Gender

Director Christine Young advocates for casting more women in university theatre productions, ranging from the classics to contemporary work.

Citizen-artist Yvette Heyliger discusses the aftermath of her petition and advocates a call to action for gender parity legislation.

Executive Director of WomenArts, Martha Richards, calls for women and allies to collaborate on building a $10 million a year network of 100 women working full-time to achieve gender parity in the arts.

Patricia Davis on the world premiere production of Audrey Cefaly’s Maytag Virgin at Quotidien Theatre in Washington, DC.

Researchers Sumru Erkut and Ineke Ceder discuss their study and offer suggestions for including more women and people of color in leadership positions in US regional theatres.

Julie Hennrikus, Executive Director of StageSource in Boston, MA, writes about initiatives toward gender parity in New England.

Shellen Lubin launches a series on gender parity on HowlRound this week. She addresses how this is a critical moment in time for women in theatre to make a huge irreversible leap forward.

Holly L. Derr on Destiny of Desire by Karen Zacarías, Animal by Claire Lizzimore, Queens Girl in the World by Caleen Sinette Jennings, Women Laughing Alone with Salad by Sheila Callaghan, and Uprising by Gabrielle Fulton, all part of the Women’s Voices Theater Festival in Washington, DC.

Erin Butcher writes about the difficult experiences she faced producing a show in a public park with an all-female cast and crew. 

This installment of the Gender Power and Politics Series is written by Rosza Daniel Lang/Levitsky, who discusses the lack of opportunities for trans women artists.

Playwright Catherine Castellani responds to some of the outcry about the Jubilee proposal.

Shellen Lubin summarizes the discussions and themes of the Equity in Theatre Symposium and International Summit on Gender Parity in Theatre, which took place in Toronto in April, 2015.

The Committee of the Jubilee makes a call to action to support a vision of every theatre in the United States of America producing work by women, people of color, artists of varied physical and cognitive abilities, and/or LGBTQIA artists in the 2020–2021 season.

Playwright Matthew Minnicino kick starts his series by addressing the tradition and implications of male playwrights writing female characters. 

Martha Steketee explores the lens and artistry of Jody Christopherson in “Necessary Exposure The Female Playwright Project: Portraits of Playwrights Who Identify as Female” in New York City.

Part three of Aphra Behn’s report from The Tenth Women Playwrights International Conference in Cape Town, South Africa.

Writer Sarah Rebell recaps her summer spent reading only plays written by women. 

In the second installment of her series, Guerilla Girl Aphra Behn recalls some memorable moments at the Women Playwrights International Conference.

In the first installment of her series, Guerilla Girl Aphra Behn discusses the origins of the Women’s Playwrights International Conference and Guerilla Girls On Tour.