Monthly Archives: January 2019

Books Received

If you would like to write a review for JADT, please contact our current book review editor Donatella Galella at galella@ucr.edu. 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 Center, CUNY Graduate Center, 365 […]

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The American Negro Theatre and the Long Civil Rights Era

The American Negro Theatre and the Long Civil Rights Era. Jonathan Shandell. Iowa City: University of Iowa Press, 2018; Pp. 213 + xii. Jonathan Shandell’s The American Negro Theatre and the Long Civil Rights Era offers in-depth, historical reconstruction of the instrumental role that Harlem’s American Negro Theatre (ANT) company played in the development of […]

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Black Acting Methods: Critical Approaches

Black Acting Methods: Critical Approaches. Edited by Sharrell D. Luckett with Tia M. Shaffer. New York, NY: Routledge, 2017; Pp. 233. Sharrell D. Luckett and Tia M. Shaffer’s Black Acting Methods: Critical Approaches is an exceptional addition to the field as it turns the spotlight on “Black/African ritual, processes, and methodologies to acting” (1). Rather […]

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Palabras del Cielo: An Exploration of Latina/o Theatre for Young Audiences

Palabras del Cielo: An Exploration of Latina/o Theatre for Young Audiences. Compiled by José Casas with Christina Marín, ed. Woodstock, IL: Dramatic Publishing, 2018; Pp. 581. Palabras del Cielo: An Exploration of Latina/o Theatre for Young Audiences testifies to the fact that “today’s theatre workers know the value and importance of the next generation,” as […]

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A Student Handbook to the Plays of Tennessee Williams

A Student Handbook to the Plays of Tennessee Williams. Katherine Weiss, ed. London: Bloomsbury, 2014; Pp. 290. The book opens with a quote from Tennessee Williams: “truth is something you need to deserve,” a statement that volume editor Katherine Weiss asserts “fl[ies] in the face of the imaginary worlds so many of his characters create” […]

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Unfinished Business: Michael Jackson, Detroit, & the Figural Economy of American Deindustrialization

Unfinished Business: Michael Jackson, Detroit, & the Figural Economy of American Deindustrialization. Judith Hamera. New York: Oxford University Press, 2017; Pp. 286 + xvii. Scholarship on the subject of performance labor has proliferated with renewed intensity over the past decade. This development is, in part, a response to the way that scholars across the humanities […]

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Black Performance and Pedagogy

Donatella Galella, Editor The American Negro Theatre and the Long Civil Rights Era By Jonathan Shandell Reviewed by Jennie Youssef Black Acting Methods: Critical Approaches Edited by Sharrell D. Luckett with Tia M. Shaffer Reviewed by DeRon S. Williams Palabras del Cielo: An Exploration of Latina/o Theatre for Young Audiences Compiled by José Casas with […]

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Branding Bechdel’s Fun Home: Activism and the Advertising of a “Lesbian Suicide Musical”

by Maureen McDonnell The Journal of American Drama and Theatre Volume 31, Number 2 (Winter 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center Alison Bechdel offered a complicated and compelling memoir in her graphic novel Fun Home: A Family Tragicomic (2006), adapted by Lisa Kron and Jeanine Tesori into the Broadway musical Fun […]

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“Take Caroline Away”: Catastrophe, Change, and the Tragic Agency of Nonperformance in Tony Kushner’s Caroline, or Change

by Joanna Mansbridge The Journal of American Drama and Theatre Volume 31, Number 2 (Winter 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center It’s a tragedy, I think, in terms of Caroline’s journey. – Tony Kushner, “Production: ‘Caroline, or Change’”[1] Little change, and strange to say, Yesterday came crashing in. Small domestic tragedies […]

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The Poetics of the Tragic in Tony Kushner’s Angels in America

by Julia Rössler The Journal of American Drama and Theatre Volume 31, Number 2 (Winter 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center The art of playwriting is not fundamentally a narrative art like novel writing; it is dialogic, it proceeds from contradiction, not cause and effect. -Tony Kushner, “Notes About Political Theater”[1] […]

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