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Contributors Rosemarie K. Bank has published in Theatre Journal, NineteenthCentury Theatre, Theatre History Studies, Essays in Theatre, Theatre Research International, Modern Drama, Journal of Dramatic Theory and Criticism, Women in American Theatre, Feminist Rereadings of Modern American Drama, The American Stage, Critical Theory and Performance , Performing America, and Of Borders and Thresholds. She is the author of Theatre Culture in America, 1825–1860 (New York: Cambridge University Press, 1997); and is currently preparing Staging the Native, 1792–1892. Several times a Fellow of the National Endowment for the Humanities, she was editor of Theatre Survey from 2000 to 2003 and currently serves on the editorial boards of three scholarly journals in theatre. She is professor of theatre and coordinator of graduate studies at Kent State University. David Carlyon, an independent scholar, is the author of Dan Rice: The Most Famous Man You’ve Never Heard Of, featured in the New York Times and on C-SPAN’s Booknotes. He’s published in Theatre Symposium, New England Theatre Journal, Theatre Topics, and American Theatre and had a play produced at Theatre Virginia. After obtaining a Northwestern PhD, he became an assistant professor at the University of Michigan at Flint. He gives master classes in acting, including Carnegie-Mellon, and is a stage movement consultant, recently at Goodspeed. A graduate of the law school at Berkeley, he has been a forest-¤re ¤ghter, a military policeman, and a Ringling Brothers and Barnum & Bailey Circus clown. Eileen Curley is an assistant professor of English at Marist College in Poughkeepsie, New York, where she teaches dramatic literature and de- signs scenery. She received her PhD in theatre history, theory, and literature at Indiana University. Her current research focuses on nineteenthcentury amateur theatricals in the United States and the United Kingdom , although her interests also include classical antiquity, the British Restoration, and theatrical architecture and audiences. James Fisher, professor of theatre at Wabash College, has authored several books, including The Theater of Tony Kushner: Living Past Hope (New York: Routledge, 2001) and the forthcoming Historical Dictionary of the American Theater: Modernism, 1880–1930 (Jefferson, NC: McFarland, 2007), coauthoring with Felicia Hardison Londré. He has published articles in numerous periodicals and held several research fellowships. Fisher edits The Puppetry Yearbook (now in its sixth volume) and the recent Tony Kushner: New Essays on the Art and Politics of the Plays (Jefferson, NC: McFarland, 2006). Fisher was McLain-McTurnanArnold Research Scholar at Wabash and named “Indiana Theatre Person of the Year” by the Indiana Theatre Association in 1997. Roger Freeman is assistant professor of theatre at Rochester Institute of Technology in Rochester, New York. His chief research interests are in narrative structure and the in®uence of electronic media on playwriting and performance conventions. He has presented at the Comparative Drama Conference, the Association for Theatre in Higher Education Conference, the Midwest Modern Language Association Conference, the Twentieth-Century Literature Conference, and the Southwest Popular Culture Conference and has published in the Journal of Dramatic Theory and Criticism. He holds a PhD from Ohio State University. John W. Frick is professor of theatre and American studies at the University of Virginia. He is the author of Theatre, Culture, and Temperance Reform in Nineteenth-Century America (New York: Cambridge University Press, 2003); New York’s First Theatrical Center: The Rialto at Union Square (Ann Arbor: University of Michigan Research Press, 1985); and coeditor, with Carlton Ward, of The Directory of Historic American Theatres and Theatrical Directors: A Biographical Dictionary (New York: Greenwood, 1987). Professor Frick is president of the American Theatre and Drama Society. Leah Lowe is assistant professor of theater at Connecticut College. Her research interests include gender issues in narrative comedy and nineteenth-century American entertainment. She received her MFA in 138 C O N T R I B U T O R S directing from the University of Minnesota and her PhD from Florida State University. Rachel Rusch is currently completing her doctorate at the Yale School of Drama, where she is an Andrew W. Mellon Foundation Dissertation Research Fellow. She is the associate editor of Theater Magazine and a former teaching fellow at Yale College. Steve Scott has been associate producer at the Goodman...

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