Starting in Winter 2016, The Journal of American Drama and Theatre will be publishing book reviews of publications relevant to the journal’s mission. If you know of a publication appropriate for review, please send the information to current book review editor Susan Kattwinkel at [email protected]. A list of books received […]
Yearly Archives: 2015
13 posts
Arthur Miller is one of the most influential contemporary American playwrights after Eugene O’Neill. In the 1940s and 1950s, he rose to fame with All My Sons, Death of a Salesman, The Crucible and other social problem plays. Since 1949, Death of a Salesman has been performed continually on Broadway and […]
Given its historic role as one of the leading institutions in American philanthropy, perhaps it is not surprising that the Rockefeller Foundation (RF) was among the first American foundations to experiment with arts funding.[1] Better known are the efforts of the Carnegie Corporation of New York, which provided support for […]
When George Washington Dixon took to the stage in 1834 to perform “Zip Coon,” his latest incarnation of a blackface dandy, he most likely bent his knee a little more than in his previous portrayals of the dandy, garbled his speech a little more, and added some garish costume accessories. […]
In its almost 30-year history, the American Theatre and Drama Society (ATDS) has championed the study of theatre and drama in the United States, in all its wide-ranging traditions, numerous histories, and myriad forms. The organization has, along the way, sought to interrogate the constantly shifting notion of what constitutes […]
William Dunlap’s final play, A Trip to Niagara (1828), might be the most misunderstood play in the history of the American stage. Despite being an unqualified success with its cosmopolitan New York audiences in 1828-9, it has been regularly, and almost always inaccurately, maligned by twentieth and twenty-first century historians […]
From 1892 until 1954, Ellis Island was the gateway for immigrants seeking American citizenship. Over twelve million individuals passed through the federal immigration station, underwent rushed and haphazard examinations, and eventually entered the country. Many had their names changed and ethnicities homogenized. But many thousands more were rejected for various […]
Dead white males. This oft-cited phrase encapsulates the ongoing project of dismantling the privileged monopoly that white men have historically held over the formation of an artistic canon and cultural tradition. In the field of American drama, Eugene O’Neill, Tennessee Williams, and Arthur Miller (despite significant differences among their work) […]
Casting — the process whereby actors are assigned to particular roles — has largely eluded historical and theoretical inquiry. Casting’s iterative impact lends it a peculiar ephemerality. Once a role is cast, the complex array of criteria informing that decision — not only the methods and techniques of talent assessment […]
When the frontier melodrama, The Scouts of the Prairie, And, Red Deviltry As It Is!, opened in Chicago in December 1872, it marked the beginning of a performance genre that would have significant impact on the American national imagination. Written by Ned Buntline (E. Z. C. Judson), the dime novel […]
James Purdy (1914-2009)—a prolific American writer of fiction, drama, poetry, and essays—has been known almost exclusively as a novelist, recognized for his early portrayals of gay characters and themes. Accordingly, scholarship has focused almost entirely on his well-respected novels. Purdy’s most notable contribution to the theatre is indirect, by way […]
In Elegies: A Song Cycle, the 2003 William Finn musical first produced at the Mitzi E. Newhouse Theater at Lincoln Center, five performers sing both in honor of and as the lost.[1] More specifically, they perform losses from the life of the gay Jewish composer-lyricist William Finn, embodying and/or narrating […]
Apocalyptic narratives, based on fears and fantasies about the end of the world and the destruction of humanity, often turn on a character’s success or failure in producing or protecting a child. In such dramas, the survival of a child represents humanity’s hope for the future, and characters go to […]
