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<p class="MsoPlainText"><b><i><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:black">Modern Drama<o:p></o:p></span></i></b></p>
<p class="MsoPlainText"><a href="http://bit.ly/MDonline584"><b><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#0070C0">Volume 58, Number 4, Winter 2015</span></b></a><b><i><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#0070C0"><o:p></o:p></span></i></b></p>
<h1><span style="font-size:12.0pt;font-weight:normal"><o:p> </o:p></span></h1>
<h1><span style="font-size:12.0pt;font-weight:normal">This issue contains:<o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584a"><span style="font-size:12.0pt;color:#0070C0">Racing toward History: Utopia and Progress in John Guare’s
<i>A Free Man of Color</i></span></a><span style="font-size:12.0pt"> <br>
</span><span style="font-size:12.0pt;font-weight:normal">Joanna Mansbridge</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584b"><span style="font-size:12.0pt;color:#0070C0">“A Theatre of the Head”: Material Culture, Severed Heads, and the Late Drama of W.B. Yeats</span></a><span style="font-size:12.0pt">
<br>
</span><span style="font-size:12.0pt;font-weight:normal">Paige Reynolds</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584c"><span style="font-size:12.0pt;color:#0070C0">Watching
<i>A Raisin in the Sun</i> and Seeing Red</span></a><span style="font-size:12.0pt">
<br>
</span><span style="font-size:12.0pt;font-weight:normal">Aaron C. Thomas</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584d"><span style="font-size:12.0pt;color:#0070C0">“True Heart”: Reimagining Transnational Subjects through Sentimentality in Velina Hasu Houston’s Plays</span></a><span style="font-size:12.0pt">
<br>
</span><span style="font-size:12.0pt;font-weight:normal">Eunha Na</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584e"><span style="font-size:12.0pt;color:#0070C0">How (Not) to Write Broadcast Plays: Pinter and the BBC</span></a><span style="font-size:12.0pt">
<br>
</span><span style="font-size:12.0pt;font-weight:normal">Jacob Stulberg</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h2 style="margin-top:24.0pt"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#00B0F0">REVIEWS<o:p></o:p></span></h2>
<h1><a href="http://bit.ly/MDonline584f"><span style="font-size:12.0pt;color:#0070C0">Amy Holzapfel,
<i>Art, Vision, and the Nineteenth-Century Stage: Acts of Seeing</i></span></a><span style="font-size:12.0pt">
<br>
</span><span style="font-size:12.0pt;font-weight:normal">Matthew Buckley</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584g"><span style="font-size:12.0pt;color:#0070C0">John Lahr,
<i>Tennessee Williams: Mad Pilgrimage of the Flesh</i></span></a><span style="font-size:12.0pt;color:#0070C0">
</span><span style="font-size:12.0pt"><br>
</span><span style="font-size:12.0pt;font-weight:normal">Brian Parker</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584h"><span style="font-size:12.0pt;color:#0070C0">Scott Magelssen,
<i>Simming: Participatory Performance and the Making of Meaning</i></span></a><span style="font-size:12.0pt;color:#0070C0">
</span><span style="font-size:12.0pt"><br>
</span><span style="font-size:12.0pt;font-weight:normal">Carran Waterfield</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584i"><span style="font-size:12.0pt;color:#0070C0">Carol J. Oja,
<i>Bernstein Meets Broadway: Collaborative Art in a Time of War</i></span></a><span style="font-size:12.0pt;color:#0070C0">
</span><span style="font-size:12.0pt"><br>
</span><span style="font-size:12.0pt;font-weight:normal">Bradley Rogers</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584j"><span style="font-size:12.0pt;color:#0070C0">Amanda Rogers,
<i>Performing Asian Transnationalisms: Theatre, Identity and the Geographies of Performance</i></span></a><span style="font-size:12.0pt">
<br>
</span><span style="font-size:12.0pt;font-weight:normal">Sean Metzger</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt;color:#0070C0"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584k"><span style="font-size:12.0pt;color:#0070C0">Ashis Sengupta, ed.,
<i>Mapping South Asia Through Contemporary Theatre: Essays on the Theatre of India, Pakistan, Bangladesh, Nepal and Sri Lanka</i></span></a><span style="font-size:12.0pt;color:#0070C0">
</span><span style="font-size:12.0pt"><br>
</span><span style="font-size:12.0pt;font-weight:normal">David Mason</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584l"><span style="font-size:12.0pt;color:#0070C0">J. Chris Westgate,
<i>Staging the Slums, Slumming the Stage: Class, Poverty, Ethnicity, and Sexuality in American Theatre, 1890–1916</i></span></a><span style="font-size:12.0pt;color:#0070C0">
</span><span style="font-size:12.0pt"><br>
</span><span style="font-size:12.0pt;font-weight:normal">Brenda Murphy</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
<o:p></o:p></span></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><a href="http://bit.ly/MDonline584m"><span style="font-size:12.0pt;color:#0070C0">Timothy R. White,
<i>Blue-Collar Broadway: The Craft and Industry of American Theatre</i></span></a><span style="font-size:12.0pt;color:#0070C0">
</span><span style="font-size:12.0pt"><br>
</span><span style="font-size:12.0pt;font-weight:normal">Jonathan Chambers</span><span class="nlmcontrib-group"><span style="font-size:12.0pt">
</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<h1><span class="nlmcontrib-group"><span style="font-size:12.0pt">--------------------------------------</span></span><span style="font-size:12.0pt"><o:p></o:p></span></h1>
<p class="MsoNormal" style="margin-top:24.0pt"><b><span style="color:#00B0F0">COMPLETE ARCHIVE NOW AVAILABLE!<o:p></o:p></span></b></p>
<p class="MsoNormal"><i><span style="color:black">Modern Drama </span></i><span style="color:black">'s complete archive of regular and special thematic issues, including over 3000 articles and reviews from 1958 to the present, is now available at
</span><a href="http://utpjournals.metapress.com/content/120885/" target="_blank"><i><span style="color:#0070C0">Modern Drama Online</span></i><span style="color:#0070C0">
</span></a>and <a href="http://muse.jhu.edu/journals/modern_drama/" target="_blank">
<span style="color:#0070C0">Project MUSE</span></a><span style="color:black">.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top:24.0pt"><b><span style="color:#00B0F0">Join
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