Acknowledgments
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This book has been one long labor of love, and for the help I’ve received both personally and professionally I am deeply grateful. For my brief moment in the footlights that made my love of theatre personal, I am grateful for Samantha Cheek Swan’s intercession on my behalf. When she was cast as a chorus girl in a local production of Tom Stoppard’s Rough Crossing, and I said, “I’m writing my thesis on Tom Stoppard! I want to be a chorus girl too!” she got me an audition. My dancing and singing under the lights may not have lit up the local reviews, but it still makes me smile to remember. And it set the trajectory of my scholarship. I am indebted to many colleagues and friends for their advice and support. This project would never have come to be without Joy Kasson’s early encouragement and advice. Bob Cantwell’s insights helped shape early versions of The Revolt of the Beavers chapter. Derek Goldman helped me to see issues of staging. Kimball King gave me scholarly opportunities to work with theatrical productions. Beverly Taylor provided key signatures and kind words. Barbara Thaden read an early chapter, and the late Freddie Jones not only encouraged me to persevere, but was a mentor who modeled how to be a gracious friend and colleague. Jim Ryan, Kelly Reames, Neil Watson, Katie Drowne, Mary Floyd-Wilson, Maude Hines, Brad Hammer, Jim Pearce, and Paul Hanson have all listened to me think through ideas and have given thoughtful, deeply meaningful support. Edee Dalke provided a writing haven. Thank you all. I would like to thank the National Endowment for the Humanities for funding study of African American theatre. I’d like to thank Richard Flynn vii Ac k n o w l e d g m e n t s viii  · Acknowledgments and the editors of the Children’s Literature Association Quarterly, where an earlier version of Chapter 4 appeared. I would like to thank the U.S. and Cyprus Fulbright Commissions for the opportunity to teach the Federal Theatre Project in Cyprus. My year as a Fulbright professor in Cyprus placed me in a dynamic scholarly community where my work benefited from the rich intellectual life centered at the Association for Historical Dialogue and Research. I would like to thank the members of the Brew Crew, especially Marios Epaminondas, Yiannis Papadakis, Kyriakos Pachoulides, and Lisa Davis for their friendship and support. For our conversations about theatre and for introducing me to the writing collective of Rooftop Theatre, I would like to thank Ellada Evangelou . Thanks to Evi Haggipavlu for reading chapters while cooking fabulous meals in a home by the sea. To two friends, I owe a particular and immeasurable debt of gratitude. Karen Emmerich read the entire manuscript and offered invaluable feedback sprinkled with generous encouragement. And Katie Rose Guest Pryal, who encouraged me over and over to do the structural revisions that brought the project into its current form, pushed neither too little nor too much, but just right. Thank you. My parents raised three self-confident kids to adulthood. Thanks to my mother, Elaine Frost, whose strength of character and belief in us helped us to be who we are today and without whom this first book would not be. Thanks to my father, a Marine fighter pilot who taught me to have faith in the courage of my convictions. Thanks to my brothers Rob and Bert for being the bright, interesting, funny men who you are and for so often showing me how to do it right; thanks to my sisters-in-law Ladona and Dana for being amazing, wonderful women. And thanks to Alan and M. A., whose adventurous academic life inspired me. In working with a project for a long time, one can forget the initial enthusiasm with which one begins. My students at the University of Cyprus, with their profoundly moving engagement with the Federal Theatre Project, reminded me of why I began this project. Thanks to Theodora, Rafaela, Despina , Savvas, Jasmin, Andria, Styliana, Eleni, Xanthi, Monika, and Aurelija for their amazing performances. Thanks to Andrew Power for tech support. And thank you to my English 105 fall 2012 students at UNC, whose regular expressions of support and interest in their teacher’s work connected teaching and research meaningfully. In working with various collections over time, I have the highest regard for the staff of George Mason University’s Special Collections and...


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