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.

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.

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.

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.

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.