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Centre Stage

A blog for women-related theatre issues worldwide.

  • 28 Dec 2018 12:19 PM | Anonymous

    Reaching parity in the world of theatre takes everyone's engagement and involvement. Organizations and decision makers must be deliberate in producing female-driven work.

    There are a variety of organizations that support women in theatre and female playwrights to make parity and equity a reality, and we all must support one another in this endeavor. As playwrights, we can purposely submit our work to organizations that will celebrate our voices. 

    Works by Women, now merged with VH Theatrical Development Foundation to create Parity Productions, still houses a wealth of information on their former website.  Looking through the participating companies can give insight on where submissions would be welcome. 

    Little Black Dress INK  takes an extremely proactive approach to getting more women playwrights heard. The organization explains their mission as the following: 

    Little Black Dress INK is an experiment in support, inspired by recent revelations in numbers on the subject of just how few female playwrights actually get produced. Through outreach, education, and producing opportunities, Little Black Dress INK strives to create more production opportunities for female playwrights while also strengthening the female playwright network.  

    The International Centre for Women Playwrights (ICWP) 50/50 Applause Awards was founded in 2012 to increase awareness and applaud theatres that produced a season with an equal or greater number of plays written by female playwrights.

    In reviewing the past winners since its inception, there have been a few theatres that have continued to show up on the list multiple times, and should be commended for their dedication for parity. Playwrights Horizons of New York, NY has been featured repeatedly, as has The Factory Theatre in Ontario, Canada and the Latino Theatre Company/Los Angeles Theatre Center (LATC).  

    Sphinx Theatre's Sue Parrish, in her breakdown on why parity is taking so long, advises how it must be intentional and be supported by the numbers. As she explains: 

    There needs to be a proactive approach to increasing women’s representation within the theatre industry. Working from the ground up, we must change the way we write female roles for theatre, and the way we support, train and develop female writers, directors, actors and other women working within the theatre. We need to create a level playing field right now as well as in the future.

    As we move towards gender parity, let us be proactive and intentional, and let us remember it is a team sport in which we all must participate and support one another in our ultimate goal of gender parity and representation.

    Let us not only create our own groups and drive our own visions, but support those organizations already out there doing the work. 

    Tags: #ICWP #Parityprodcutions #VHTheatricalDevelopmentFoundation #worksbywomen #JessieSalsbury #femaleplaywrights #womenplaywrights #LATC #PlaywrightHorizons #FactoryTheatre #LittleBlackDressInk #365WomenAYear

  • 20 Dec 2018 1:28 AM | Jenni Munday (Administrator)

    A posting from Sandra Seaton

    In 2000, I was asked by composer William Bolcom to write a libretto about the relationship between Sally Hemings and Thomas Jefferson. Growing up as an African American in the South during the era of segregation, I heard many family stories about relationships between blacks and whites outside the law. Some were love relationships; others were exploitive–some were probably both. I couldn’t help thinking about these relationships, when I read the chapter appropriately titled “Haunted Legacies-Interracial Secrets From The Diary of Sally Hemings,” in Naomi Andre’s new book Black Opera: History, Power, Engagement. Andre states that the effectiveness of From The Diary of Sally Hemings is that it allows the conflicting emotions, such as the ones I describe above, to exist simultaneously.

    When I stepped into that world of 18th century America, that time machine, I brought some of my own world with me. What did I bring? Part of it was the result of exhaustive research about that era. Of course, once I started to write, most of the research was unnecessary baggage that had to be set aside. Aspects of my own past stayed with me. It always does. I was fascinated by stories whispered about my great grandmother, a woman who wouldn't go to see her white father, a wealthy man, when he called for her on his death bed but who would stay and visit all day with the family after she was a married woman living on her own. A family secret. Her birth certificate says "father unknown." 

    My libretto of From the Diary of Sally Hemings is ultimately a work of the imagination, an imagination constrained by historical possibility. So far as anybody knows, the historical Sally Hemings left neither a diary nor any other writings. The words and ideas of Thomas Jefferson have been preserved in his voluminous writings but the thoughts and feelings of Sally Hemings cannot be recovered through research. The “diary entries” I created that make up the libretto are my attempt to give a voice to Sally Hemings, to allow her to speak for herself.

