New Books in Dance

The premiere of Oklahoma! in 1943 is commonly called a “turning point” in the history of the Broadway musical. Often characterized as the first integrated musical―meaning that the songs and other elements of the show are integrated into the story―James O'Leary offers a different interpretation of Oklahoma! and other musicals at the beginning of Broadway's Golden Age in The Middlebrow Musical: Between Broadway and Opera in 1940s America (Oxford University Press, 2025). Contextualizing his discussion within debates among US critics, O'Leary argues that the negotiation between operatic and popular music, and between frothy comedy and more serious themes mark the musicals he analyzes as examples of the middlebrow. Through detailed archival work, O'Leary uncovers the crucial critical networks that originally theorized a middlebrow approach to culture, beginning in the literary circles of Van Wyck Brooks and Archibald MacLeish, and radiating outward to major theater and music critics including Brooks Atkinson and Olin Downes. These writers believed American culture had splintered into factions, which in turn divided American audiences: highbrow art, which they regarded as obscure and elitist; folk art, which they found provincial and alienating; and popular culture, which they considered merely commercial. Blending these kinds of art, they argued, could draw together a fractured society into mutual understanding (if not necessarily agreement) by situating the most sophisticated ideas within longstanding expressive traditions, accessible to all. O'Leary finds in Oklahoma!, Beggar's Holiday, and Street Scene a new kind of musical comedy that embraced American politics and weighty stories in ways not seen before 1943. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the early twentieth century, as variety shows flooded Canadian stages, new forms of blackface, inspired by modern forms of amusements, changed the theatre. In this era marked by progressive social reforms, the stage embodied the modern ethos of imitation, mimicry, and change. Staging Blackface in Canada: Public Amusements, Variety Shows, and Racial Acts in an Age of Imitation, 1898-1919 (Wilfrid Laurier Press, 2026) covers a moment when Canadians did not produce professional theatre, but they built amusement parks, wrote songs, and produced records. As the stage (drama), and its variants (burlesque, light opera) adapted elements from the new stages (amusement parks, social dance, and film), the modern culture popularized forms of blackface that impacted white, Anglo-Protestant, and English-speaking audiences, and drew theatrical criticism. This book explores a twenty-year period in Canada's history when there was no media regulation, and no mandate to promote Canadian culture. Through an examination of theatrical reviews, images, and textual records, Staging Blackface in Canada locates how the Canadian stage became a playground for ethnic jokes, racial caricature, and women's emancipation. It also locates some of the first Black musicals and operas to appear on Canadian stages. This episode also mentions a previous Additions to the Archive episode with assistant curator of New York City's Poster House museum, Es-pranza Humphrey, and her exhibition “Act Black: Posters From Black American Stage & Screen.” You can find Cheryl at her website, on Instagram, and on LinkedIn And check out her previous appearances on the Additions to the Archive podcast and Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Teaching Shakespeare's Theatre of the World (Cambridge University Press, 2025) engages with one of Shakespeare's greatest thought-experiments: How does one navigate the 'theatre of the world'? It invites students to examine how Shakespeare challenges this metaphor's vertical hierarchies in response to shifting understandings of cosmological order. Teachers will find rich contextual frameworks for exploring how Shakespeare envisions 'worlds' as emerging from dynamic variables, raising urgent questions about how identity and justice are environmentally constructed. Focal plays include A Midsummer Night's Dream, As You Like It, Hamlet, Henry V, The Merchant of Venice, and Othello. Each discussion features student centered 'Explorations'. These play-specific classroom activities can also be adapted across Shakespeare's corpus and tailored for both secondary and university-level students. These exercises encourage non-linear critical and creative thinking, inviting students to contemplate big ideas and generate new perspectives about the shared points of contact between Shakespeare's world and their own. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In 1898, vaudeville actors Saint Suttle and Gertie Brown joyously embraced in a short silent film titled Something Good—Negro Kiss. The first known film to portray African American affection, it was lost for over a century until its rediscovery inspired contemporary audiences with a powerful and enduring depiction of Black love. More than a missing piece in an untold history of Black cinematic performance, Something Good—and the magnetism of Suttle and Brown—attests to the power of Black performance on stage and screen from the nineteenth century to today. In Acts of Love: Black Performance and the Kiss That Changed Film History (University of California Press, 2026), Allyson Nadia Field tells the story of Something Good and recovers the forgotten yet fascinating lives of its performers and their world. Drawing a vivid picture from sparse historical records, Acts of Love examines popular culture's negotiation of blackness to reconsider the intersections