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).

Inspired by the Dramatists Guild's "The Count," our research project posed the question: Who is being produced at nationally ranked liberal arts colleges? Our results reflect data collected for the 2019-2020 season and reveal trends similar to those reflected in "The Count's" national study.

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.

On the Edge—a two-year, three-phase research study—captures the state of the field in fall 2019 and amid the COVID-19 crisis of 2020 with quantitative and qualitative data, The report reveals a sobering picture of retooled artistic aspirations and urgent financial insecurities for women, people of color, and mid-career artists with 15-30 years of experience.

Launched in 2016, The Sol Project is a national theater initiative dedicated to producing the work of Latine playwrights in New York City and beyond.

Guided by the values of joy, rigor and generosity, The Sol Project works in partnership with leading theaters around the country to amplify Latinx voices and build artistic homes for artists of color.

Initiated last year by the leadership of TYA theatres across the country, the study was commissioned by TYA/USA to provide concrete data as a tool for meaningful change and accountability. Key findings demonstrate that the TYA industry has made strides for increased representation in terms of gender and race across the last decade, but racial diversity in live theatre for young people is not yet representative of the US population.

Are we getting closer to gender parity in design in LORT theatres?The short answer is yes, albeit very slowly and with a good chunk of caveats. Over the six seasons, the percentage of she designers in positions increased 6.0 percent overall to 33.0 percent. Individual disciplines varied. In lighting and projection/video, the percentage of she designers in positions more than doubled. But the percentage of she designers in sound design positions only went up by 0.3 percent.