The Accountability Workgroup is made up of the Bay Area’s Artistic, Managing, and Executive Directors organized as a response to the current movement for racial justice.

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).

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.

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.

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.