by Esther Kim Lee The Journal of American Drama and Theatre Volume 28, Number 1 (Winter 2016) ISNN 2376-4236 ©2016 by Martin E. Segal Theatre Center When I was writing my dissertation in the late 1990s, I would tell anyone who would ask that my topic was Asian American theatre. […]
James Armstrong
28 posts
by Jordan Schildcrout The Journal of American Drama and Theatre Volume 28, Number 1 (Winter 2016) ISNN 2376-4236 ©2016 by Martin E. Segal Theatre Center I consider it a sign of the vibrancy of queer theatre scholarship that publications over the past few years contain a greater variety of subjects, […]
by Stacy Wolf The Journal of American Drama and Theatre Volume 28, Number 1 (Winter 2016) ISNN 2376-4236 ©2016 by Martin E. Segal Theatre Center Musical Theatre Studies, whose presence as a viable academic field is not much more than a decade old, is spreading out in all directions of […]
by Maurya Wickstrom The Journal of American Drama and Theatre Volume 28, Number 1 (Winter 2016) ISNN 2376-4236 ©2016 by Martin E. Segal Theatre Center Over the past couple of years, I have been increasingly taken with the question of temporality. Giorgio Agamben writes in Infancy and History that: Every conception […]
Robert E. Sherwood’s biblical source for the title of his play There Shall Be No Night is useful for establishing context for the contemporary controversy the play was part of, as well as the lack of subsequent commentary it has received. Sherwood dearly wanted to create something profoundly relevant. The […]
Susan Kattwinkel, Editor American Tragedian: The Life of Edwin Booth By Daniel J. Watermeier Reviewed by Karl Kippola The Captive Stage: Performance and the Proslavery Imagination of the Antebellum North By Douglas A. Jones, Jr. Reviewed by Beck Holden Murder Most Queer: The Homicidal Homosexual in the […]
In JADT’s inaugural issue co-editors Vera Mowry Roberts and Walter J. Meserve declared their intentions for launching the fledgling journal, stating: “our aim is to promote research on American playwrights, American plays, and American theatre, and to encourage the thoughtful contemplation that will lead to a more enlightened understanding of […]
During the spring of 2013, Nora Ephron’s play Lucky Guy played to sold out houses recouping its producers’ initial investment of $3.6 million after a mere eight weeks, a remarkable feat for a Broadway drama. Whereas most successes on the Great White Way are splashy musicals with high production values […]
