In this Issue

Table of Contents

Introduction: There's No Place Like London: Theatrical Landscapes of a City in Recovery

Harry Derbyshire, Nicholas Holden, Mark O'Thomas
pp. 1-11
DOI: https://doi.org/10.1353/cdr.2022.0000
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The Resistible Rise of Isli-Crouch Upon-Thames: New Metropolitanism in New British Drama

Graham Saunders
pp. 15-37
DOI: https://doi.org/10.1353/cdr.2022.0001
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'Be Yourself, Inasmuch as it Suits the Job': "Authenticity" in Practice at Berlin's Maxim Gorki and London's Royal Court

Emily Goodling, Lianna Mark
pp. 39-66
DOI: https://doi.org/10.1353/cdr.2022.0002
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Flexibility, Abstraction, Orthodoxy: The Lehman Trilogy and (the) British Capital

Alex Ferrone
pp. 67-92
DOI: https://doi.org/10.1353/cdr.2022.0003
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To Remind You Of My Love: London's Love Affair With The American Musical

Laura MacDonald
pp. 93-124
DOI: https://doi.org/10.1353/cdr.2022.0004
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High Rise eState of Mind: Love and Honesty in the Midst of London's Neoliberal Housing Crisis

Katie Beswick
pp. 129-153
DOI: https://doi.org/10.1353/cdr.2022.0005
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Rita, Sue and #Metoo:: The Royal Court Theatre, London, and Liberalism

Mark O'Thomas
pp. 157-178
DOI: https://doi.org/10.1353/cdr.2022.0006
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Forty Years On: The Funding Conundrum at The Finborough

Sue Healy
pp. 179-198
DOI: https://doi.org/10.1353/cdr.2022.0007
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'Creating Change Where it Matters the Most': Artistic Directorship and Representation in the London Theatre

Harry Derbyshire
pp. 199-226
DOI: https://doi.org/10.1353/cdr.2022.0008
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Afterword

Nicholas Holden
p. 227
DOI: https://doi.org/10.1353/cdr.2022.0009
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Contributors

pp. 228-230
DOI: https://doi.org/10.1353/cdr.2022.0010
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