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<h4><i><span style="color:black">Modern Drama</span><br>
</i><span style="font-weight:normal">Volume 57, Number 4, Winter 2014</span><br>
<a href="http://bit.ly/MD_MUSE574"><span style="font-weight:normal">http://bit.ly/MD_MUSE574</span></a></h4>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto">This issue contains:
</p>
<h4>Teacups and Butter: The Importance of Eating in Ibsen’s <i>A Doll’s House</i> and
<i>The Wild Duck</i> <br>
<span style="font-weight:normal">Stephanie Pocock Boeninger</span> <br>
<a href="http://bit.ly/MD_MUSE574a"><span style="font-weight:normal">http://bit.ly/MD_MUSE574a</span></a></h4>
<p class="MsoNormal">This article examines the significance of food and drink in Henrik Ibsen’s
<i>A Doll House</i> and <i>The Wild Duck</i>, arguing that Ibsen’s staging of physical consumption is an integral part of his innovative realistic dramatic technique.
<a href="http://bit.ly/MD_MUSE574a">>> <i>Continue reading</i></a><o:p></o:p></p>
<h4>Aesthetic Radicalism: Langston Hughes’s Lost Translation of Federico García Lorca’s
<i>Bodas de sangre / Blood Wedding</i> <br>
<span style="font-weight:normal">Michelle Woods, Sarah Wyman</span> <br>
<a href="http://bit.ly/MD_MUSE574b"><span style="font-weight:normal">http://bit.ly/MD_MUSE574b</span></a></h4>
<p class="MsoNormal">Langston Hughes’s long-lost translation of Federico García Lorca’s play
<i>Bodas de sangre / Blood Wedding</i> (1933) – <i>Fate at the Wedding</i> (1938) – demonstrates a synchronicity between two 1930s aesthetic radicals who shared a transnational perspective.
<a href="http://bit.ly/MD_MUSE574b">>> <i>Continue reading</i></a></p>
<h4>A Multiethnic <i>Streetcar Named Desire</i>: We’ve Had This Date from the Beginning
<span class="MsoHyperlink"><br>
</span><span style="font-weight:normal">Virginia H. Cope</span> <br>
<a href="http://bit.ly/MD_MUSE574c"><span style="font-weight:normal">http://bit.ly/MD_MUSE574c</span></a></h4>
<p class="MsoNormal">Stephen Byrd’s 2012 Broadway production of Tennessee Williams’s
<i>A Streetcar Named Desire</i>, with black and Hispanic actors, inspired the typical strong responses from critics, many of whom objected to the casting as historically improbable.
<a href="http://bit.ly/MD_MUSE574c">>> <i>Continue reading</i></a></p>
<h4>Young Jean Lee’s Cruel Dramaturgy <br>
<span style="font-weight:normal">Patricia Ybarra</span> <br>
<a href="http://bit.ly/MD_MUSE574d"><span style="font-weight:normal">http://bit.ly/MD_MUSE574d</span></a></h4>
<p class="MsoNormal">“Young Jean Lee’s Cruel Optimism” argues that the Brown University production of Young Jean Lee’s
<i>Straight White Men</i> stages the tensions inherent in performing white masculinity under U.S. neo-liberal capitalism.
<a href="http://bit.ly/MD_MUSE574d">>> <i>Continue reading</i></a></p>
<h3><span style="font-size:12.0pt">Reviews<o:p></o:p></span></h3>
<h4><i>South African Performance and Archives of Memory</i> by Yvette Hutchison (review)
<span style="font-weight:normal">Megan Lewis</span> <br>
<a href="http://bit.ly/MD_MUSE574e"><span style="font-weight:normal">http://bit.ly/MD_MUSE574e</span></a></h4>
<h4><i>Suzan-Lori Parks in Person: Interviews and Commentaries</i> ed. by Philip C. Kolin and Harvey Young (review)
<br>
<span style="font-weight:normal">Deborah Thompson</span> <br>
<a href="http://bit.ly/MD_MUSE574f"><span style="font-weight:normal">http://bit.ly/MD_MUSE574f</span></a></h4>
<h4><i>Imagining the Edgy City: Writing, Performing, and Building Johannesburg</i> by Loren Kruger (review)
<br>
<span style="font-weight:normal">Marcia Blumberg</span> <br>
<a href="http://bit.ly/MD_MUSE574g"><span style="font-weight:normal">http://bit.ly/MD_MUSE574g</span></a></h4>
<h4><i>Rebellious Mirrors: Community-Based Theatre in Aotearoa / New Zealand</i> by Paul Maunder (review)
<br>
<span style="font-weight:normal">Diana Looser</span> <br>
<a href="http://bit.ly/MD_MUSE574h"><span style="font-weight:normal">http://bit.ly/MD_MUSE574h</span></a></h4>
<h4><i>The Theatre of Tennessee Williams</i> by Brenda Murphy (review) <br>
<span style="font-weight:normal">Verna A. Foster</span> <br>
<a href="http://bit.ly/MD_MUSE574i"><span style="font-weight:normal">http://bit.ly/MD_MUSE574i</span></a></h4>
<h4><i>Passionate Amateurs: Theatre, Communism, and Love</i> by Nicholas Ridout (review)
<br>
<span style="font-weight:normal">Steve Nicholson<br>
</span><a href="http://bit.ly/MD_MUSE574j"><span style="font-weight:normal">http://bit.ly/MD_MUSE574j</span></a></h4>
<h4><i>Synge and the Making of Modern Irish Drama</i> by Anthony Roche (review) <br>
<span style="font-weight:normal">Paul Delaney</span> <br>
<a href="http://bit.ly/MD_MUSE574k"><span style="font-weight:normal">http://bit.ly/MD_MUSE574k</span></a></h4>
<h4><i>“That Was Us”: Contemporary Irish Theatre and Performance</i> ed. by Fintan Walsh (review)
<br>
<span style="font-weight:normal">Siobhán O’Gorman</span> <br>
<a href="http://bit.ly/MD_MUSE574l"><span style="font-weight:normal">http://bit.ly/MD_MUSE574l</span></a></h4>
<h4><a href="http://muse.jhu.edu/journals/modern_drama/v057/57.4.index.html">Index to Volume 57, 2014
</a></h4>
<div style="mso-element:para-border-div;border:none;border-bottom:solid windowtext 1.0pt;padding:0in 0in 1.0pt 0in">
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present, is now available at </span><a href="http://muse.jhu.edu/journals/modern_drama/"><span style="font-family:"Times New Roman","serif"">Project MUSE</span></a><span style="font-family:"Times New Roman","serif""> and
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