As Director of Labor Relations for the Broadway League, Producer Elizabeth McCann and I used to joke during negotiation sessions we would know  we “made it” when the day came we would clinch a deal while in the ladies room! The male negotiators would always emerge from the men’s room proudly  announcing they “sealed a … Continue reading →

Unless you’ve been hiding under a rock (beneath the root of a tree, at the bottom of the ocean), you know that sexual harassment in the workplace has been a topic in the news lately. What performers and other theatre professionals may tend to forget is that while they are artists, they are also “acting” … Continue reading →

In October 1978, the Feminist Theatre Study Group picketed five shows on London’s West End, handing out leaflets that began with a few questions. To wit, Did the characters in this play imply that: Blondes are dumb? Wives nag? Feminists are frustrated? Whores have hearts of gold? Mothers-in-law interfere? Lesbians are aggressive? Intellectual women are … Continue reading →

What does it mean to describe a play as feminist? What are you looking for when you put out a call for feminist scripts? This is the second in a series exploring possible answers from different angles. What is: too often, women are not assessed as fully human people. What should be: our humanity and personhood should … Continue reading →

This is the thirteenth installment of the blog series Submitting Like A Man (SLAM), created by writer Mya Kagan and published on HowlRound. The project examines what happens when the author resubmits scripts to previously rejected opportunities using a man’s name. But ten weeks ago, in response to our times, she launched an offshoot of this project … Continue reading →

This week we launch a new feature called RESPONDING TO OUR TIMES. In this space, theater professionals discuss how local, national, and global events are affecting their lives, their art, their thinking and their practice. Our first respondent, Alexis Greene, is a founding editor of WIT Magazine, an author and a theater journalist. She writes … Continue reading →

By Cheryl Davis Any playwright or other theatre artist ought to have some familiarity with the copyright law, not only to protect their own rights to their creative work, but also to understand what kind of work they can use created by somebody else—no one works in a vacuum. Artists are constantly riffing and expanding … Continue reading →