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In this Issue

Table of Contents

  1. Introduction: There's No Place Like London: Theatrical Landscapes of a City in Recovery
  2. Harry Derbyshire, Nicholas Holden, Mark O'Thomas
  3. pp. 1-11
  4. DOI: https://doi.org/10.1353/cdr.2022.0000
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  1. The Resistible Rise of Isli-Crouch Upon-Thames: New Metropolitanism in New British Drama
  2. Graham Saunders
  3. pp. 15-37
  4. DOI: https://doi.org/10.1353/cdr.2022.0001
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  1. 'Be Yourself, Inasmuch as it Suits the Job': "Authenticity" in Practice at Berlin's Maxim Gorki and London's Royal Court
  2. Emily Goodling, Lianna Mark
  3. pp. 39-66
  4. DOI: https://doi.org/10.1353/cdr.2022.0002
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  1. Flexibility, Abstraction, Orthodoxy: The Lehman Trilogy and (the) British Capital
  2. Alex Ferrone
  3. pp. 67-92
  4. DOI: https://doi.org/10.1353/cdr.2022.0003
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  1. To Remind You Of My Love: London's Love Affair With The American Musical
  2. Laura MacDonald
  3. pp. 93-124
  4. DOI: https://doi.org/10.1353/cdr.2022.0004
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  1. High Rise eState of Mind: Love and Honesty in the Midst of London's Neoliberal Housing Crisis
  2. Katie Beswick
  3. pp. 129-153
  4. DOI: https://doi.org/10.1353/cdr.2022.0005
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  1. Rita, Sue and #Metoo:: The Royal Court Theatre, London, and Liberalism
  2. Mark O'Thomas
  3. pp. 157-178
  4. DOI: https://doi.org/10.1353/cdr.2022.0006
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  1. Forty Years On: The Funding Conundrum at The Finborough
  2. Sue Healy
  3. pp. 179-198
  4. DOI: https://doi.org/10.1353/cdr.2022.0007
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  1. 'Creating Change Where it Matters the Most': Artistic Directorship and Representation in the London Theatre
  2. Harry Derbyshire
  3. pp. 199-226
  4. DOI: https://doi.org/10.1353/cdr.2022.0008
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  1. Afterword
  2. Nicholas Holden
  3. p. 227
  4. DOI: https://doi.org/10.1353/cdr.2022.0009
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  1. Contributors
  3. pp. 228-230
  4. DOI: https://doi.org/10.1353/cdr.2022.0010
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