    Sandra Seaton is a playwright and librettist. Her plays have been performed in cities throughout the United States, including New York, Chicago, and Los Angeles, and her libretto for the song cycle From the Diary of Sally Hemings, set to music by Pulitzer Prize-winning composer William Bolcom, has been performed at such venues as Carnegie Hall and the Kennedy Center.

  • 11 Dec 2018 5:22 PM | Anonymous

    We interviewed our ICWP members on current topics of Inclusion, Writing, and their Reason Why.

    The most common theme from any question was that there still aren’t enough deliberate actions taken by theaters and artistic directions to give writing opportunities to playwrights that identify as female, are of color, or are LGBTQ.

    We have quoted the best excerpts from our questions here. 

    What do female playwrights bring to the theatre? Why are female playwrights important? 

    Elana Gartner: Female playwrights bring unique voices and perspectives to the stage…It is important that female playwrights serve as role models for those younger women behind us.

    Lisa Grunberger: I think female playwrights like Carol Churchill, Susan Lori-Parks, Margaret Edson (Wit), Marsha Norman, Wendy Wasserstein can tell stories that place women at the center of the story. We need a diversity of stories that tell us about how women negotiate the world.

    Sandra de Helen: It is important to have a diversity of voices in the theatre. Women’s voices are heard far less than 50% of the time, and consequently, the established canon of plays resulted in the belief that the male point of view is the “correct” and universal point of view.

    Karen Howes: We need the female playwright who can not only show us women characters who are individuals, and who not only tell us narratives sprung from female experiences, but we also need female playwrights who can help us broaden our understanding and acceptance of dramatic structure. I look to playwrights like Susan Glaspell and Ntozake Shange to see how plays can work very successfully while not adhering to male structure.

    Why do you write plays? 

    Christine Emmert: I started as an actress, and then I realized I had more to say than just what others wrote.

    Elana Gartner: It is part of the fabric of who I am. I have also gotten very depressed when I am not writing plays.

    Elin Hampton: My imagination can be triggered from a prompt, a photograph, a commercial or a conversation.

    Julia Pascal: To see the work that nobody else is writing. To tell women’s histories as they will otherwise vanish. To explore the world’s action from a woman’s view point.

    Lisa Grunberger: I write plays and poems and stories because I have to…it’s a compelling, ineffable force inside you that you hear and sometimes, if you are fortunate, you get the opportunity to tell these stories and to share them, on the page or the stage with other people.

    Aphra Behn: To push out a woman’s narrative. All of my plays are stories of women.

    If you could talk to your 13-year-old self about playwriting, what would you say? 

    Emily Adler: “It’s really easy to make this about ego and proving how wonderful you are and constantly needing to hear it…and that temptation will always be there…but when you fall in love with the process, you’ll feel it on a whole other level. And that is where the good stuff really happens.”

    Cynthia Wands: It is okay to take risks and talk like you’re the only one who knows what you’re talking about.

    Julia Pascal: Listen to old people. Capture their stories. This is your source material. Get older women to talk to you about their lives in great detail.

    What can the theatre world do to be more affirming to female playwrights? 

    Judith Pratt: Teach young women how to navigate the politics of theatre; how to manage their careers.

    Penny Jackson: They need to commit to including at least two or three female playwrights in their season. They need to commit to an outreach program for female playwrights. Above all, they need to reach all female playwrights of every nationality, race and age…Ageism is an unspoken issue with theaters chasing playwrights. 

    Cynthia Joyce Clay:  From reading business articles about how some corporations work ….. it seems the task is multidimensional, that problems arise from layers of discriminatory ideas that have to be peeled back and dealt with.

    Ibadete Abazi: America [must] give more space to female playwrights because I think even here in many cases …. we are not treated equally.

    Debbie Ann Tan: I hope that productions will be open to diverse voices, experimental writings by women…I hope that they can be open to supporting current and living female playwrights by choosing our plays and paying the proper fees so that we can somehow earn from our writings.

