Current Issue

The Dramaturgical Sensibility of Lauren Yee’s The Great Leap and Cambodian Rock Band

by Kristin Leahey with excerpts from an interview with Joseph Ngo The Journal of American Drama and Theatre Volume 34, Number 2 (Spring 2022) ISNN 2376-4236 ©2022 by Martin E. Segal Theatre Center When Lauren Yee approaches a new play, she considers the historical events she wants to address in her work. Yee contemplates, “What […]

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Representation from Cambodia to America: Musical Dramaturgies in Lauren Yee’s Cambodian Rock Band

by Jennifer Goodlander The Journal of American Drama and Theatre Volume 34, Number 2 (Spring 2022) ISNN 2376-4236 ©2022 by Martin E. Segal Theatre Center For many, Cambodia and Cambodian American identities remain “unrepresentable.”[1] Jonathan H. X. Lee troubles the relationships between Southeast Asian, American, and specific national identities to suggest a rethinking of identity […]

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On Young Jean Lee in Young Jean Lee’s We’re Gonna Die by Christine Mok

by Christine Mok The Journal of American Drama and Theatre Volume 34, Number 2 (Spring 2022) ISNN 2376-4236 ©2022 by Martin E. Segal Theatre Center “It was built to be super universal.” —Young Jean Lee[1] In counting Young Jean Lee’s contributions to Asian American theatre, We’re Gonna Die is, on the surface, an oblique entry. […]

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Behind the Scenes of Asian American Theatre and Performance Studies

by Donatella Galella, Dorinne Kondo, Esther Kim Lee, Josephine Lee, Sean Metzger, and Karen Shimakawa The Journal of American Drama and Theatre Volume 34, Number 2 (Spring 2022) ISNN 2376-4236 ©2022 by Martin E. Segal Theatre Center For this historic issue on “Asian American Dramaturgies,” guest editor Donatella Galella brought together Dorinne Kondo, Esther Kim […]

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Introduction to Asian American Dramaturgies

by Donatella Galella The Journal of American Drama and Theatre Volume 34, Number 2 (Spring 2022) ISNN 2376-4236 ©2022 by Martin E. Segal Theatre Center “Look, this country’s a disaster in so many ways,” actor Raymond J. Lee belts with ferocity in David Henry Hwang and Jeanine Tesori’s 2019 musical Soft Power.[1] Yes! At the […]

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