of minstrelsy, vaudeville, and cinema in ragtime America. This book not only presents the story of Something Good, its performers, and the drama of its rediscovery; it shows how the rediscovery of this short early film changes our understanding of American film history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Here in Episode 9 of Season 5, I interview Mr. Rob Long. A longtime Hollywood professional, he was a writer and producer for the classic sitcom Cheers as well as for over a dozen other shows. A National Review contributor and columnist for both Commentary and Washington Examiner magazine, he has authored two books, Conversations With My Agent (1998) and Set-Up, Joke, Set-Up, Joke (2005), and edited one, Bigly: Donald Trump in Verse (2017). As the co-founder of Ricochet, a media network, he hosts “Martini Shot,” a long-running, bite-size showbiz podcast, as well as cohosts “GLoP Culture.” Drawing on his two comic memoirs—alongside his religious studies as a Master of Divinity student at Princeton Theological Seminary—we discuss his life in Hollywood, religious journey, and current training to become an Episcopal priest. Along the way we dig into the nature of humor, the rise and fall of the TV sitcom, the lost formation of the writer's room, what it is like to be a Hollywood conservative, how technology like streaming and AI has changed show business, the strategy for the perfect sermon, and the spiritual calling of the creative arts. Among the shows that are discussed include the Dick Van Dyke Show, Mary Tyler Moore Show, and Andy Griffith Show, plus films like Twentieth Century, A Night at the Opera, The In-Laws, and Midnight Run; along with guest appearances by Michaelangelo's Pieta, Aristotle's Poetics, Moliere, P.G. Wodehouse, P.J. O'Rourke, plus the wit of Jesus of Nazareth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Faith, Family, and Flag: Branson Entertainment and the Idea of America (University of Chicago Press, 2025) examines the history of Branson, Missouri's entertainment industry within the context of America's culture wars. The book explores how Branson became a major center for live performance rooted in patriotism, Christianity, and family centered values, attracting millions of visitors each year. Professor Joanna Dee Das shows how Branson represents more than lighthearted entertainment. Through its music, shows, humor, and tourism industry, the city offers audiences a vision of the American Dream centered on the “three Fs” — faith, family, and flag. While supporters view these values as universal and deeply American, critics often associate them with modern political conservatism. The book explores how Branson became a powerful cultural and political symbol in debates about national identity, religion, class, entertainment, and American values. Key Ideas: The book explores how faith, patriotism, and family centered entertainment shaped Branson's popularity of more than just an entertainment town. Reflects how entertainment can reflect deeper cultural and political beliefs within society. Examines tensions between urban and rural America and how different groups viewed Branson. Critics sometimes viewed Branson as politically conservative, while supporters viewed it as authentic, nostalgic, patriotic, and values driven. The book highlights how entertainment, comedy, and audience experiences create emotional connection and community, much like social media culture today. One of the most interesting ideas from the discussion was that entertainment is never just entertainment. The music, performances, humor, patriotism, and storytelling found in places like Branson can reveal what people value, fear, believe, and hope for as a country. The conversation also highlighted how audiences often seek spaces where they feel emotionally connected, culturally understood, and spiritually grounded. Branson became one of those places for many Americans.  Joanna Dee Das is associate professor of performing arts at Washington University in St. Louis. She is the author of the award-winning book Katherine Dunham: Dance and the African Diaspora. Angela Marie Hutchinson is the author of “Create Your Yes! When You Keep Hearing No,” named a Forbes No. 4 book to advance your career. She is a podcast host for New Books Network, where she leads conversations for the neuroscience and Christianity channels. Hutchinson is also a talent and intellectual property executive, former social media professor and BBC commentator. She resides in Los Angeles with her husband and three children. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

How did black suits become so ubiquitous? Why has men's business clothing been so plain for the last 250 years? How did a style adopted by the Founding Fathers to differentiate themselves from European contemporaries become the dominant style for men around the globe? Suitable: The Sartorial Revolution and the Fashioning of Modern Men (Oxford University Press, 2026) traces the shift from the colorful, flamboyant attire of the eighteenth century to the plain dark suit of the nineteenth century, characterizing this style evolution as a "Sartorial Revolution." In this book, American historian and costume designer Chloe Chapin traces the evolution of masculine style from the American Revolution through the Civil War and shows how men's suits shaped relationships of gender and power. Drawing on a wealth of visual and written sources, she shows how the plainness of suits symbolized new ideals of rationality and democracy and played a crucial role in framing the lasting identity and authority of American men. This richly illustrated