Current Issue

Volume 32, Issue 2 (Winter 2017) [Coming soon, October 2020]


  • Crisis Without Anxiety: The Jacobite Moment of Ann Macklin’s Benefit Night, 23rd April 1746 by Georgina Lock and David Worrall
  • From Love of Money to Love for Love: Heiress on the Long Eighteenth-Century Stage by Beth Cortese
  • The Preface to The Cyprian Conqueror: A Seventeenth-Century Essay on Theatrical Performance Practices by Matteo Pangallo

Theater Reviews:

  • The Dutch Lady, Anonymous, directed by Jason Morell, Shakespeare’s Globe for Read Not Dead, Great Hall at Gray’s Inn, London; reviewed by Lois Potter
  • Macbeth, adapted by Sir William Davenant based on the play by William Shakespeare, directed by Robert Richmond, Folger Theater, Washington, DC; reviewed by Isabel Smith-Bernstein

Book Reviews:

  • Dress in the Age of Jane Austen: Regency Fashion by Hilary Davidson; reviewed by Janet Todd
  • Staging the Revolution: Drama, Reinvention and History, 1647-72 by Rachel Willie; reviewed by Simon Barker
  • Shakespeare and the Legacy of Loss by Emily Hodgson Anderson; reviewed by Tim Keenan
  • Shakespeare’s Rise to Cultural Prominence: Politics, Print and Alteration, 1642-1700 by Emma Depledge; reviewed by Jean I. Marsden
  • Balloon Madness: Flights of Imagination in Britain, 1783-1786 by Clare Brant; reviewed by Jessica Munns
  • Four Fools in the Age of Reason; Laughter, Cruelty and Power in Early Modern Germany by Dorinda Outram; reviewed by Ivo Nieuwenhuis
  • The Language of Fruit: Literature and Horticulture in the Long Eighteenth Century by Liz Bellamy; reviewed by Emily Seitz
  • Twenty Theatres to See Before You Die. A love letter to Britain’s Theatres by Amber Massie-Blomfield; reviewed by Penny Richards

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