    Cynthia Wands: Make more female directors and artistic directors available at the theatres. All male staffed theatres don’t seem to be able to incorporate women’s voices as much as when there are women on board.

    Laurel Wetzork: Blind submissions. Read more plays by women. Schedule at least half of a [season] with female playwrights.

    Aphra Behn: Produce plays by women. Hire women directors. Involve their audiences in the progress.

    Farzana Moon: …It still lags behind in lending opportunities to indigenous voices, in US especially, Native Americans.

    Karen Howes: The change has come from within. It’s been through the slow movement of women into the entrenched male dominion of theatre management, education and criticism that women artists have been allowed entrance.…. The momentum that has sprung up to support women could easily slip away. It is not entrenched. It is fueled by anger and resentment which are fleeting emotions.

    The International Centre for Women Playwrights seeks to support women playwrights around the world by bringing international attention to their achievements and encouraging production of their plays. As an organization, they provide an affirming community of female-identifying playwrights that support one another to advance their craft. Their hope is to achieve parity by empowering women playwrights across the world. 

    For more information on statistics on women playwrights, please see the League of Professional Theatre Women Women Count report published in February of 2018 or the Dramatists Guild the Count 2.0 - on who is getting produced in the United States, encompassing seasons from 2011-2017. 


    #ICWP #WomenPlaywrights #womanplaywright #femaleplaywright #jessiesalsbury #theatre #theater #women #playwrights #interviews 

  • 05 Dec 2018 6:45 PM | Jenni Munday (Administrator)

    A posting from the blog of Hanna Akerfelt

    ICWP member in Finland

    For the first time in my life I’m in the incredible position of being able to write full time for the coming year and a bit. It’s thanks to both a commission and a grant from Svenska Kulturfonden. I’ve dreamed about this, to write full time, for almost fifteen years. It’s a privilege, no question. So, like a cold on the first day of the summer holiday I’m struck by doubt and questions and hopelessness. How am I ever going to do this? How am I going to get those ideas out of my head and onto paper in a form that anyone else understands? And why do I think that the stories that fascinate me are going to interest anyone else in the slightest? And it’s just Monday.   

    When I’m struck by these moods, because this isn’t the first time it’s happened it’s just worse this time, one of the things I do is look to other playwrights and writers. It feels comforting to read what they’ve said about their work, their processes, and their ups and downs. There’s a special section of my bookshelf dedicated to books with texts by and interviews with playwrights about writing. I listen to as well, among others to The Royal Court Playwrights Podcast as well, where Simon Stephens interviews playwrights. That’s where I turned this time, listening to interviews with a range of female playwrights. One of the questions he asks in at least a couple of the interviews was “Who do you write for?”.  

    I’ve never consciously formulated an answer to the question of who I write for, but right now it’s a great question to sink my teeth into. Because it’s not about me, the question is about something outside myself, and I really want to get out of my head. The interviewed playwrights give their different answers, which can lead to different discussions about how you think about writing, about theatre, about your audience. I start thinking about the last play I’ve written, a passion project I’ve worked on for over five years, in between jobs and projects. It’s a play that’s not going to be produced, not necessarily because it’s bad or irrelevant, it just doesn’t fit an easy model. Too small in its scope to be suitable for a big stage, but it needs too many actors to be done on a small stage. 

    So who is it I’m writing, and continue to write, this doomed play for? I do if for my own enjoyment, I can’t deny that. If I didn’t want to do it there would be absolutely no reason for me to do it. But. On another level I keep writing the play for the people in the story, so that they won’t be trapped inside my head, so that they can come out and exist in a world outside of me, even if that world is just the drawer of my desk. For my sins I have to tell their story, because nobody else knows them. If I don’t do it nobody else will. And I can’t have that. 

