At 61.5 % of available roles across the industry, White actors continue to be the only race to overrepresent by almost double their respective population size in NYC. Black actors represented at 23.2%, Asian American actors 6.9%, Latinx actors 6.1%, MENA actors 2% and Indigenous Actors 0.2%

The intent of this resource is to shed light on the representation of gender and race of playwright produced in Milwaukee's live theatre productions from 2000-2020. It is a numerical analysis of 799 productions produced by Milwaukee's six Equity theatres (First Stage, Milwaukee Chamber Theatre, Milwaukee Repertory Theater, Next Act Theatre, Renaissance Theatreworks, & Skylight Music Theatre) from 2000 to 2020.

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).

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.

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.”

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.

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.