Cover image: Carlyle Reedy at the Royal Court Theatre, London, preparing to perform Fish Event as part of Come Together festival (21 October–9 November 1970). Photograph courtesy of the artist.

Contents

Notes on Contributors
pages 469-471

Articles

(Up)Setting the Scene: Open Court as Staging and Spectating Intervention
Vicky Angelaki
pages 472-487

Death and the Community of Comic Romance: Sarah Ruhl’s Poetics of Transformation in Dead Man’s Cell Phone
Ana Fernández-Caparrós
pages 488-501

Surge, Sway, and Yaw: Mooring Performances in The Boat Project and A Room for London
Stuart Andrews
pages 502-517

Kira O’Reilly Playing in the Lab
Johanna Linsley
pages 518-533

Play as an Aesthetic Discourse in African Cultural Performances
Kennedy C. Chinyowa
pages 534-544

Woman as Plaything? Configurations of the Feminine in Japanese Butoh
Catherine Curtin
pages 545-560

Documents

Daring to be Present: An Interview with Carlyle Reedy
Eleanor Roberts
pages 561-572

50 Years On: Theater Genesis and Sam Shepard
Lee Kissman
pages 573-581

Reviews

Passionate Amateurs: Theatre, Communism and Love by Nicholas Ridout
Nadine Holdsworth
pages 582-583

Performance and the Global City edited by D. J. Hopkins and Kim Solga
Patrick Lonergan
pages 583-584

The Politics of Interweaving Performance Cultures: Beyond Postcolonialism edited by Erika Fischer-Lichte, Torsten Jost, and Saskya Iris Jain
Sabine Sörgel
pages 584-586

Desi Divas: Political Activism in South Asian American Cultural Performances by Christine L. Garlough
Royona Mitra
pages 586-587

Encounters in Performance Philosophy edited by Laura Cull and Alice Lagaay
Nik Wakefield
pages 587-589

Backpages

New writing in the UK 2015: A Mid-Year Overview
Aleks Sierz
pages 590-592

New Writing in Australian Theatre
Stephen Sewell
pages 592-594

Other Hospitalities: Reflections on Chris Goode’s Ensemble Ponyboy Curtis
Collated and edited by Maddy Costa
pages 594-598

In Memoriam: Elizabeth MacLennan
Nadine Holdsworth
pages 598-599

Abstracts
pages 600-603

Corrigendum
page 604