If your audience demographic is anything like the national one, then women comprise 69 percent of your ticket buyers and 63 percent of your audience members. Hold that thought.
I see from your latest bulletin that your upcoming season has a lineup of all-male playwrights, with the exception of one play by a female novelist who has never written a play before in her life. (I daresay she has never formally studied playwriting or worked professionally in the theatre… but does that matter, really, since all women playwrights appear to be amateurs and novices anyway?)
The fact that you continue year-after-year apparently to satisfy a predominantly female audience with all-male-and-token-female playwriting says one of two things: A) Women don’t want female playwrights. Men, apparently, write as well as, or—as your lineup would suggest—better than women when it comes to telling women’s stories. Either that, or women experience stories by, for, about, and serving the interests of men from male perspectives as being so universal there’s no need for our own narrative. (It goes without saying, that men have never found stories by, for, about, and serving the interests of women from female perspectives universal. There’s a puzzler for another day.)
Take my suggestion for changing your audience demographic, and let’s see whether or not that majority of women who will be so deliberately excluded at your box office will begin to clamor for the kind of work that will spell full inclusion for them. And then let’s see whether or not equal exposure to the work of non-tokenized, professional female playwrights will result in the development of a discriminating palate and appetite for plays by women playwrights. Because, you know as well as I, it will.