Volume 27 (2016):
Garrett Eisler “Brecht’s Broadway Debut: The Faithful Failure of 3-Penny Opera (1933)”
Hesam Sharifian and Sarah Hennebohl “Wener Egk’s Peer Gynt: Anti-Semitism in the Work of Komponist des Wiederaufbaus”
Hannah Hammond “A Masque on Behalf of the Birds”
Jay DiPrima “Remembering Ruth Draper”
Joel Murray “An Actor’s Guide to Casting Directors, the Audition Process, and Acting with Donn Finn”
Volume 26 (2015):
Scott Venters “The ransome of Prides fury”: The Executions at the Hope Bear-Garden and the (De)Mythologization of the English Commonwealth”
Thomas A. Oldham “The Dramaturgy of Revision: Two Versions of Who’s Afraid of Virginia Woolf?”
Theresa Smalec “Reconstructing Roy Cohn/Jack Smith”
Scott W. Malia “A Homoerotic Reading of The London Merchant: A Case Study in Queer-ability”
Da Zheng “Performing Transposition: Lady Precious Stream on the Broadway”
Noelia Hernando “Still Struggling with the Male Gaze: Feminism and Contemporary Representations of Hysteria on the Stage and on the Screen. Sarah Ruhl’s In the Next Room and Tanya Wexler’s Hysteria”
Shannon Christopher Epplett “The Press Release as Bully Pulpit: [Chicago’s] Stormfield Theatre Calls it a Day”
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Volume 25 (2014):
Felicia Hardison Londre, “Sarah Bernhardt’s Last Stand in America: How the One-Legged Actress Promoted American involvement in the Great War”
Nicole Berkin, “The Margins of Celebrity Tours: Starring Junius Brutus Booth and Edwin Forrest”
Maya Cantu, “’Good Enough for Grandma’: Nostalgia, Utopia and Social Progress in Bloomer Girl”
Stephen Graf, “You Call this ‘Freedom’?: The Fight to Publish and Produce Samuel Beckett’s First Full-length Play”
Joe Falocco, “’Shakespeare has it both ways’: Character and form in Performance and Criticism”
Volume 24 (2013):
Rosemarie Bank, “Arbiters of National Culture: Newspapers, Thomas S. Hamblin, the Bowery Theatre, and the Miss Missouri Affair”
Fonzie D. Geary II, “Love and…Marriage?: Maxwell Anderson’s Advice to ‘Saturday’s Children’ Regarding the Marriage Crisis in America”
Kristen Rogers, “Cheryl Crawford: Broadway’s Unsung Hero or Method’s Martyr?”
John H. Houchin, Robert Macbeth, the New Lafayette Theatre, and the Politics of Art in the 1960s
Matthew McMahan, “’We are your masters’: Encroachment of the Other in Marivaux”
Diana Manole, “The Post-Communist Revenge Parody: Embodying Nicolae Ceausescu on Stage after 1989”
Volume 23 (2012):
Odai Johnson, “Heart of Oak: Making America, Esquiring Actors, and Other Transatlantic Transactions”
Joe Falocco, “Tomasso Salvini’s Othello and Racial Identity in Late Nineteenth-Century America”
WINNER OF ATDS 2012 VERA MOWRY ROBERTS AWARD for BEST SCHOLARLY ARTICLE OF THE YEAR
Vessela S. Warner, “The Economies of Communism: Georgi Markov and Bulgarian Theatre in the 1960s”
John Patrick Bray, “Playwright as Auteur, Playwright as Producer: The Economics and Aesthetics of the Twentieth-First Century American Playwright”
Plus a special subsection on Chicago theatre and community:
Arvid Sponberg, “Introduction to Essays on Chicago Theatre: Some Background”
Megan E. Geigner, “’The World in Miniature’: Nationality Performed in the Columbian Exposition and Chicago Immigrant Theatre”
Debra Caplan, “Heymish Modernism: Joseph Buloff’s Chicago Revaluation of the American Yiddish Theatre
Terry McCabe, “Onstage at the Creation: The Role of Clergy in the Early Off-Loop Theatre Movement”
