If you can gauge a nation’s health by its theatre, China looks vital, youthful—and ambivalent.
Arts journalism is fighting for its life, but it’s well past time to invite new voices to join the fray.
Where would Broadway be without the nation’s nonprofit theatres? It’s impossible to say, so intertwined are their fortunes.
War may feel like an abstraction to many of us, but the theatre can give its realities flesh and blood.
Nonprofit theatre may be driven primarily by mission, not the market, but that’s no excuse for inequity.
The nonprofit theatre’s mandate to serve as a town hall, a sort of secular church for the democratic spirit, has seldom been more salient.
Multiplicity defines our past and our future, and nowhere is this more true than in the Latinx theatre movement in the U.S.
Latino, Latina/o, or Latinx? We heard good arguments for and against them all, and opted for both greater inclusion and typographical clarity.
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.