    As I continue listening to playwrights talking about why they write, how they got started and share their experiences of directors, rehearsals and life, the storm inside me starts to subside. Because I’m not alone with any of the things I’m struggling with. Everything you do or write isn’t great, not even after you’ve done fifteen drafts, not everything succeeds, not everything has to succeed, you can still learn from the work and the process. That thought feels good. It feels good to give yourself permission to fail, both as a writer and as a human being. So I’ll just keep writing. It’s the only thing I can do, the only thing that helps when it comes to doubts. 

    Take a deep breath and write.

    Hanna's blog can be accessed at:

  • 22 Nov 2018 11:57 PM | Jenni Munday (Administrator)

    By Coni Koepfinger

    Women’s History Month 2018


    Earlier this year there was lots of breaking news about sexual assault and misconduct in the film, television and radio industries, as well as in politics and blue collar work force.  #MeToo stories abounded but no one was talking about the theatre industry.  We have our own “casting couch” stories to tell!  I posted a tweet disclosing my own #MeToo story and wondered why weren’t other theatre people posting, or identifying themselves as theatre people.  I decided to organize an event specifically bringing out #MeToo stories from theatre women during Women’s History Month (March) 2018 and put out a call for  #MeToo tweets, scenes and monologues in the theater industry.  To my knowledge, I was the first to put out such a call specifically to the theatre community in New York, if not nationally.


    In response to my call for #MeToo tweets, scenes and monologues, I received not just stories from the theatre industry, but also dance, music, and visual arts.  Entries came from states outside of New York, as well as an anonymous posting about misconduct occurring at a theatre company that I spotted on Facebook.  Dominique Sharpton-Bright, daughter of Reverend Al Sharpton, contacted me asking if she could be a part, offering the National Action Network’s House of Justice to hold the event.  The event was live streamed for those who could not physically attend. 

    #MeToo Theatre Women Share Their Stories was a reading of tweets, monologues, music and scenes on the subject of sexual assault or sexual misconduct within the theatre industry. Some notable stories include those of Tedx’s Amy Oestreicher; (James Toback victims) Karen Sklaire Watson, Shani Harris, and Selma Blair (one of the “Silence Breakers” and Time magazine’s People of the Year).  Rounding out the writers sharing their stories were: Raquel Almazon, Anonymous, Nora Cole, Farzana Datta, Emma Goldman-Sherman, Yvette Heyliger, Prudence Wright Holmes, Penny Jackson, Coni Koepfinger, Martha Patterson, Jane Schlapkohl, Susan Shaffer, and songwriter Germaine Shames.  These readings on the subject of sexual assault or sexual misconduct within the arts industry were followed by a power point presentation on harassment prevention in the artistic workplace, as well as preventative action steps led by Akia Squitieri of Creating Safe Spaces.  Rehearsal space was made possible by a grant from League of Independent Theatre.

    At the National Action Network's House of Justice


    The response was tremendous and immediate.  All who were gathered seemed bonded together in a common concern and desire to create safe spaces. As a result of the success of this event, I was invited to present a workshop at National Action Network’s National Conference at the Sheraton New York Times Square Hotel held during National Sexual Assault Awareness Month (April).  #MeToo: From Testimony to Prevention featured selected monologues written by yours truly, Raquel Almazan, Anonymous and Janet Schlapkohl; a power point presentation about sexual harassment in the workplace by Aimee Todoroff of League of Independent Theatre; a distinguished response panel including: Rachel Dart of Let Us Work Project, Jenna Chrisphonte of the Dramatists Guild and Lillian Gallina of Actors Fund of America; followed by open sharing from the audience, a Q & A, and handouts with contact information of agencies and service organizations working in the area of harassment in the workplace. 

    At National Action Network's National Conference at Sheraton New York Times Square Hotel


    I have been invited to participate in New York City’s first #HealMeToo Festival founded by Artistic Director Hope Singsen and presented, in part, through Kori Rushton and IRT Theater’s Residency Season. “From March 27 to April 14, 2018 (Sexual Violence Awareness Month) the #HealMeToo Festival will present multi-disciplinary works in development, creating an intersectional space for conversation, learning and laughter that sparks resilience and growth. Workshops and live panel podcasts will raise critical questions about cultural change and explore many approaches to healing: from activism, to bodywork, to the latest therapeutic advances, to creative writing, art, music and dance.”  Contact me (Yvette Hiliger) for more information about this festival which answers the question, “What’s next?”


