David Barbour, in his post as editor-in-chief of Lighting & Sound America, has helped document a virtual revolution in technical theatre. “It’s been fascinating to see how much the theatre has been transformed by projection technology,” notes Barbour, who addresses that image-wielding wing of the revolution in an essay on page 28. “We’re now seeing plays that call for an extensive projection component—some of them couldn’t even exist without projections. This has never happened before.”

Vanessa Gilbert maintains that “as a director, I consider space and hospitality my primary tools.” Both those commodities were in abundant supply in Cardiff, Wales, when the Rhode Island-based artist, former artistic director of Perishable Theatre, took part in the 25th anniversary gathering of the Magdalena Project (page 56). Some years prior, she had hosted a similar gathering in Providence. “What the project generates is a new kind of space, a global ‘room of one’s own,’” Gilbert says. “As our borders become more heavily guarded, I recognize that making space for international artists and hosting them here in the U.S. is of the utmost importance to my work and to my well-being.”