1. Editor's Note
  2. Rebecca Rovit
  3. pp. 7-8
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  1. Historical Evidence: Induction, Deduction, Abduction, and Serendipity
  2. Thomas Postlewait
  3. pp. 9-31
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  1. Equus and the Production of Queer Historical Memory
  2. Kim Marra
  3. pp. 33-53
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  1. Women Playwrights and the News: Colleen Murphy and Judith Thompson on "Fact-Inspired" Drama
  2. Penny Farfan, Colleen Murphy, Judith Thompson
  3. pp. 73-98
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  1. The Really Poor Theatre: Postcolonial Economies of Performance
  2. Aparna Dharwadker
  3. pp. 99-124
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  1. Theatrical Institutions in Motion: Developing Theatre in the Postcolonial Era
  2. Christopher Balme
  3. pp. 125-140
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  1. The Serendipity Tango: "Volume 1, Number 1"
  2. Joseph Roach
  3. pp. 141-152
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  1. A Philosophy of Comedy on Stage and Screen: You Have to Be There by Shaun May (review)
  2. Rachel E. Blackburn
  3. pp. 155-156
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  1. How to Write About Theatre: A Manual for Critics, Students, and Bloggers by Mark Fisher (review)
  2. John Patrick Bray
  3. pp. 157-158
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  1. Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing by Amy Holzapfel (review)
  2. Andrew Gibb
  3. pp. 159-161
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  1. Performing Objects and Theatrical Things ed. by Marlis Schweitzer and Joanne Zerdy (review)
  2. Jennifer Goodlander
  3. pp. 161-163
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  1. The First Frame: Theatre Space in Enlightenment France by Pannill Camp (review)
  2. Mechele Leon
  3. pp. 163-165
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  1. Dead Matter: The Meaning of Iconic Corpses by Margaret Schwartz (review)
  2. Scott Magelssen
  3. pp. 165-167
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  1. The Myth of Identity in Modern Drama by Jeremy Ekberg (review)
  2. Julia Moriarty
  3. pp. 167-169
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  1. The Cambridge Companion to Opera Studies ed. by Nicholas Till (review)
  2. Jesse Njus
  3. pp. 169-171
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  1. Playing God: The Bible on the Broadway Stage by Henry Bial (review)
  2. Dan Venning
  3. pp. 172-174
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  1. Books Received
  2. pp. 175-183
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