book analyzes fashion history's impact on gender dynamics and emphasizes the dynamic relationships between bodies, clothing, and personal identity. Suitable demonstrates the significance of fashion beyond mere appearance, illustrating the key role modern men's suits have played in shaping the modern world. Chloe Chapin holds a PhD in American Studies from Harvard University and master's degrees in fashion and textile studies from the Fashion Institute of Technology and costume design from the Yale School of Drama. She has taught fashion history, costume design, gender studies, and anthropology. As a costume designer for over twenty years, her credits include Broadway musicals, opera, and Shakespeare. She works at Harvard University and lives in Cambridge, Massachusetts. Caleb Zakarin is CEO and Publisher of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Art-Science Undisciplined invites us into a collaborative journey grounded in mutual exploration and transformation. Moving beyond transactional exchanges of expertise, artist Janani Balasubramanian and astrophysicist Natalie Gosnell draw on their own experiences, as well as stories from other art-science collaborators, to offer an imaginative guide for developing a values-based and joyful undisciplined practice. This playbook offers practical and conceptual tools for co-creation that foster new, powerful alliances among artists, scientists, and their supporters. While attentive to the everyday reality of busy schedules and institutional demands, Balasubramanian and Gosnell illuminate strategies to change our current ways of working and dare us to imagine a more expansive future. The projects, potentials, and possibilities resulting from undisciplined creation will reshape not only the practitioners but their worlds altogether. Janani Balasubramanian is an artist, director, and founder based at Stanford University. Natalie Gosnell is an astrophysicist, artist, and Associate Professor of Physics at Colorado College. Caleb Zakarin is CEO and Publisher of New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Since the release of Jordan Peele's Academy Award-winning horror hit Get Out (2017), interest in Black horror films has erupted. This renewed intrigue in stories about Black life, history, culture, or "Blackness" has taken two forms. First, the history and politics of race have been centered in the horror genre. Second, Black horror has become an increasingly visible topic in mainstream discourses with scholars, critics, and fans contending that Black horror is seeing its so-called renaissance. However, critical attention to Blackness in horror has primarily focused on the U.S. and western world, despite Black stories having featured prominently in the genre-as actors, screenwriters, directors, producers-globally and across cultures.The essays in this handbook explore global Black horror cinema by interrogating Blackness and the ways in which it manifests in films across the diaspora and around the world. Chapters pose and answer questions including how taxonomies of race are presented; who is considered "Black?"; how is Blackness constructed in the culture in which it is produced and/or distributed?; How is horror defined and represented globally and/or culturally?; and what textual role does Blackness play in horror?Sophisticated, innovative, argument-driven research that brings to bear the most enlightened reflections upon Black horror's place in the world drives this handbook. Significantly, The Oxford Handbook of Black Horror Film (Oxford UP, 2024) presents expansive scholarship about Blackness, expanding the ways in which researchers, critics, and fans see and make meaning of Black experiences. In this volume, leading scholars from around the world contribute provocative, worthy examinations of the popular genre of horror in all its rich and empowering possibility. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Sh. An-ski (Shloyme-Zanvl Rappoport, 1863-1920) was a writer in Russian and Yiddish, a revolutionary, a wartime relief worker, and an ethnographer who studied the Jews of the Russian Empire. During his 1911-1914 expeditions to shtetls in Ukraine—he would report—he and his co-workers took 1000 photographs, recorded 1000 Yiddish songs and 1500 stories, and purchased 400 objects for a Jewish museum. The expedition also inspired An-ski to write his signature play, The Dybbuk. Although East European Jews used ethnographic tools to study themselves both before and after An-ski's expeditions, he retains an outsize status in the field of Yiddish ethnography, strongly tied to the success of his play. This talk explores the connections between An-ski's ethnographic work, his play, and the Russian politics of his era. This lecture originally took place on July 8, 2021. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

