Cultural heritage, artistic leadership transition, and intersectional race and gender dynamics factor into this case study exploration of Nataki Garrett’s tenure at Oregon Shakespeare Festival. I examine the attitudes and actions of OSF’s board and how they participated in the stewardship of an organization at a crucial moment in its history.

Teaching Italian Futurism in a Theatre History survey course is a challenge, especially given the mess of “-isms” that can make a introductory student’s head spin. In a short essay, I offer a way to connect contemporary theatremakers to historical theatre styles to help offset fascism and keep students on track.

Ain’t Too Proud: The Life and Times of the Temptations, Tina: The Tina Turner Musical, and MJ the Musical are three biographical jukebox musicals that premiered on Broadway between 2019-2022. All three feature books by Black women, a significant diversification of the Broadway musical, which has been historically dominated by white men. However, each of these three shows were lambasted by critics as intellectually flimsy musicals; unoriginal, nostalgic and of limited cultural value. I reframe these shows as important celebrations of Black feminist cultural memory and breakthroughs for Black women creators on Broadway.

Artistic leadership of not-for-profit theatre companies has gone through a generational shift that began in the early-mid 2010s and continues through the post-COVID recovery of the field. In this article, I highlight the work of Woolly Mammoth Theatre Company’s board and executive staff in facilitating a generative transition from a founding artistic director to new leadership.

One in a series of six short historical almanac entries I composed for American Theatre during my time at the Oscar Brockett Center for Theatre History. and Criticism at the University of Texas at Austin.

I interview documentary theatre playwright and director KJ Sanchez about a pair of plays she has written about Cincinnati music label King Records for Cincinnati Playhouse in the Park. We explore our shared interests in plays based on the lives of real people and grapple with the ethical responsibilities of documentary theatremakers with regard to their subjects.