1. Ruby Cohn (1922–2011)
  2. Jill Levenson, Hersh Zeifman
  3. pp. 405-407
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  1. Auden and Britten’s Paul Bunyan and the Frontiers of Opera
  2. Matthew Paul Carlson
  3. pp. 409-434
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  1. “Or It Might Be You”: Audiences in and of T. S. Eliot’s Sweeney Agonistes
  2. Julia Daniel
  3. pp. 435-454
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  1. All Wilde on the Western Front: Alan Bennett, Tom Stoppard, and the Theatre of War
  2. Alex Feldman
  3. pp. 455-478
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  1. Dancing on the X-rays: On the Theatre of Memory, counter-memory, and Postmemory in the Post-1989 East-European Context
  2. Yana Meerzon
  3. pp. 479-510
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  1. Censorship and Immorality: Bernard Shaw’s The Devil’s Disciple
  2. Brad Kent
  3. pp. 511-533
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  1. Absurd Imprint: Grove Press and the Canonization of the Theatrical Avant-Garde
  2. Loren Glass
  3. pp. 534-561
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  1. Theater Historiography: Critical Interventions (review)
  2. Julia H. Fawcett
  3. pp. 562-564
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  1. On the Edge of Utopia: Performance & Ritual at Burning Man (review)
  2. Matt Wray
  3. pp. 564-567
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  1. Representing the Past: Essays in Performance Historiography (review)
  2. Laurence Senelick
  3. pp. 567-570
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  1. Stage Money: The Business of the Professional Theater (review)
  2. Anne Beggs
  3. pp. 570-573
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  1. Performance and the City (review)
  2. Sabine Haenni
  3. pp. 573-575
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  1. Violence against Women in Early Modern Performance: Invisible Acts (review)
  2. Jenny C. Mann
  3. pp. 577-580
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  1. The Prizefighter and the Playwright: Gene Tunney and Bernard Shaw (review)
  2. Matthew Yde
  3. pp. 580-582
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  1. Index to Volume 54, 2011
  2. pp. 585-587
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  1. Suzan-Lori Parks: Essays on the Plays and Other Works (review)
  2. Carol Schafer
  3. pp. 575-577
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  1. Contributors
  2. pp. 583-584
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