1. Editorial Comment: Transnational Performances and Ad Hoc Communities
  2. Sean Metzger
  3. pp. ix-xi
  4. DOI: 10.1353/tj.2020.0001
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  1. Looking at Pauline Johnson: Gender, Race, and Delsartism’s Legible Body
  2. Colleen Kim Daniher
  3. pp. 1-20
  4. DOI: 10.1353/tj.2020.0002
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  1. Whose Lulu Is It Anyway? Performing through Dramaturgies of Excess
  2. S.E. Jackson
  3. pp. 21-37
  4. DOI: 10.1353/tj.2020.0003
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  1. Reading Hamlet in Tehran: Neoliberalism and the Politics of Politicizing
  2. Ali-Reza Mirsajadi
  3. pp. 39-60
  4. DOI: 10.1353/tj.2020.0004
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  1. Sarin Gas Heartbreak: Theatre and Post-Truth Warfare in Syria
  2. Matt Jones
  3. pp. 61-79
  4. DOI: 10.1353/tj.2020.0005
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  1. William Shakespeare’s King Lear by William Shakespeare (review)
  2. Patrick Maley, Richard Halpern
  3. pp. 81-83
  4. DOI: 10.1353/tj.2020.0006
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  1. The Oresteia by Ellen McLaughlin (review)
  2. Isaiah Matthew Wooden
  3. pp. 83-86
  4. DOI: 10.1353/tj.2020.0007
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  1. “Daddy”: a Melodrama by Jeremy O. Harris (review)
  2. Keary Watts
  3. pp. 86-88
  4. DOI: 10.1353/tj.2020.0008
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  1. Berlin’s Zvizdal (Chernobyl—So far So Close) by Berlin, Cathy Blisson (review)
  2. Inga Meier
  3. pp. 88-90
  4. DOI: 10.1353/tj.2020.0009
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  1. The Head and the Load (review)
  2. Megan Lewis
  3. pp. 90-92
  4. DOI: 10.1353/tj.2020.0010
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  1. The Cold Record by Kirk Lynn (review)
  2. Sarah Kozinn
  3. pp. 92-94
  4. DOI: 10.1353/tj.2020.0011
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  1. Adhd (review)
  2. Dennis C. Beck
  3. pp. 94-96
  4. DOI: 10.1353/tj.2020.0012
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  1. Vanity Fair by Kate Hamill (review)
  2. Chelsea Phillips
  3. pp. 96-97
  4. DOI: 10.1353/tj.2020.0013
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  1. Lottery Day by Ike Holter (review)
  2. Weston Twardowski
  3. pp. 98-99
  4. DOI: 10.1353/tj.2020.0014
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  1. The Ladder is Always There by Amanda Coogan (review)
  2. Meiling Cheng
  3. pp. 99-102
  4. DOI: 10.1353/tj.2020.0015
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  1. A Little Life (review)
  2. Mert Dilek
  3. pp. 102-104
  4. DOI: 10.1353/tj.2020.0016
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  1. Paris des Femmes Festival (review)
  2. Elaine Molinaro
  3. pp. 104-107
  4. DOI: 10.1353/tj.2020.0017
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  1. The Shadow of a Gunman by Sean O’Casey, and :Juno and the Paycock by Sean O’Casey, and:The Plough and the Stars by Sean O’Casey (review)
  2. Michael C. O’neill
  3. pp. 107-112
  4. DOI: 10.1353/tj.2020.0018
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  1. Goodnight, Tyler by B. J. Tindal (review)
  2. Lindsay Livingston
  3. pp. 112-113
  4. DOI: 10.1353/tj.2020.0019
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  1. Creole Drama: Theatre and Society in Antebellum New Orleans by Juliane Braun (review)
  2. Jason Fitzgerald, Sarah E. Chinn
  3. pp. 115-116
  4. DOI: 10.1353/tj.2020.0020
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  1. The Nervous Stage: Nineteenth-Century Neuroscience and the Birth of Modern Theatre by Matthew Wilson Smith (review)
  2. Mia Levenson
  3. pp. 116-118
  4. DOI: 10.1353/tj.2020.0021
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  1. Rehearsing Revolutions: The Labor Drama Experiment and Radical Activism in the Early Twentieth Century by Mary McAvoy (review)
  2. Paige A. McGinley
  3. pp. 118-119
  4. DOI: 10.1353/tj.2020.0022
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  1. The American Negro Theatre and the Long Civil Rights Era by Jonathan Shandell (review)
  2. Julie Burrell
  3. pp. 119-121
  4. DOI: 10.1353/tj.2020.0023
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  1. Fiery Temporalities in Theatre and Performance: The Initiation of History by Maurya Wickstrom (review)
  2. Rosa E. Schneider
  3. pp. 121-122
  4. DOI: 10.1353/tj.2020.0024
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  1. Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work by Melissa Poll (review)
  2. Natalie Rewa
  3. pp. 122-124
  4. DOI: 10.1353/tj.2020.0025
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  1. Performing Post-Truth: An Interview with Director Ashlie Corcoran
  2. Matt Jones
  3. pp. E-1-E-6
  4. DOI: 10.1353/tj.2020.0000
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