1. Casting Clara Fisher: Phrenology, Protean Farce, and the “Astonishing” Career of a Child Actress
  2. Marlis Schweitzer
  3. pp. 167-190
  4. DOI: 10.1353/tj.2016.0034
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  1. A Queer Transition: Whiteness in the Prismatic, Post-Apartheid Drag Performances of Pieter-Dirk Uys and Steven Cohen
  2. April Sizemore-Barber
  3. pp. 191-211
  4. DOI: 10.1353/tj.2016.0040
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  1. Winning and/or Losing: The Perils and Products of Insecurity in Postdramatic Autobiographical Performance
  2. Jenn Stephenson
  3. pp. 213-229
  4. DOI: 10.1353/tj.2016.0046
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  1. “Is That Just Disgusting?”: Mapping the Social Geographies of Filth and Madness in Sweeney Todd
  2. Aleksei Grinenko
  3. pp. 231-248
  4. DOI: 10.1353/tj.2016.0051
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  1. Buenos Aires’s Independent Theatre Scene
  2. Jean Graham-Jones
  3. pp. 249-260
  4. DOI: 10.1353/tj.2016.0056
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  1. Absent by Tristan Sharps (review)
  2. Amy Cook
  3. pp. 261-263
  4. DOI: 10.1353/tj.2016.0061
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  1. Alice’s Adventures Underground by Oliver Lansley and Anthony Spargo, and: Then She Fell dir. by Zach Morris, Tom Pearson, and Jennine Willett (review)
  2. Russell M. Dembin
  3. pp. 263-267
  4. DOI: 10.1353/tj.2016.0067
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  1. Hotel by Alfian Sa’at and Marcia Vanderstraaten (review)
  2. Kevin Riordan
  3. pp. 267-269
  4. DOI: 10.1353/tj.2016.0038
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  1. Man of La Mancha by Dale Wasserman, and: Man of La Mancha by Dale Wasserman (review)
  2. Laura MacDonald
  3. pp. 269-273
  4. DOI: 10.1353/tj.2016.0044
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  1. Cloud Nine by Caryl Churchill (review)
  2. Sean F. Edgecomb
  3. pp. 273-275
  4. DOI: 10.1353/tj.2016.0049
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  1. Freedomland by Michael Gene Sullivan (review)
  2. Lindsey Mantoan
  3. pp. 275-277
  4. DOI: 10.1353/tj.2016.0054
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  1. The Odyssey by Todd Almond (review)
  2. Adam Sheaffer
  3. pp. 277-279
  4. DOI: 10.1353/tj.2016.0059
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  1. Mojada: A Medea in Los Angeles by Luis Alfaro (review)
  2. Jayson A. Morrison
  3. pp. 279-281
  4. DOI: 10.1353/tj.2016.0065
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  1. Indecent by Paula Vogel (review)
  2. Miriam Chirico
  3. pp. 281-283
  4. DOI: 10.1353/tj.2016.0036
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  1. Informed Consent by Deborah Zoe Laufer (review)
  2. Yuko Kurahashi
  3. pp. 283-285
  4. DOI: 10.1353/tj.2016.0042
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  1. Pavla above the Precipice by Andrej E. Skubic, and: Glengarry Glen Ross by David Mamet, and: The Heart in Hand by Draga Potočnjak, and: Hero 1.0. by Uroš Kaurin and Vito Weis (review)
  2. Christopher Olsen
  3. pp. 286-290
  4. DOI: 10.1353/tj.2016.0047
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  1. Where can I Find Someone Like You, Ali? by Raeda Taha (review)
  2. Rayya El Zein
  3. pp. 291-292
  4. DOI: 10.1353/tj.2016.0052
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  1. Othello by William Shakespeare (review)
  2. Henry I. Schvey
  3. pp. 292-295
  4. DOI: 10.1353/tj.2016.0057
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  1. iNNOCENCE + eXPERIENCE TOUR: U2 by Stufish Entertainment Architects, and: Lese Majesty: Shabazz Palaces by Shabazz Palaces, and: Piece by Piece: Kelly Clarkson by Leroy Bennett (review)
  2. Wade Hollingshaus
  3. pp. 295-298
  4. DOI: 10.1353/tj.2016.0062
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  1. Brecht: Our Contemporary?: Un/Timely Translation and the Politics of Transmission
  2. Loren Kruger
  3. pp. 299-309
  4. DOI: 10.1353/tj.2016.0068
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  1. A History of the Berliner Ensemble by David Barnett (review)
  2. Michael Wood
  3. pp. 311-312
  4. DOI: 10.1353/tj.2016.0039
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  1. The Travels of Benjamin Zuskin by Ala Zuskin Perelman (review)
  2. Beate Hein Bennett
  3. pp. 312-313
  4. DOI: 10.1353/tj.2016.0045
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  1. Performances of Capitalism, Crisis and Resistance: Inside/Outside Europe ed. by Marilena Zaroulia and Philip Hager (review)
  2. Maurya Wickstrom
  3. pp. 313-314
  4. DOI: 10.1353/tj.2016.0050
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  1. Dionysus Resurrected: Performances of Euripides’ The Bacchae in a Globalizing World by Erika Fischer-Lichte (review)
  2. Phillip Zapkin
  3. pp. 315-316
  4. DOI: 10.1353/tj.2016.0055
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  1. Terror and Performance by Rustom Bharucha (review)
  2. T. Nikki Cesare Schotzko
  3. pp. 316-317
  4. DOI: 10.1353/tj.2016.0060
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  1. Performing the Nation in Global Korea: Transnational Theatre by Hyunjung Lee (review)
  2. Jungmin Song
  3. pp. 317-319
  4. DOI: 10.1353/tj.2016.0066
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  1. The Illuminated Theatre: Studies on the Suffering of Images by Joe Kelleher (review)
  2. David Coley
  3. pp. 319-320
  4. DOI: 10.1353/tj.2016.0037
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  1. Embodied Avatars: Genealogies of Black Feminist Art and Performance by Uri McMillan (review)
  2. Sarah Jane Cervenak
  3. pp. 320-321
  4. DOI: 10.1353/tj.2016.0043
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  1. Staging The Blues: From Tent Shows to Tourism by Paige A. McGinley (review)
  2. Mike Sell
  3. pp. 321-322
  4. DOI: 10.1353/tj.2016.0048
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  1. Hard Times: The Adult Musical in 1970S New York City by Elizabeth L. Wollman (review)
  2. Ray Miller
  3. pp. 322-324
  4. DOI: 10.1353/tj.2016.0053
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  1. Long Form Improvisation and American Comedy: The Harold by Matt Fotis (review)
  2. Tom Smith
  3. pp. 324-325
  4. DOI: 10.1353/tj.2016.0058
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  1. The Oxford Handbook of the Georgian Theatre, 1737–1832 eds. by Julia Swindells and David Francis Taylor (review)
  2. James Armstrong
  3. pp. 325-326
  4. DOI: 10.1353/tj.2016.0064
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  1. British Drama of the Industrial Revolution by Frederick Burwick (review)
  2. Tracy C. Davis
  3. pp. 326-328
  4. DOI: 10.1353/tj.2016.0035
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  1. Doctoral Projects in Progress in Theatre Arts, 2016
  2. Andrew Gibb, James Beekman Bush, Troy Matthew Lescher
  3. pp. 331-333
  4. DOI: 10.1353/tj.2016.0041
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  1. Editorial Comment
  2. Joanne Tompkins
  3. pp. vii-ix
  4. DOI: 10.1353/tj.2016.0063
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