    Bridge to Baraka, my solo show was selected for the United Solo Theatre Festival, “the world’s largest solo theatre festival” Emboldened by the 1960s Black Arts Movement yours truly, Yvette X, stakes her claim as a female dramatist coming of age during the ongoing fight for parity for women in the American Theatre. The play empowers artists of all stripes to tell their own stories their own way, and to get those stories to the masses “by any means necessary.”  One audience member sent me an email saying, “Good job!  The combination of your fine craft of writing, your open-hearted and captivating delivery...  the performance had me engaged from start to finish”.   I received such a great reception to the show; I decided to try my hand at setting up a tour!  To this end, I enrolled in Theatre Resources Unlimited (TRU) Producer Development and Mentorship Program’s Master Class with Broadway producers Jane Dubin and Rachel Weinstein.   A long-time producing artist, my actionable goal for the class is to set up a viable tour of Bridge to Baraka to begin during the 2019 – 2020 season. 

    What a Piece of Work Is Man! Full-Length Plays for Leading Women, a collection of plays written by yours truly and edited by Alexis Greene, delivers a power-packed collection of plays for leading women (and the leading men who love them!). Ideal for professional actors, directors, designers and producers seeking new projects, as well as students of the theatre and lovers of politics, drama and activism! Artistic essays, critical reviews, production cast lists, as well as selected photographs and lead sheet music by composer Larry Farrow, illuminate the work of this producing artist and educator. The book is available in paperback or e-book from your preferred bookseller.  Mine is the Drama Book Shop which has signed copies!

    And finally, I am pleased to announce that I have been named the official representative of the Founding Alumni of Duke Ellington School of the Arts, a premiere performing arts high school in Washington, DC.  This is a full-circle moment for me, as I was honored to server as senior class president and was valedictorian of the first graduating class (1977) during the school’s formative years. 

    YVETTE HEYLIGER is a playwright, producing artist, educator and activist. She is the recipient of AUDELCO Recognition Award for Excellence in Black Theatre’s August Wilson Playwright Award and Dramatic Production of the Year.  She received Best Playwright nomination from NAACP’s Annual Theatre Awards. Author of What a Piece of Work is Man! Full-Length Plays for Leading Women, she has also contributed to various anthologies including, Performer’s Stuff, The Monologue Project, Later Chapters: The Best Scenes and Monologues for Actors over Fifty and 24 Gun Control Plays. Selections from her play, Autobiography of a Homegirl, appear in Smith and Kraus’ The Best Women’s Stage Monologues 2003 and The Best Stage Scenes 2003.  Other writings: The Dramatist, Continuum: The Journal of African Diaspora Drama, Theatre and Performance, Black Masks: Spotlight on Black Art, HowlRound, and a new blog, The Playwright and The Patron. After many years in front of the footlights, Heyliger returned to the stage as a solo-artist in her first one-woman show, Bridge to Baraka. From this one woman show came two spin-offs, The Pen Instead of the Gun and I Am That Bear. Memberships: Dramatist Guild, AEA, SDC, AFTRA-SAG and League of Professional Theatre Women.  A partner in Twinbiz™, now celebrating its 30th year, she is the co-recipient of the first National Black Theatre Festival Emerging Producer Award. She has a BA and MA from New York University; an MFA in Creative Writing - Playwriting from Queens College; and a Master of Theatre Education from Hunter College (pending). She was an Obama Fellow and is a founding member and longtime volunteer with Organizing for Action.  As a citizen-artist, she has worked on many issues including: gun violence prevention, equal opportunity and pay for women artists, and most recently, the #MeToo movement.  Yvette lives in Harlem, USA.

