Current Issue

Volume 32, Issue 1 (Summer 2017)


  • She Stoops to Conquer: An Irish Expatriate Comedy by James Evans
  • “Damn you, Davenant!”: The Perils and Possibilities of Restoration Shakespeare by Deborah C. Payne
  • John Henderson’s Voice by Leslie A. Chilton

Theatre Reviews:

  • Venice Preserved by Thomas Otway, directed by Prasanna Puwanarajah, the Swan Theatre, Statford-upon-Avon; reviewed by Derek Hughes
  • The Provoked Wife by Sir John Vanbrugh, directed by Phillip Breen, the Swan Theatre, Stratford-upon-Avon; reviewed by Derek Hughes
  • Acis and Galatea by Handel, conducted by Nicholas Ansdell-Evans, directed by Sarah Tipple, English National Opera, ENO Studio Live, Lilian Baylis House, West Hampstand; reviewed by Yvonne Noble
  • The Rover by Aphra Behn, directed by Beth Burns, York Rite Masonic Hall, Austin, Texas; reviewed by Joseph F. Stephenson
  • After Aphra: The Story of Aphra Behn and The Widow Ranter by Lissa Chapman and Jay Venn, directed by Lissa Chapman, musical director Jay Venn, Clio’s Company, The Hen and Chickens Theatre, London; reviewed by Angela Escott
  • She Ventures and He Wins (1695) by “Ariadne”, directed by Bex Law, musical director Owen Childlaw, South London Theatre, The Old Fire Station, London; reviewed by Angela Escott
  • Dead Dog in a Suitcase (and Other Love Songs) by Carl Grose, directed by Mike Shepherd, music by Charles Hazlewood, Kneehigh with Liverpool Everyman Playhouse; reviewed by Jessica Munns

Book Reviews:

  • Charlotte Lennox: An Independent Mind by Susan Carlile; reviewed by Linda Bree
  • Thomas ‘Jupiter’ Harris: Spinning Dark Intrigue at Convent Garden Theatre, 1767-1820 by Warren Oakley; reviewed by Judith Bailey Slagle
  • The Routledge Anthology of Restoration and Eighteenth-Century Drama edited by Kristina Straub, Misty G. Anderson, and Daniel O’Quinn; reviewed by David Roberts
  • Antitheatricality and the Body Public by Lisa A. Freeman; reviewed by Daniel Smith
  • Staging Memory and Materiality in Eighteenth-Century Theatrical Biography by Amanda Weldy Boyd; reviewed by Nevena Martinovic