Volume 31, Number 2, Spring 2017

Table of Contents

Editor's Note

pp. 7-8
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Articles

Historical Evidence: Induction, Deduction, Abduction, and Serendipity

pp. 9-31
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Equus and the Production of Queer Historical Memory

pp. 33-53
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"Lieber Walter"—"Lieber Gerhard": The Dramaturgical Strategies for Including the Correspondence of Benjamin and Scholem in the Performance of Passport

pp. 55-72
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Women Playwrights and the News: Colleen Murphy and Judith Thompson on "Fact-Inspired" Drama

pp. 73-98
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The Really Poor Theatre: Postcolonial Economies of Performance

pp. 99-124
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Theatrical Institutions in Motion: Developing Theatre in the Postcolonial Era

pp. 125-140
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The Serendipity Tango: "Volume 1, Number 1"

pp. 141-152
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Book Reviews

A Philosophy of Comedy on Stage and Screen: You Have to Be There by Shaun May (review)

pp. 155-156
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How to Write About Theatre: A Manual for Critics, Students, and Bloggers by Mark Fisher (review)

pp. 157-158
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Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing by Amy Holzapfel (review)

pp. 159-161
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Performing Objects and Theatrical Things ed. by Marlis Schweitzer and Joanne Zerdy (review)

pp. 161-163
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The First Frame: Theatre Space in Enlightenment France by Pannill Camp (review)

pp. 163-165
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Dead Matter: The Meaning of Iconic Corpses by Margaret Schwartz (review)

pp. 165-167
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The Myth of Identity in Modern Drama by Jeremy Ekberg (review)

pp. 167-169
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The Cambridge Companion to Opera Studies ed. by Nicholas Till (review)

pp. 169-171
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Playing God: The Bible on the Broadway Stage by Henry Bial (review)

pp. 172-174
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Books Received

pp. 175-183
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