  • 08 Nov 2018 3:16 PM | Jenni Munday (Administrator)

    Amy Drake talks about theater with playwright Patricia Rumble

    What inspired me to become a playwright?  I was pregnant with my son, talking to the head of the children’s theatre program at Main Street Theater in Houston.  I mentioned that I was reading some folktales and one that interested me in particular was a Russian folktale “Go There I Know Not Where, Fetch That I Know Not What.”  He said, “That would make a great children’s show, can you write that?”  I said, “sure.”   Of course, I had never written a real play in my life.  But I was interested in writing.

    Although I had no official training in writing plays, I had taught German and wrote stuff for my students.  In fact, the first thing I ever wrote was in German, “Goldilocks und die drei Baeren.”  My students got first place for the German competition with the Goldilocks sketch.  It was also my first time directing, which I discovered is not something I really like to do. 

    Back to Main Street Theatre. So, I turned in my play, which now was called The Archer and the Princess.  Main Street said yes that they would produce my play but not for nine more months.  Three days after Main Street said yes, I had my son and while waiting those nine months for my second child I wrote A Mother Goose Comedy and Aesop’s Funny Fables.

    My degree is in Biology and German, but I have read many, many plays and gone to the theatre often. I taught myself how to write comedy sketches by taping the Carol Burnett show and then transcribing the funny sketches in a teleplay format.   For a year I wrote for the late Comedy Workshop in Houston in 1988.

    How did I get my work to the stage? A lot of cold calls in the beginning, which meant I was always on the outside looking in. In order to motivate myself to finish a project, I would find competitions and use the deadline for the competition as my deadline for writing the piece.   I won a few children’s play competitions in the beginning of my writing career.

    I don’t think of myself as a woman playwright, I think of myself as a playwright.  I also think of myself as a business person. Go where you’re not.  By that I mean, join business groups.  You will be the only playwright and people will be intrigued. Do readings of your work but work with good actors. Enter competitions and submit to competitions and workshops.  Also, help others. Take care of yourself physically, emotionally and spiritually. I hope that helps.  This is my sage advice from my thirty years of writing.  Break a leg.

    Patricia’s play, BREAKING OUT OF SUNSET PLACE, runs Jan 24 and runs thru Feb. 10, 2019 at the Queensbury Theatre in Houston. Tickets are available at She also has five published plays and five works in progress: Stuck in RV Land to premier in Port Arthur Texas at the Max Bowl August 16 and 17, 2019, Crazy the Musical premiering in San Angelo TBA in 2019 A Shamrock in Vietnam premiering at the Bastrop Opera House TX in March 2020 Cowboy and Cajun drama Au Revoir Cher Bébé (Goodbye Sweet Baby). In 2019 her publishing and production company Check out Patricia’s PlayItStore here:

    (Images above are 1. Patricia Rumble with Donna Cole; and 2. Patricia Rumble with one of the staff at Dramatic Publishing)

    You can contact Amy Drake at:

  • 24 Oct 2018 3:25 PM | Jenni Munday (Administrator)

    By Patricia L. Morin

    I was drawn to the relationship between gender parity in theatre and publishing through my work with the International Centre of Women Playwrights (ICWP), of which I am the president. We had just completed our 2017-2018 50/50 Applause Award honoring theatres that promote women playwrights around the world on an equal or greater basis to male playwrights. ICWP’s mission is to connect, inspire, and empower women playwrights to achieve equity on the world stages.

    Let’s take a short look at what has happened in gender parity over 2017 and 2018 thus far. 

    In January, 2017, the first Women’s March, one of seismic proportions (over 4,000,000 women), created a tsunami of awareness and solidarity that flooded major US cities, as well as other cities throughout the world. Women were taking a unified stand.

    Actress America Ferrera, during the march, said, “We stand together in solidarity with our partners and children for the protection of our rights, our safety, our health, and our families.” January, 2017

    This march was repeated again in January, 2018

    The #MeToo movement spurred on more resistance by women. What began in October 2017 rocked the film, media, publishing, and theater industries across the world–when actresses started using the #MeToo hashtag on social media to demonstrate the widespread prevalence of sexual assault and harassment. It followed on the heels of the Harvey Weinstein sexual misconduct allegations.

