If we know so much more about the future than O’Neill was able to know and even he himself dubbed Anna Christie a failure, is there room for this play in the current theatrical landscape? Why not put this one on the shelf, in favor of a fresh perspective on a situation more relevant to the here-and-now?

In February of 2020, American Theatre Magazine released a special issue entirely devoted to the topic of theatre and climate change. The articles discuss the ways in which theatre-making can help upset existing power structures, uplift marginalized voices, and envision paths for the future. But how do we do this? While creatives usually leap at a challenge, the task of pivoting to a climate just practice can seem particularly difficult to take on. From my perspective, this difficulty stems not from disinterest but from not knowing where to start.