07/29/2025
In the late days of June, as new-season theatre announcements were rolling in, a shock hit New York. Playwrights Horizons, the birthplace of shows including the Pulitzer Prize winners “Sunday in the Park with George” and “The Flick,” announced its programming for 2025-26. In a notably diverse lineup, there was only one woman writer, and she occupied half a slot. Playwrights Horizons wasn’t alone. Other major theatres revealed their programming, some of which reverted to familiar patterns from a decade ago. The Roundabout Theatre will give one slot out of four to a woman. Classic Stage Company confirmed a season of three shows, all written and directed by white men. And the Williamstown Theatre Festival, enjoying its first summer under its new director, Jeremy O. Harris, has zero plays written by women among its 2025 productions.
The low representational numbers for women are difficult to square. By various measures (including the numbers of women graduating from degree programs in the arts), roughly two-thirds of the field’s writers are women—there is not, as artistic directors once argued, a pipeline issue. It seemed particularly bitter that, even as theatres made passionate arguments for diversity and new artistic directors took over from the old guard, certain habits were creeping back. Are we seeing a reflection of the country’s increasingly misogynist politics? Is there a kind of moral fatigue at play? Read Helen Shaw’s full commentary:
After years of progress in diversity, many companies’ upcoming slates feature mostly, and in some cases entirely, male-writer lineups. The backslide has prompted an outcry.