Dozens of theatres worldwide are recognized for staging works by female playwrights for 50 percent of their season.
Their fourth annual list features 37 underproduced plays by female and trans writers, and more by writers of color than in previous years.
The playwright’s work is funny, form-breaking, feminist—and everywhere on U.S. stages.
This week’s guest is Kilroys cofounder Joy Meads, who discusses gender parity. Plus, our staff takes apart ‘Harry Potter and the Cursed Child.’
All the plays are written by female and trans* playwrights and have not been produced.
From a cellist to a scenic designer, from New Haven to St. Paul, a cohort marked by versatility and vision.
Theatres that continue to program male-dominated seasons deserve scrutiny. But what about the many companies that are trying to get the balance right?
On the slate are Sarah Ruhl’s epistolary play about Elizabeth Bishop and Robert Lowell, and a coproduction with Rattlestick of Martyna Majok’s ‘Ironbound.’
A new Dramatist Guild/Lilly Awards study shows encouraging trends in new-play productions by women nationwide, and there’s nowhere to go but up.
As the impact of their first list is still being felt, the group announces a new list that reflects steps to increase the diversity of voices.