     Leigh Anne Ashley, writing in Writer’s Digest said“There seems to be no genre that has not been impacted by women finally feeling able and welcome to tell their stories. A recent Google search with the words “#MeToo articles” returned 6.6 million results. To those of us who have been paying attention, seeing the internet filled with so many women’s voices, including so many new voices, is a remarkable thing. I’ve noticed a shift in my writing; I feel gutsier and less apologetic.” “The #MeToo Movement and Its Impact on Women’s writing.” March 29, 2018

    Yet, women playwrights struggle …

    Industry still has a long way to go, Centre for Women Playwrights finds.


    The Playwrights Guild of Canada reported that for the 2017 season in that country, productions by male playwrights continued to dominate — 64%, which was the same as 2016.

    The National Voice, a publication of The Australian Writers Guild, reported that, of 95 shows surveyed for 2017 that included Australian playwrights — including those staged by state theater companies — 56% were written by men.

    Women are uniting worldwide, walking side by side on a road now more traveled, a path that is growing longer and touching many countries. At the urging of feminist and journalist Caroline Criado Perez, a statue of Millicent Fawcett was placed in London’s Parliament Square in April. In the foreword to the Fawcett Society report “Sex & Power 2018″, Perez writes: “Finally, we have to stop pretending that the path to equality is out of our hands. Power is never given freely. Liberty is never achieved by chance. It is achieved by design. So let’s start designing it.”


  • 19 Oct 2018 9:14 AM | Anonymous

    Alex Ates on October 10th, 2018 has proudly proclaimed that the 'Dawn of the Female Playwright is Upon Us' in their article for backstage. The most recent list of the most produced playwrights is decidedly more female than it has been in past years. As the article states: 

    American Theatre magazine, the trade publication for Theatre Communications Group, released its statistics for the most-produced plays and playwrights working in the United States today. 

    This year’s list features work that is largely female-powered. Out of the 11 plays listed, eight were written by women. And even the most-produced play, Lucas Hnath’s “A Doll’s House, Part 2,” features almost all-female characters. With only three male playwrights on the complete list, the publication reports a historic proportion. Further, on the list of most-produced playwrights in the country, there are six playwrights of color—another notable advancement for a field which has often been criticized for being predominantly white.

    Though this is a banner year for women produced plays and female protagonists, the celebration feels short lived. In an article from American Theatre from September 2017, Rob Weinert-Kendt writes that the more things change the more they stay the same. 

    The long arc is bending towards gender inclusion and gender parity, but we would have reason to despair. Writers are still majority male and cisgender. In researching gender parity, there is limited numbers available on gender inclusion outside of cisgender males. The production list is still very long on male driven work. 

    The breakdown is greater than zero, and the breakdown of female playwrights continues to grow, but we are far from gender parity, and far from a range of gender expression in plays being produced.

    If this is a dawn of the female playwright, we are slipping out of the night, and just beginning to see the fruit of our labor. Our work that we do, the fight to see an increase of female writing, is in its infancy. 

    It is not midday, it is not afternoon, it is simply the dawn of equality. There have been strides and improvements, but a long way to move towards equality. 

    On Twitter, I have made the call that for 2020 all theatres and organizations must commit to promote only female playwrights. 

    If it is truly the dawn of the female playwright, it's time for theatres and decision makers to put their money where their mouth is. Let's push for women to be produced, and not stop where we are now. 

    Everyone knows there is a problem, but it's difficult to fix when no one wants to take a risk to fix it. 

    Imagine it. If in one cycle, during one theatre season, we only saw female written work around the world, how would that change the landscape? 

    A new dawn indeed. 

  • 12 Jun 2018 12:02 PM | Anonymous

    We are thrilled to be announcing the recipients of the 50/50 Applause Awards of 2018. 

    62 theatres in Australia, Canada, Finland, Scotland, Singapore, South Africa, United States, and Wales received awards. 103 theatres were nominated.

    See the full Press Release here:

    The Celebration video has been posted on Youtube.

    Many thanks to the volunteers who helped to research, vet and check eligible theatres around the globe and who provided proofreading assistance. 

