by Hayley Osborn | February 2, 2021Bechdel Revisited: Broken Nose Theatre’s New Play Festival Broadens to Include Trans and Non-Binary Stories
by Hayley Osborn | November 17, 2020Good Grief: How a Play Based on the Comic Strip Peanuts Led to Controversy at a Small Iowa College
by Hayley Osborn | October 6, 2020Wild & Online: The Host Becomes the Guest in an Interview with Karen Yates of “Wild & Sublime”
by Hayley Osborn | September 8, 2020Interrogating the System: An Interview with Kamilah Rashied about Making Room for Marginalized Voices
by Hayley Osborn | July 7, 2020Red Hot Chicago Summer: Fiery Femmes of Burlesque Speak About History, Intimacy and Self Love
by Hayley Osborn | May 13, 2020A Jill of All Trades: An Interview with the Indefatigable Jillian Leff
by Hayley Osborn | April 8, 2020Cut From Her Own Cloth: The Most Spectacular Designs of Miss Izumi Inaba
by Hayley Osborn | March 10, 2020The Gospel of Getting On: A Review of Mrs. Warren’s Profession at Promethean Theatre Ensemble
by Hayley Osborn | February 10, 2020There’s No Business Like Roe Business: A Review of Roe at Goodman Theatre
by Hayley Osborn | February 3, 2020Another Day at the Office: A Review of Do You Feel Anger? at A Red Orchid Theatre
by Hayley Osborn | January 14, 2020Adults at Play: A Review of Forts: Adult Night at Filament Theatre
by Hayley Osborn | December 12, 2019Any Major Drood: A Review of The Mystery of Edwin Drood at Blank Theatre Company
by Hayley Osborn | November 25, 2019Merry Christmas, Mr. Darcy: A Review of The Wickhams: Christmas at Pemberley at Northlight Theatre
by Hayley Osborn | October 10, 2019Lust, Actually: A Review of Hello Again at Theo Ubique Cabaret Theatre