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Volume 22 (2011):
Fonzie D. Geary II, “A Plague on Both Your Houses: Mr. Anderson Goes to Washington”
Anne Fletcher and Cheryl Black, “The Color of Revolution: Race Trumps Class in Theatre Union’s Stevedore, 1934”
Lisa Jackson-Schebetta, “Repertoires of the Astruian Diaspora: the Latin Unit’s Production of Eso no puede ocurrir aqui in Ybor City”
Kate Roark, “The Yankee-mad Stage: Stage Yankees and Slavery in the 1820s”
La Donna L. Forsgren, “Militancy and Ministry: Revolutionary Conversion in Ben Caldwell’s Prayer Meeting and James Baldwin’s Blues for Mister Charlie”
Darren Blaney, “Queering the Domestic and Domesticating the Queer: Utopian Genealogies in Lanford Wilson’s Fifth of July”
James Dennen, “Agenda and Ideology in the Output of Carlo Gozzi”
Volume 21 (2010):
John H. Frick on violence in: Uncle Tom’s Cabin; Michelle Granshaw, on Jon H. Nichols’s early American political plays; Chukwuma Okoye,on African Theatre in Performance Laura Macdonald on Commercialism and the American Musical, Cigdem Usekes on James Baldwin in Turkey; Bethany Wood on Alice Dunbar-Nelson’s Mine Eyes Have Seen and The Crisis’ and Black masculinity; Nancy Houfek on a voice teacher’s journey toward teaching”
Highlights of past issues include:
Volume 20 (2009):
Clifford Ashby on Greek Audiences at the Tragedies; Dan Decker and Stephen Denning, on the roots of Shakespeare’s sonnets; Scott W. Malia, on mistaken identity in Goldoni’s The Villeggiatura Trilogy; Nancy Nanney, on the Contemporary English Stage in Malaysia”
Plus a special subsection on Undergraduate Research and Theatre:
Nancy Hensel, Introductory comments
Nancy Kindelan, “Informed Imagination: The Pedagogies and Strategies of Theatre Studies”
Volume 19b (2008):
Ryan Claycomb on Metatheatre and Feminist Retellings; Joy D. Richmond on Women and Land in Irish Peasant Plays; Sarah Marsh on Microscopes and Magnification in Man of Mode; Theresa K. Smalek’s transcript of Spalding Gray’s last interview; Jeffrey B. Loomis on Tennessee Williams’ Not About Nightingales.
Volume 19a (2008) Special Issue: August Wilson Celebrated: Monica White Ndounou on Wilson’s “Nice-Nasty” politics; Aaron Bryant on Ethnography in The Piano Lesson; Soyica Diggs Colbert on Middle Passage reparations found in Joe Turner’s Come and Gone; Richard Noggle on Wilson’s use of history and memory; Heather Nathans’ visualizing Gem of the Ocean, plus an interview with director Kenny Leon.
Volume 18 (2007): Barry Witham on Percy Hammond and Historiography; Luc Gilleman on Saved; DeAnna Toten Beard on Pre-WWI’s New Stagecraft; Joe Falocco on Granville Barker; Katherine Weiss on Shepard’s masculinity; David Radavich on Shepard’s God of Hell.
Volume 17 (2006): John Frick on The Contrast as Urban Drama; Celia Braxon on The Drunkard’s domesticity; Sharon Friedman on Glaspell and the intimacy; Catherine Diamond on Justice in China vs the West; Ron West on Japanese Internment Camp performance; Roger Bechtel on Mamet’s Bobby Gould as a righteous man.
Volume 16 (2005): Adrienne Macki on Anna Cora Mowatt’s use of space; David Krasner on Sheppard Randolph Edmonds; Andrew White on Arthur Penn; four articles dealing with Diaspora Studies: Heather Nathans’s overview; Yana Meerzon on performing diaspora in Greek tragedy; Freda Scott Giles on diaspora and black drama; Aoife Monks on performing diaspora through St. Patrick Day parades.