    Rita Barkey

    Sandra Dempsey

    Amy Drake

    Maureen Gustafson

    Lawrence Morin

    Patricia L. Morin

    Sharon Wallace

    Karin Williams

  • 06 Jun 2018 4:53 AM | Anonymous

    Women are being excluded from the stage. It’s time for quotas

    Julia Pascal

    Theatre is devoted to male narratives, and only a fifth of artistic directors are female. We need to impose a 50/50 gender split.

    t’s a century after some British women were allowed to vote, and a statue of the suffragist Millicent Fawcett is being unveiled in Parliament Square, so why is women’s presence on the English stage still unequal to men’s?

    In a recent survey, the Sphinx theatre found that just a fifth of English theatres were led by women, who between them control just 13% of the total Arts Council England (ACE) theatre budget. This week, the feminist campaigning organisation the Fawcett Society called for quotas to get more women into key positions, after its Sex and Power Index revealed startling gender disparities in the public arena. The situation in theatre, where I have worked all my life, is a startling gauge of the marginalisation of women.

    The Conference of Women Theatre Directors and Administrators began auditing the number of females on stage in the 1980s. That we are nowhere near equality, almost 40 years later, was only too evident at the Olivier awards this month, when the prizes for best director and best new play went to men. When women do not have equal representation in theatre, it is impossible for them to have an equal chance of winning prizes. The Equal Representation for Actresses campaign group is among those pushing for change, but the male ruling elite refuses to share power.

    Postwar British theatre declared itself to be the vanguard of a more equal society. From 1956, a new wave known as the “angry young men” celebrated working-class playwrights, directors and actors. Male rage was hailed as a revitalising force. Women’s rage was not. However, this working-class male movement never gave women equal opportunity. Sixty-two years later, female talent remains un-nurtured.

    Even today, female playwrights and directors are atypical. Shakespearian gender-swapping has been mooted as a partial solution. One example is Michelle Fairley playing Cassia at London’s Bridge theatre. However, such theatrical novelty only serves to distract from the main issue – the absence of contemporary dramas reflecting the complexity of women’s lives. Cross-gender casting fails to question the over-representation of dead and living male playwrights. It does not address the fact that half our contemporary creative world is missing.

    Why aren’t more women active demonstrators against this injustice? One reason is a justifiable fear of blacklisting. Some of the privileged theatrical knights who have led our flagships, the National Theatre and the Royal Shakespeare Company, have opposed gender parity. Consequently, women, who must seek male directorial approval to be employed, have dared not speak their name.

    There are structural reasons for marginalisation. Drama schools educate female graduates to expect lower employment levels than their male peers. The actors’ union, Equity, the majority of whose members are female, rejects calls for equal representation. Most important of all is the position of ACE. This unelected quango crushes female ambition by boxing women into a category called diversity. This term reduces women – the majority of the population – to a minority. This promulgates the lie that females are diverse and males are mainstream. Orwellian double-talk maintains male dominance.

    The exclusion of women from equal employment at all levels flouts both civil and human rights. The theatre is a serious, international political platform. It is a parliament of the arts, a form of soft power and a cultural territory as important as any physical land mass. With this abnegation of female flair, audiences are robbed of the full human story. These audiences are 65% female. There has never been a female artistic director of the National Theatre or Royal Shakespeare Company. Sir Nicholas Hytner, artistic director of the National Theatre for 12 years, until March 2015, never directed a play by a woman during that time. Women may occasionally appear as actors, directors and playwrights, but the English stage is devoted to worshipping male narratives. Where are the histories of our mothers, sisters and grandmothers?

    In December 2017, the recently appointed chair of ACE, Sir Nicholas Serota, announced a 50-50 male-female split on its national council. What we need now is 50/50 employment for female actors, directors, playwrights and creative artists.

    We may hate the concept of a quota system but decades of disenfranchisement mean that female artists and audiences have been cheated. When women’s human rights are acknowledged on the English stage, and when theatres are equally shared among expert professionals of both genders, only then can we say that our theatre is truly national and democratic.

    Via the Guardian 

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