Across these events, the author analyzes—despite the success of V-Day for raising awareness and funds for women’s organizations—a shifting feminist critique of these events, from an essentialist (white) feminism centered on the bodies of women to a (colonizing but) inclusive transnational theorizing. In the essay, the author focuses on the theme of black intellectualism that resounds in these plays and in the political climate of those early 1960s, as black Americans were too often caught between conflicting (white) forces. The analyses of these foundational plays reminds us that, as Krasner expresses, “political domination is tethered to social hierarchy, where authority figures such as teachers, politicians, parents, and social peers use the benignly disguised altruism . . . to chip away at confidence, self-awareness, self-reliance, and the mobility required to advance socially, economically, and, in the case of Sarah and Clay, intellectually and artistically.” ...the issue concludes with Patrick McKelvey’s “A Disabled Actor Prepares: Stanislavsky, Disability, and Work at the National Theatre Workshop of the Handicapped,” which also contains a political dimension—that of a specific theatrical history of actor training, the visibility of disability, and the laboring body.