Jack Holden, a volunteer with much-cherished British LGBTQ charity Switchboard, was inspired to write his acclaimed play “Cruise” from the many calls for help and advice he took.
Naveen Kumar is a culture writer and editor whose recent work also appears on them.us, Vox, and The Hollywood Reporter. He serves as theater critic for Towleroad and contributes reviews to Time Out New York. His arts features have appeared in The New York Times, Los Angeles Times, Teen Vogue, and more.
London’s West End is trying to bounce back with high-voltage, starry productions—“Cabaret,” “The Seagull,” “The Glass Menagerie,” and “All of Us”—in which women take center stage.
At a forum organized by the Broadway Advocacy Coalition, white theater industry leaders talked about, or often around, the practicalities of anti-racist learning and practices.
Broadway’s reckoning with racism began after George Floyd’s murder. Now, activists hope that actions taken in rehearsal rooms and productions will lead to institutional change.
The documentary “Giving Voice,” about teenagers competing in the August Wilson Monologue Competition, reminds us of the playwright's indelible legacy—and the power of theater.
Tony-nominated costume designer Dede Ayite is thinking deeply about how to create equity in theater. Her work also demonstrates the breadth and vibrancy of Black stories.
A game show that asks audiences whether or not to award someone U.S. citizenship sounds twisted. It is also the subject of the disturbing and revealing play, “American Dreams.”
The eight micro-plays in “Theatre for One: Here We Are” pair one performer with one audience member for a live two-way video call, with stories focused on calls for racial justice.