Stories to Action: Co-creating Inclusive Pathways to Professional Theatre (Literature Review)


Aronson, D.B. (2004). Access and Equity: Performing Diversity at the New World Theatre.Florida State University: School of Theatre.

Band, S. A., Lindsay, G., Neelands, J. & Freakley, V. (2011). Disabled students in the performing arts – are we setting them up to succeed? International Journal of Inclusive Education 15(9), pp. 891-908. 

Barnes, A. D. (2016). Recruitment strategies employed by instrumental music ensemble directors at minority serving institutions to improve access to higher education by members of marginalized populations.Lubbock, TX: Texas Tech University. 

Brewer, N. (2017). Anti-racist theatre. Conscientious Theatre Training Beyond Traditional. Retrieved from

Brook, O., O’Brien, D. & Taylor, M. (2020). Culture is bad for you.Manchester, UK: Manchester University Press. 

Burchardt, T. (2010). Capabilities and disability: the capabilities framework and the social model of disability. Disability & Society 19(7), pp. 735-751. 

Burton, R. and Newman, L.Z. (2016). Equity in theatre: A project for change. Equity in Theatre. Retrieved from

Castagno, A. E. (2014). Educated in Whiteness: Good Intentions and Diversity in Schools.Minneapolis, MN: University of Minnesota Press. 

Citadel Theatre. (n.d.). The Citadel Theatre: Live since 1965. Citadel Theatre. Retrieved from

Citadel Theatre. (2020a). The Citadel Theatre: Inclusivity and diversity report. Citadel Theatre. Retrieved from

Citadel Theatre. (2020b). Transcription of October 5, 2020 Citadel Theatre Community Forum. Citadel Theatre. Retrieved from

Concrete Theatre. (2020). The 3.7% Initiative has come to Edmonton! Concrete Theatre. Retrieved from

Donelan, K. (2002). Engaging with the other: Drama and intercultural education. Melbourne Studies in Education 43(2), 26-38. Retrieved from

Dreher, T. (2010, January). Speaking up or being heard? Community media interventions and the politics of listening. Media, Culture and Society. Retrieved from

Dutta, M.J. (2014). A culture-centered approach to listening: Voices of social change.The International Journal of Listening28, pp. 67-81. Retreived from

Edmonton 35//50 Initiative. (2020a). Public letter to theatre artists and institutions. 35//50 Initiative. Retrieved from

Edmonton 35//50 Initiative. (2020b). Public responses. 35//50 Initiative. Retrieved from

Feigenbaum, H. (2010). “The Political Economy of Cultural Diversity in Film and Television”, en International Cultural Policies and Power, Singh J. P. New York, Palgrave Macmillan, 77-83. 

Ferreira, D. (2015). Board diversity: should we trust research to inform policy? Corporate Governance: An International Review, 2015, 23(2), 108–111

Ferrera, A. (2019). My identity is a superpower – not an obstacle. TED Talks. Retrieved from

Fox, N. (2020). A study on the lack of diversity within the design and technical field of theatre.Tempe, AZ: Barrrett Honours College. 

Gray, H. (2016). Precarious diversity: Representation and demography. Precarious Creativity: Global Media, Local Labor, pp. 241-253. 

Government of Canada. (1995). Employment Equity Act. Justice Laws Website. Retrieved from

Hansen, K. (2020). You’re an Inspiration: Moving Beyond Teachable Moment Narratives in Art Featuring Disabled Artists[live presentation]. Edmonton, AB: Chinook Series. 

Hanson, N. & Elser, A. (2016). Equity and the academy: A survey of theatre productions at Canadian post-secondary institutions. Canadian Theatre Review. Retrieved from

Hayward, K. (2009). Breaking into the business: experiences of actors with disabilities in the entertainment industry. Journal of Research in Special Education Needs (JORSEN) 9(1), 39-47.

Hawley, L., & Wells, J. K. (2019). Micro Actions Support Culture of Equity, Diversity, and Inclusion in an Academic Library. Oregon Library Association Quarterly 25(2), pp. 40-47.

Ife, J. (2016). Community development in an uncertain world.Sydney, AU: Cambridge University Press. 

