The decision of when or whether to disclose their condition remains fraught, but some artists are finding ways to break through stigma and forge new paths.
American Players Theatre’s production of Athol Fugard’s play about mixed-race brothers has raised thorny questions about representation.
Last week a group of theatre artists disrupted a show that included racist elements. Was their message heard?
Their instruments can evoke every color of the rainbow, but the designers are still overwhelmingly white and male.
My play ‘The Mermaid Hour’ asks theatres to cast only trans or gender-nonconforming performers in the lead role. Here’s how they, and the teens, rose to the occasion.
Do a crop of inward-looking new plays about white privilege represent a step forward, or are they an expression of privilege in themselves?
If you can find a calling that gives you peace, you owe it to yourself to follow it, no matter what stands in your way.
Is this really the right time for a spate of male-authored, male-directed musicals about subservient women to come to Broadway?
Grappling with complex issues of representation, a multiethnic People’s Light staging offers a version for our fraught times.
The NY Times’ recent ‘Brief History of Gay Theatre’ was not so brief. So how did it manage to leave out so much gay history that wasn’t white and male?