Introduction: Text & Presentation
Amy Muse and Victoria Scrimer

"Only Write the Good Parts": Playwright Lucas Hnath in Conversation with Jay Malarcher
Lucas Hnath and Jay Malarcher

Arthur Miller's Suicidology of the Stage: Suicide and Dramatic Form in Death of a Salesman
Nicholas Duddy

"In this show let me an actor be": Joining in with Doctor Faustus
Mark Scott

Art Acts: Reframing the White Gaze in Claudia Rankine's The White Card
Carla J. McDonough

Institutionalized Violence and Oppression: Ambiguity, Complicity and Resistance in El Campo and The Conduct of Life
Araceli González Crespán

Keeping the Violence Out of Sight: Representing Systems of Oppression with Offstage Violence
Richard Gilbert

The Perfect Joke: Autopathography and Humor in Sarah Ruhl's The Clean House
Jeffrey M. Brown

Under the Influence: Adaptation, Adultery, and Acceptance in Anton Chekhov's Uncle Vanya and Ryusuke Hamaguchi's Drive My Car
Paul D. Reich

Euphoria in Unhappiness: Technology and Revelation in Jennifer Haley's Neighborhood 3: Requisition of Doom and The Nether
M. Scott Phillips

Torvald's Question: Italo Svevo and James Joyce Stage Modern Masculinity
Christine Froula

Anxious Masculinity in the Drama of Arthur Miller and Beyond: Salesmen, Sluggers and Big Daddies, by Claire Gleitman
Nicholas Duddy

Noël Coward: The Playwright's Craft in a Changing Theatre by Russell Jackson, and: Masquerade: The Lives of Noël Coward by Oliver Soden
Laura Milburn

Let the Right One In by Jack Thorne
Judith Saunders