How Ukrainian Playwrights Are Defending Culture
By John Freedman, Andrii Bondarenko, Iryna Harets, Laura Cahill. Russia’s full-scale invasion of Ukraine is not just a military assault; it is an assault on Ukrainian identity and culture …
By John Freedman, Andrii Bondarenko, Iryna Harets, Laura Cahill. Russia’s full-scale invasion of Ukraine is not just a military assault; it is an assault on Ukrainian identity and culture …
By Nicolas Shannon Savard, Francis Miller. Nicolas talks with Francis Miller about their solo show, Body of the State, which explores access to gender-affirming healthcare and asks the audie…
By Fidaa Ataya, Dovie Thomason. Stories connect us to our past and shape our futures, helping us to imagine alternatives, to envision the dreams towards which we can collectively mobilize.
By Kristin Marting. On 13 July 2026, TORCHES continues with a conversation with the award-winning multi-disciplinary lighting, projection, and puppetry artist Jeanette Oi-Suk Yew, who was re…
By zuri arman. zuri arman applies a dark decypherment critique to Jordan Tannahill’s Prince Faggot, surfacing the abjection of Blackness that underpins its narrative of white queer belong…
By Kristin Marting. On 6 July 2026, TORCHES continues with a conversation with acclaimed playwright Robert Lyons, who ran the award winning Ohio Theatre for thirty-plus years.
By Nicolas Shannon Savard. Nicolas Shannon Savard recounts the evolution of their solo show, Five and a Half Feet of Fearsome, from the original 2018 production to adapting pieces for testim…
By Artist Caregiver. This diarist freelances out of state, but this week she is at home beginning her daughter’s transition from educational services to housing for disabled adults.
By . Spanning contemporary dance, music, theater, spoken word poetry, and interdisciplinary practice, the evening highlights the depth and dynamism of Native Hawaiian creative expression gro…
By Kristin Marting. On 29 June 2026, TORCHES continues with a conversation with the Obie Award winning creator/director Mallory Catlett.
By . Playwrights Corinna Schulenburg, Jason Tseng, Greg T.
By Nicole Brewer. The Consortium of Asian American Theaters & Artists (CAATA) welcomes Nicole Brewer, faculty at the David Geffen School of Drama at Yale and originator of the Antiracist…
By Nataki Garrett. Nataki Garrett reflects on the May Day activation that kicked off the Doris Duke Foundation’s Creative Labor, Creative Conditions campaign.
By handan salta, Caras Ionuț. How do you expose a country’s most shameful moments on stage in a way that excites the audience, instead of alienating them?
By JD Stokely. In October 2025, eighteen artists gathered in Maine for a weekend of sharing artistic practice as part of the MicroCosmos project.
By Ciaran Short. Zora Howard’s Hang Time demands a deep contemplation of empathy.
By Nicolas Shannon Savard, Ciara Hannon, Saylor Lake. Ciara Hannon and Saylor Lake return to talk about 11th Hour Productions’ repertoire of lesbian comedies that play with genre, includin…
By . The third volume in the Methuen Drama Book of Trans Plays series offers nine new plays by trans playwrights featuring trans characters.
By Kristin Marting. On 22 June 2026, TORCHES continues with a conversation with the glorious award-winning theatre artist and Patron Saint of Hybridity, Taylor Mac.
By Kristin Marting. On 15 June 2026, TORCHES continues with a conversation with composer and performer Kamala Sankaram, who moves freely between the worlds of experimental music, sound insta…
By Kimberly Senior. How can a director decenter themselves while still fulfilling the role of “director”?
By . This panel discussion explores the role of theatre artists in times of war, occupation, and state-sanctioned violence, in multiple contexts and locations around the globe, from Minneapo…
By Nandita Dinesh. What happens when we release the idea that dramatic texts must conform to predetermined durations and allow them, like life itself, to take the time they need?
By Nandita Dinesh. What might applied playwriting actually look like, and what might it do that neither applied theatre nor conventional playwriting can do alone?
By Nandita Dinesh. Applied theatre has always been about people: whom it's for, whom it's with. How do these questions transform when the work moves from the field to the page?