Cognizant of the risks of oversimplification and unavoidable omissions, Carpenter’s essay introduces major movements and advances within the African American and Latinx American dramatic canons from the era of the civil rights movement to the present. Referring to select playwrights (Amiri Baraka, Luis Valdez, Adrienne Kennedy, Maria Irene Fornes, Lynn Nottage, and Quiara Alegría Hudes) as exemplars for this exploration, Carpenter offers a progressive build in this historical account, closing by focusing on the most contemporary of these dramatists. These celebrated artists are mere “tips of the iceberg”; they are highlighted here to inspire readers to pursue research and gain a greater sense of familiarity with the rich history and proliferating presence of racially and culturally diverse in American theatre. Carpenter reminds us that utilizing expressions such as “diversity and inclusion” will fall flat as trendy phrases unless theatre practitioners and scholars recognize and actively address the fact America’s network of regional theatre still has much to accomplish when it comes to actualizing commitments to equity.