In praising “the witty high school romp” How I Paid for College, the New York Times Book Review said, it “makes you hope there’s a lot more where this came from.” There is. In this hilarious sequel Attack of the Theater People, Edward Zanni and his merry crew of high school musical-comedy miscreants move to the magical wonderland that is Manhattan. It is 1986, and aspiring actor Edward Zanni has been kicked out of drama school for being “too jazz hands for Juilliard.” Mortified, Edward heads out into the urban jungle of eighties New York City and finally lands a job as a “party motivator” who gets thirteen-year-olds to dance at bar mitzvahs and charms businesspeople as a “stealth guest” at corporate events. When he accidentally gets caught up in insider trading with a handsome stockbroker named Chad, only the help of his crew from How I Paid for College can rescue him from a stretch in Club Fed. Laced with the inspired zaniness of classic American musical comedy, Attack of the Theater People matches the big hair of the eighties with an even bigger heart.

Greek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas created exclusively for themselves—a model that reduces theater to little more than a medium for propaganda. Women's theater attendance remains controversial, and little attention has been paid to the social class and ethnicity of the spectators. Whose theater was it? Producing the first book-length work on the subject, David Kawalko Roselli draws on archaeological and epigraphic evidence, economic and social history, performance studies, and ancient stories about the theater to offer a wide-ranging study that addresses the contested authority of audiences and their historical constitution. Space, money, the rise of the theater industry, and broader social forces emerge as key factors in this analysis. In repopulating audiences with foreigners, slaves, women, and the poor, this book challenges the basis of orthodox interpretations of Greek drama and places the politically and socially marginal at the heart of the theater. Featuring an analysis of the audiences of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander, Theater of the People brings to life perhaps the most powerful influence on the most prominent dramatic poets of their day.

In 1922, Willis Richardson wrote The Chip Woman's Fortune. On January 29, 1923, the play was performed by the Ethiopian Art Players in Chicago. In April 1923, the play moved to New York. On May 7, 1923, The Chip Woman's Fortune had a short run at the Lafayette Theatre in Harlem. Eight days later, it became the first play by an African American to reach Broadway. The chip woman, in The Chip Woman's Fortune, is named Aunt Nancy. She contributes to the household where she resides by picking up chips of wood and lumps of coal from the streets. We find her living with Silas and caring for his ill wife, Liza, whom we learn is making a steady recovery under Aunt Nancy's care. Silas learns that the family's greatest treasure, a Victrola record player, is about to be repossessed because of financial strain that has left him unable to make payments on the outstanding debt owed on the machine. After learning that, Aunt Nancy has managed to save some money from street donations she receives, Silas decides that it is time for her to contribute more than the nursing care provided to his wife, and the wood chips and coal lumps she collects for use by the family.

Anyone who has ever looked for love know the dilemma. Do you make a safe, sensible match? Or take a risk on an exciting someone who might—just might—be the One Great Romance of your life? Musa, an Egyptian immigrant, and Sheri, a very quirky Caucasian waitress, must negotiate the twists and turns of not only love but cultural expectations in this charming romantic comedy with a delightful twist.

Afong Moy is fourteen years old when she’s brought to the United States from Guangzhou Province in 1834. Allegedly the first Chinese woman to set foot on U.S. soil, she has been put on display for the American public as “The Chinese Lady.” For the next half-century, she performs for curious white people, showing them how she eats, what she wears, and the highlight of the event: how she walks with bound feet. As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Inspired by the true story of Afong Moy’s life, THE CHINESE LADY is a dark, poetic, yet whimsical portrait of America through the eyes of a young Chinese woman.

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)

The works presented are moving and impressive; their authenticity and tone in harmony with the story teller's voice. The story itself may open new windows ... for those intent on enriching and humanizing what occurs in contemporary schools. - Maxine Greene A fabulous book for arts and theater education. -Merryl Goldberg Author of Integrating the Arts, Third Edition Are you a theatre teaching artist, or considering it? No matter what kind of educational setting you're in, the theatre skills you teach are intimately linked to your own artistry: you've got to know how to teach from your own practice while you learn to practice the art of teaching. The key is discovering how the educational setting, the students, and the stage link. A Teaching Artist at Work helps theatre teaching artists develop connections between their pedagogical and artistic selves. The book presents a framework for thinking about the work of teaching artists in general and theatre teaching artists in particular. Through descriptive examinations of practice, the book also provides theatre teaching artists and those who prepare and work beside them with concrete examples of three theatre-education projects in three different educational settings as well as the collaborative processes that helped them succeed. Replicable in other settings-such as community outreach programs, after school and summer programs hosted by professional theatres, and not-for-profit educational theatres-these projects provide a jumping-off point for others who work to create interesting theatre curriculum. In any educational setting, theatre teaching artists create spaces where teachers and students can envision a new, different, and exciting way of learning and doing that they can apply to theatre education and many other content areas. With emphasis on linking personal artistry with pedagogical artistry and examples drawn from McKean's own practice, A Teaching Artist At Work is an invaluable resource for teaching artists and the arts-education community.