Recent Essays

Macy E. Kunke shares the practical steps she took to cultivate more sustainable stage management practices for a recent production of Men on Boats. By utilizing a variety of digital tools instead of more traditional printed paper methods, the stage management team created only a fraction of typical paper waste and found that their work that was cheaper, simpler, and more collaborative than typical stage management processes.

Mateo Hernandez acknowledges collaboration and artmaking as two distinct processes that inform each other in the theatrical process, an observation rooted in their group’s experience of intentionally reexamining the collaborative process at the Latinx Theatre Commons Director and Designer Colaboratorio.

The Latinx Theatre Commons Designer and Director Colaboratorio gathered dozens of Latinx theatremakers to approach collaboration from a place of inquiry, play, and exploration. Carla Della Gatta writes about this event as an alternate story of what is happening—and what could be happening—in US theatre right now.

Designer and Latinx Theatre Commons (LTC) steering committee member Tara Houston reflects on the transformation that the LTC inspired in her own career, and how the interventions at LTC convenings are helping Latinx theatremakers transform the theatre field.

As part of the Black and Indigenous Futures series, Amber Starks and Kyle Mays discuss the siloing of Afro-Indigenous identity, the opportunities and challenges of developing Black and Indigenous solidarity, and the potential to build a future more deeply rooted in kinship.

David Howse and Ronee Penoi, co-leaders of ArtsEmerson, introduce the Black and Indigenous Futures Series with an essay that discusses their commitment to a shared leadership approach that foregrounds solidarity between Black and Indigenous communities.

We are thrilled to welcome Munroe Shearer, the new HowlRound Fellow!

Keelin Sanz discusses the development of WOMI, which she created to explore the healing capacity of art. By rooting WOMI in the work of choreographer Anna Halprin and memoirist Sarah Ramey, Sanz crafted a performance that worked to a mend the relationship between body and sense of self for those with chronic illnesses.