Performance and the Disney Theme Park Experience: The Tourist as Actor. Jennifer A. Kokai and Tom Robson, eds. Cham, Switzerland: Palgrave Macmillan, 2019; Pp. 292. Performance and the Disney Theme Park Experience: The Tourist as Actor brings attention to Disney tourism as a significant site of theatre and performance study, […]
Yearly Archives: 2021
41 posts
Radical Vision: A Biography of Lorraine Hansberry. Soyica Diggs Colbert. New Haven: Yale, 2021; Pp. 273. Soyica Diggs Colbert’s Radical Vision: A Biography of Lorraine Hansberry (2021) adds to the discourse on Black Radical Thought through its examination of the life and art of Lorraine Hansberry. This biography establishes her […]
Susan Glaspell’s Poetics and Politics of Rebellion. Emeline Jouve. Iowa City, University of Iowa Press, 2017; Pp. 258. Although she was honored with a Pulitzer Prize for drama and produced a diverse body of work critically esteemed in her time, Susan Glaspell’s dramaturgical innovations and contributions to US theatre have […]
The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected. Edwin Wong. Victoria, Canada: Friesen Press, 2019; Pp. 363. In 2019, the Langham Court Theatre in Victoria, British Columbia, Canada inaugurated the Risk Theatre Modern Tragedy Competition, awarding top prize ($8,000 Canadian) to In Bloom by Brooklyn-based playwright Gabriel […]
If you would like to write a review for JADT, please contact our current book review editor Maya Roth at [email protected]. If you know of a book that would be suitable for review in JADT, please arrange for a copy to be mailed to the Editors, JADT/Martin E. Segal Theatre […]
Maya Roth, Editor Radical Vision: A Biography of Lorraine Hansberry By Soyica Diggs Colbert Reviewed by Kristyl D. Tift Susan Glaspell’s Poetics and Politics of Rebellion By Emeline Jouve Reviewed by Jennifer-Scott Mobley The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected By Edwin Wong Reviewed by […]
by Leticia L.Ridley The Journal of American Drama and Theatre Volume 34, Number 1 (Fall 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center The availability of Lin Manuel-Miranda’s Hamilton (2015) on Disney+, the official streaming site of The Walt Disney Company, has offered musical theatre fans and […]
by Michael Y. Bennett The Journal of American Drama and Theatre Volume 34, Number 1 (Fall 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center Edward Albee’s 2002 play, The Goat or, Who is Sylvia? (Notes Toward a Definition of Tragedy), centers around Martin—a very successful, 50-year-old Pritzker Prize-winning […]
by Dan Colson The Journal of American Drama and Theatre Volume 34, Number 1 (Fall 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center The stage directions for Clifford Odets’s 1935 Awake and Sing! call for a “picture of Sacco and Vanzetti” to be hung in Jacob’s room.[1] The […]
by Madeline Pages The Journal of American Drama and Theatre Volume 34, Number 1 (Fall 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center Conceiving of a theatre of isolation presents the performance scholar with a conundrum akin to a tree falling in a secluded forest. As it is […]
by Mia Levenson and Heather S. Nathans The Journal of American Drama and Theatre Volume 34, Number 1 (Fall 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center It began, as it so often does, with a passing remark. Journalist Herbert Asbury’s Gangs of New York: An Informal History […]
If you would like to write a review for JADT, please contact our current book review editor Maya Roth at [email protected]. If you know of a book that would be suitable for review in JADT, please arrange for a copy to be mailed to the Editors, JADT/Martin E. Segal Theatre […]
The Errol Hill Award is given by the American Society for Theatre Research in recognition of outstanding scholarship in African American theater, drama, and/or performance studies, as demonstrated in the form of a published book-length project (monograph or essay collection) or scholarly article. The book or article must deal with […]
Thank you to the American Theatre and Drama Society, the Black Theatre Association, and the Black Theatre Network for supporting the creation of this special issue. Many thanks to the guest editorial team, Mark Cosdon, Stephanie Engel, La Donna Forsgren, Javier Hurtado, Mia Levenson, Khalid Long, Derek Miller, Monica White […]
Nicole Hodges Persley: I want to end this special issue for JADT with a discussion about the praxis of Black artist-scholars and what sustainability looks like in the wake of COVID-19 and Black Lives Matter. How do we sustain ourselves as we navigate teaching online, losing people we love, fighting […]
by Elizabeth M. Cizmar The Journal of American Drama and Theatre Volume 33, Number 2 (Spring 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center Ernie McClintock (1937–2003), director, acting teacher, and producer, grounded his work in the Black Power concepts of self-determination and community, but in pursuing a […]
by Lisa B. Thompson The Journal of American Drama and Theatre Volume 33, Number 2 (Spring 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center If I do not bring all of who I am to whatever I do, then I bring nothing of lasting worth, for I have […]
by Heather S. Nathans The Journal of American Drama and Theatre Volume 33, Number 2 (Spring 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center During the fall of 2020 I had the privilege of interviewing a group of groundbreaking scholars in Black Theatre: Harry Elam, Jr., E. Patrick […]
This special issue of the Journal of American Drama and Theatre was initially envisioned as a celebration of the inimitable Errol Hill’s contributions to Black Theatre in American history. Hill’s centennial asks us to reflect on the long history of American performance and the impact of Black lives on the […]
In 1986, during my first year at Dartmouth College, I had the good fortune to take a seminar on Black Theatre with Professor Errol Hill (1921-2003).[1] More than thirty years later I still count myself lucky to have had my introduction to the history of Black Theatre under Errol’s guidance. […]
