugé discuss the current climate for work by playwrights of color, and advocate producing more work by women writers of color.

Abraham Benson-Goldberg writes about how theatres can be better at attracting young audiences, based on his experiences in Seattle, WA and Tel Aviv, Israel.

Playwright Donna Hoke writes about Elizabeth Coplan’s The Grief Dialogues project, which uses theatre to start conversations around death and grieving.

Arlene Martínez-Vázquez reflects on the Latina/o Theatre Commons’ Pacific Northwest convening, and the action steps that came out of it.

Elaine Ávila writes about her experience at the Latina/o Theatre Commons convening in Seattle, WA.

Costume Designer M.L. Hart parallels the principles and concepts of costume and makeup design to body modification.

Maria Enriquez interviews Roy Arauz about his work and the Latina/o theatre scene in Seattle, Washington.

Leah Katz-Hernandez, Receptionist of the United States (ROTUS), writes about the power of having Deaf characters represented in narratives.

Maria Enriquez interviews Arlene Martínez about her career and the Latina/o theatre scene in Seattle, WA.

Armando Huipe describes the organizing principles behind the upcoming Latina/o Theatre Commons convening in Seattle, WA.

Susan W. Kemp on The Moisture Festival in Seattle, Washington.

Christopher Goodson on Rose Cano’s adaptation, Don Quixote: Homeless in Seattle, produced by eSe Teatro in Seattle, Washington.

Valerie Curtis-Newton writes about her experience at The Hansberry project, and the neccessity of producing black artists.

Meghan Arnette maps out why she's concerned about the lack of productions by female playwrights... and why anyone who cares about the future of the American theater should be too.

Kathy Hsieh calls for artists to take action, flex their playwriting muscle and create the stories you want to see on stage. It is a way of being pro-active of how your community grows.

Seattle-based playwrights Delaney and Guindi discuss the theatrical climate of Seattle, development oppertunities, and the American theatre scene.

The Icicle Theatre Festival is a special kind of new play journey. Allen Fitzpatrick explores the opportunities of this festival.

Jamie Gahlon has asked theater artists from around the country to talk about their personal search for an artistic home. Liz Engelman continues this series.

Stephanie Timm shares her joy for Seattle and its theatre scene.  With all the wonderful affordable theatre, she wonders what is the next step to expand the audiences.

How does Seattle theater look in Spring of 2012? Specifically for new plays, for playwrights, for directors and actors who live to make something new, for audiences that crave and honor new work?