Volume 15 (2004): Amy Hughes on Antebellum temperance drama and Christian views of Leisure; Terry Stoller on making The Laramie Project; Melson Ritschel on Synge’s impact on Shaw; Jo Fallocco on Shaw’s John Bull’s Other Island; Theresa May on Ecology and Willy Loman; Judith Sebesta on musicals and the military.
Volume 14 (2003): Karine Schaefer on David Hare’s Via Dolorosa; Sarah Lansdale Stevenson on Lisa Kron’s 2.5 Minute Ride; Ed Menta on the La MaMa International Directors Symposium; William Grange on German actress Marianne Hoppe; Val Robinson Hohman on Morris Gest and American Theatre; Robert Lloyd Neblett on song in Caryl Churchill’s Vinegar Tom.
Volume 13 (2002): Rebecca Groves on theatrical ghosts in Wellman’s Crowbar; Patrick Finelli on art theatre & digital archives; Jonathan Chambers on Iizuka’s Skin; Michael Schiavi on post-Stonewall men & musical theatre; Andrea Nouryeh on 1930s African American women playwrights.
Volume 12 (2001): John Somers & Heather Cousins on Theatre & Health Education; Sherry Engle on American women dramatists; Thomas Walsh on the rise of the Dramatist Guild; Michael Chemers on performing Tom Thumb; Weldon Durham on playwright James Sheridan Knowles, Paul Malone on Stoppard’s Hapgood; Melissa Gibson on 1980s London stage; Caldwell Titcomb interviews critic Elliot Norton.
Volume 11 (2000): Heather Nathans on Federalism’s battles & 18th c. Boston theatres; Olga Barrios on apartheid’s Black South African Theatre; Catherine Diamond on the Chinese Hongniang into confidante; Arthur Horowitz on medieval Italian festivals; Thomas A. Pallen translates Mangini on 16th c. Italy’s public theatres; James Fisher on fools in 20th c. Italian drama.
Volume 10 (1999): Frank Hildy on performance at Shakespeare’s Globe; Odai Johnson on anti- theatre in Colonial Boston newspapers; John Houchin on anti-theatrical in 18th c. Boston; John Frick on reform in early 19th c. American dramas; Mark Mullen on symbolic appropriation in Metamora; Janet E. Gardner on redefining Feminism in Top Girls.
Volume 9 (1998): Rosemarie Bank on performance at Brook Farm; Beth Cleary on Bread and Puppet Theatre; Patrick Julian on FDR in a musical; Rob K. Baum on gender in Peter Pan.
Volume 8 (1997): Arnold Aronson on future theatre technology; Bruce McConachie on national theatre history; Stephen J. Bottoms on Forne’s Promenade; James Fisher on Edy Craig’s stage management career.
Volume 7 (1996): David Carlyon on rube story as crowd control; Geraldine Maschio on George W. Monroe; Susan Kattwinkel on feminism and Victorianism in Glaspell’s plays; Robert F. Gross on history and histrionics in Strindberg’s Christina.
Volume 6 (1995): John Frick on staging Scottsboro; William Grange on Nazi use of theatre; John Houchin on Mose as a working-class stage hero.
Volume 5 (1994): Hilliker on Piscator and Grosz; Jennifer Jones on Gregory Mosher’s Our Town; John Stewig on drama and Whole Language; Bonnie Raphael’s guide to voice & speech training.
Volume 4 (1993): McConachie; Sarratore; Kindelan; Woods. Limited supply.
Volume 3 (1992): Schechner; Marra; Larrabee; Koger; Klein. Limited supply.
Volume 2 (1991): Dukore: Hirschfield; Ruff. Limited supply.
Volume 1 (1990): Gainor: Wegner; Grange; Very limited supply
Does your library carry NETJ? Back issues available ($20 per) from New England Theatre Conference, Inc., c/o 215 Knob Hill Drive, Hamden, CT 06518; www.netconline.org
Plus, our annual Review of Books and Review of each New England Professional Theatre season.