Jeffery, S. (2019, June). Gender in Edmonton’s Professional Theatre: 2018/2019 Season Summary. YEG Theatre Stats: Raising the Curtain. Retrieved from

Jehn, K. A., Northcraft, G. B., & Neale, M. A. (1999, December). Why differences make a difference: A field study of diversity, conflict, and performance in workgroups. Administrative Science Quarterly 44(4), pp. 741-763. 

Kempe, A.J. (2015). Widening participation in theatre through relaxed performances. New Theatre Quarterly 31(1), pp. 56-69. Retrieved from

Killins, A. M. (forthcoming).Stories to Action: Co-creating inclusive pathways to professional theatre (unpublished manuscript). Edmonton, AB: YEG Performing Arts Accessibility Ad Hoc Group. 

Kitchin, R. (1998). ‘Out of place’, ‘knowing one’s place’: space, power and the exclusion of disabled people. Disability & Society,13(3),p. 343-356. 

Kuester, M. & Keller, W. R. (2002). Writing Canadians: The literary construction of ethnic identities. Marburg, Germany: Philipps University of Marburg.

Kurtosi,K. (2002). Diversity in recent drama and theatre in Canada. Writing Canadians: The literary construction of ethnic identities, pp. 51-63. 

Leon, R. A., & Williams, D. A. (2016). Contingencies for success: Examining diversity committees in higher education. Innovative Higher Education, 41(5), 395-410. 

Lindsay, B. (2019, October). How to become an actor. Backstage. Retrieved from

Loest, T. S. (2019). A brave space for community: Bolstering K-12 theatre education for diversity, equity and inclusion.Towson, MD: Goucher College

Loney, M. (1998). Pursuit of division: Race, gender and preferential hiring in Canada. Kingston, ON and Montreal, QC: McGill-Queen’s University Press (MQUP).

MacArthur, M. (2015). Achieving equity in Canadian theatre: A report with best practice recommendations. Ontario: Equity in Theatre 

Napoleão, N. (2020, July). 2020: Year of the iconoclast. Theatre Alberta Essays from a New World. Retrieved from

Nixon, L. (2020). Standards of Achievement for the Relationship Between Indigenous Peoples & Cultural Institutions in Canada. Yellowhead Institute. Retrieved from

Ong, F. W. (2020). Hey CEOs – Be careful about diversity hiring quotas! Shawe Rosenthal LLP. Retrieved from

Ouchi, M. (2020). 3.7% initiative. Concrete Theatre. Retrieved from

Onuoha, M. (2016). Broadway won’t document its dramatic race problem, so a group of actors spent five years quietly gathering this data themselves. Quartz. Retrieved from

Peacock, D.K. (1999) Thatcher’s Theatre: British Theatre and Drama in the Eighties. Westpoint, CT and London: Greenwood Press.

Rodgers, J. & Padayas, K. (2020, July). #YYC theatre stats – 2019/20 roundup. Chromatic Theatre. Retrieved from

Saha, A. (2017). The Politics of race in cultural distribution: Addressing inequalities in British Asian theatre. Cultural Sociology Special Issue: Producing and Consuming Inequality: A Cultural Sociology of the Cultural Industries 11(3), pp. 302-317. 

Schroeder-Arce, R. (2017). Beyond acknowledgement of whiteness: Teaching white theatre teachers to examine their racial identity. Youth Theatre Journal 31(2), pp. 105-113. 

Ualberta. (2019, April). Establishing EDI committees.University of Alberta: Human Resource Services. Retrived from

UBC. (n.d.). Equity, diversity, and inclusion committees: Getting started guide. University of British Columbia. Retrieved from

UNESCO. (2015). Basic texts 2015 edition of the 2005 convention on the protection and promotion of the diversity of cultural expressions. United Nations. Retrieved from

We See You. (2020). BIPOC demands for white American theatre. We See You. Retrieved from

Wooden, G. E. (2016). Quantifiable diversity in the arts: how historically black colleges and universities (hbcu) can increase diversity in arts administration. Goucher College. Retrieved from

Yoon, S. (2016). The 3.7% initiative. Boca Del Lupo. Retrieved from 

Yousafzai, M. (2020). Malala’s Story. Malala Fund. Retrieved from