Latino, Latina/o, or Latinx? We heard good arguments for and against them all, and opted for both greater inclusion and typographical clarity.
Multiplicity defines our past and our future, and nowhere is this more true than in the Latinx theatre movement in the U.S.
How does Lucas Hnath’s play about conflict in a megachurch fit Theater J’s mission? Adam Immerwahr explains.
In his version of the grim fairy tale for 24th Street Theatre, Bryan Davidson adds music and human dimension.
Artists build the imaginary worlds of the stage; producers and managers build the actual worlds where imaginations can play.
Zelda Fichandler wasn’t just a founder of the American resident theatre movement; she was also one of its most clear-eyed critics.
Is the American playwriting glass half full, or half empty? Drink up this special issue before you answer.
In ‘A Mexican Trilogy,’ the actor/playwright tells the story of a family, and a people, with her own creative family, the Latino Theater Company.
‘Political theatre’ should not be an automatic putdown; both politics and theatre can lie or speak truth, depending on how they’re used.
The Washington Post columnist and playwright discusses her influences, the election, and the Welders.