Not much makes it to the stage in our nation’s putative theatre capital that didn’t come from somewhere else.
The success of Black artists should be good for Black theatres, but too often there’s a disconnect.
Arts and theatre programs won’t fix our nation’s incarceration problem, but they can do concrete and demonstrable good.
From emerging talents to unsung veterans, our regular Role Call feature shines a light on folks you ought to know.
Our current political moment both evokes theatrical analogies and provokes theatrical responses.
The momentum behind gender parity in the American theatre seems unmistakable, with 30 percent of all plays and 40 percent of new ones written by women.
We happily publish photos showcasing the work of theatre designers. Is it too much for them to ask for some acknowledgement?
The New York Times’ new 25-best-plays list shows there are plenty of great plays to argue about. Where are the arguers?
America’s self-definition as a nation of immigrants is under threat, as are immigrants themselves. How are U.S. stages and artists dramatizing this moment?
Our nation’s Native history is all around us, if we would only pay attention. One place to look: at a rising generation of Native theatremakers.