For the five theatre seasons from 2014 to 2019, I analyzed the demographics of productions that received at least five performances in Baltimore. I focused on the gender and race/ethnicity of dramatists and directors, as well as whether each individual lived in Baltimore; I also noted the percentage of productions that were world premieres.

Between 2014 and 2017, THE COUNT saw some growth in representation on national stages of work by women generally and white women and women of color separately, as well as a smaller increase in work by men of color. Still, our stages continue to be dominated by white male-identified writers, out of proportion to national demographics, as well as to indicators of the demographics of the theatre (i.e. who trains for it, enters the profession, and is represented in non-producing playwright centers).

Ours is a multi-year, ongoing analysis of the Washington, DC theater ecosystem. We analyze the plays selected for production and the race, ethnicity, gender, and geography of the playwrights who write them and the directors who work on them.

This site provides some historical information about representation on- and off-stage. The research here draws on work in progress under the umbrella of a larger data-driven history, Visualizing Broadway. It will be updated as new research develops.

Catalyzed by the nationwide movement and rooted in ongoing regional conversations about racism and white supremacy in theater spaces, a Bay Area-based community document was created, entitled “Living Document: POC Experiences in Bay Area Theater Co.”

MAESTRA MUSIC, INC. was founded by composer/lyricist and music director Georgia Stitt to give support, visibility, and community to the women who make the music in the musical theater industry. Our membership is made up of female-identifying, non-binary, and TGNC composers, music directors, orchestrators, arrangers, copyists, rehearsal pianists and other musicians who are an underrepresented minority in musical theater.

In the midst of the uprising brought about by the death of George Floyd, playwright Keelay Gipson and Stacey Rose felt compelled to cease the momentum of the time to escalate substantive change within the American Theatre. They felt that work began with gaining an understanding of how Theatre Makers of Color felt they exist in the industry vs. how they actually exist. In an effort to seek this understanding, they created the Theatre Makers of Color Requirement Survey.

The Women Count report series collects and publishes analyses of production credits to assess gender parity in New York Off and Off-Off Broadway hiring decisions.