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In this editorial, the editor reflects on the current political climate in the US and its impact on theatre education. The editor then introduces this issue, in which our contributors document and reflect on innovative educational theatre practices for youth theatre and theatre for young audiences, in higher education, and research methodologies. Sharon Counts advocates for civic and community engagement programs as one prominent and effective method to foster synergy between communities and arts organizations. Maddie N. Zdeblick and Noëlle GM Gibbs investigate their dynamic use of creative drama to explore social justice in youth theatre. James Woodhams analyzes Back Alley Puppetry Parade performances during the COVID-19 pandemic to document pivot-spaces and kinesthetic spectatorship. David Overton shares a heuristic and phenomenological self-study about the Long Island Classics Stage Company. On the higher education front, Ellen Redling proposes methods for enhancing critical thinking skills and ethical responsibility as revealed through two case studies. Dermot Daly uses a similar methodical approach, examining social justice and fringe theatre in higher education. Finally, Nicholas Waxman deconstructs the rise of theatrical inquiry as a research methodology in arts education, and Brenda Burton presents a literature review on the application of teaching and deep learning strategies for the drama-based instruction (DBI) practitioner and researcher.