New course news for #CSUN students: Queer Theatre is being offered for the first time this spring– available for elective credit in the Queer Studies Minor & Theatre major. See below for more info about that class and Contemporary Theatre (open to undergrads & grads). My graduate seminar (TH 621) is open to MA students in Theatre and departments accepting elective units– email me for details.
Attending the annual Association for Theatre in Higher Education conference in Vegas? Swing by and say hi.
The new issue of Interventions features my essay on the Coney Island Art Walls:
Hillary Miller’s ‘Hidden Vacancies’ traces a large-scale installation project that masks ‘the relations between real-estate and inequitable resource provision’. In her analysis of Coney Island’s Art Walls, Miller conceives of the project as theatre (rather than, for example, visual public art), allowing her to frame the arc of a story of transformation, in which a powerful property developer is re-cast as a benevolent co-curator. As theatre, then, the Art Walls’ conditions of possibility – namely, the collaboration between curatorial and real estate redevelopment interests – are exposed.
Read the article at the Contemporary Theatre Review.
Drop Dead: Performance in Crisis, 1970s New York has won the ATDS 2017 John W. Frick Book Award, which recognizes “outstanding works that expand and challenge the field of American theatre and drama.”
Gratitude is owed to the Frick Award selection committee of the American Theatre & Drama Society, as well as those without whom the book would not exist. This includes the team at Northwestern University Press, the Performance Works series editors Nicholas Ridout and Patrick Anderson, and editor Michael Levine.
—> Read “Subject To Punishment: Julie Bovasso’s Angelo’s Wedding and the Politics of the Unproduced,” my article on Bensonhurst-born playwright/actor/director Julie Bovasso (1930-1991) in the May 2017 edition of Theatre Survey (58:2).
“The preview performance of Julie Bovasso’s Angelo’s Wedding on 11 May 1985, imploded after an altercation between the playwright and the staff of Marshall Mason’s Off-Broadway Circle Repertory. Bovasso, then almost fifty-five years old, attended the performance against the explicit wishes of the production team; the rehearsal period had been fraught. Suspecting unauthorized cuts, Bovasso took a seat in the audience, but then, midshow, confronted the backstage crew and demanded the chance to give the actors notes. The staff refused. At the start of the third act, Bovasso changed tactics: she alighted the stage and instructed the audience to leave the theatre. Members of the crew blocked her access to the actors, leading to a physical altercation, a 911 call, and, eventually, her forced eviction from the theatre.”
[Photo credit: Billy Rose Theatre Division, The New York Public Library. “Julie Bovasso.” The New York Public Library Digital Collections. 1950 – 1963.]