It is a compulsion of the human race to find a way to memorialize those we have lost and why we have lost them, from a gravestone of a loved one to war monuments that honor thousands who died in battle. In Audible Loss: New Music and the Crisis of Memory (Fordham UP, 2025), Andrea Zarafshon Moore examines how contemporary music has been used to memorialize three recent crises in the United States: the AIDS crisis, 9-11, and ongoing anti-Black violence. Moore reads these crises and the music that memorializes them to reveal the ways the are methodologically and ideologically similar to and different from each other. She explores the broader debates and discourses through which commemoration is always filtered and the ways interpretive consensus has been constructed and articulated in both musical and other memorial forms. Moore weaves close musical analysis with a wide-ranging discussion of how Americans memorialize, who Americans memorialize, and what memorials are meant to accomplish. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Reverberations of Culture: Racialized Performance in Early Twentieth-Century Musical Variety by Just a Buncha Clowns (Routledge, 2026) by Dr. Shane Breaux examines musical variety clowns and the broad array of racial and ethnic impersonations they performed on four distinct touring circuits and apparatuses: the African American Theatre Owners Booking Association (TOBA), the Chinese American so-called Chop Suey Circuit, the Mexican and Mexican American carpas tours, and Country American barn dances. This book explores the overlooked history of touring clown performers in early twentieth-century musical variety shows, addressing both their historical marginalization and their significant impact on popular entertainment. By examining these performers' widespread presences both on and off stage, the work challenges traditional historical narratives that have excluded diverse voices, particularly women and non-white performers. The research corrects a common misconception that racial impersonation in musical variety was exclusively the domain of white male performers. Instead, it reveals how performers and managers from various backgrounds actively challenged prevailing ideas about American identity, whiteness, and cultural inclusion. Through this lens, the book demonstrates that musical comedy performance and management were not exclusively white privileges, but rather spaces where diverse artists contributed significantly to early twentieth-century entertainment culture and beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

For over a century, Alfred Hitchcock has remained one of cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Hitchcock's work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, A Century of Hitchcock: The Man, the Myths, the Legacy (University Press of Kentucky, 2026) challenges the long-standing narratives that have shaped Hitchcock's legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock's alleged abuses, scrutinizing biographer Donald Spoto's interpretations—particularly Spoto's portrayal of the director's relationship with actress Tippi Hedren. With his analysis of Spoto's 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock's career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock's first film, The Pleasure Garden, and fifty years since his last film, Family Plot, Moral reexamines the director's cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock's legacy in the post-#MeToo era. Tony Lee Moral is a British filmmaker and author who specializes in film history, especially the work of Alfred Hitchcock. He is the author of Hitchcock and the Making of Marnie, The Making of Hitchcock's The Birds, The Young Alfred Hitchcock's Moviemaking Master Class, and Alfred Hitchcock Storyboards. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th- and 19th-century British Literature.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Jes Battis' new book, It's Only Forever. Labyrinth (ECW Press, 2026) is a wild, intimate, and political deep dive into Jim Henson's 1986 classic starring David Bowie and its cast of lovable, gender-defying goblins. In the 40 years since Labyrinth's release, Jim Henson's cult classic starring a menagerie of goblin puppets, the conversation about it has only grown louder. Fans are still holding viewing parties and masquerade balls, and creating memes inspired by David Bowie's sardonic and sexy goblin king, numerous Etsy crafts, and even a Japanese video game. But what makes the film so enduring, beyond its technical mastery and clever script, is how it presents childhood as something dangerous, heroic, and even queer. It's Only Forever explores Labyrinth as an '80s time capsule that both reflects and challenges its era, offering its young audience an alternative to conservatism and soulless economics, at a time when U.S. president Ronald Reagan ignored the HIV/AIDS crisis, pushing queerness further into the shadows. As Sarah, played by a teenaged Jennifer Connelly, faces down the king and his destructive whims, she exclaims, “You have no power over me,” and in that moment she is everyone who has ever felt marginalized, who has instead turned to the goblins over social and political toxicity every single time. From the costuming to the twisting plot, this classic example of 1980s fantasy shows us that the magic and comfort of childhood never need to be discarded as we are forced to enter a world that may very well seek to destroy us. Instead, Labyrinth reveals a universal and beautiful truth: that our strength comes from what we have always known ourselves to be — beastly, loving, and wildly joyful. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The unbelievable insider stories of how they “got the shot,” Cinematic Immunity tells the story of New York City's movie industry from the crew members who created the sets, lit the scenes, and shot the film. Focused on the golden age (1950-1990) of New York filmmaking, Cinematic Immunity covers On the Waterfront through The Sopranos. The East Coast film industry, thousands of miles from the Los Angeles executives, existed by its own rules and with little oversight. It was a close-knit and freewheeling community of movie technicians that took on the most outrageous challenges to get every shot perfect. Behind-the-scenes documentaries and books feature “above the line” talent—actors, producers, directors, and writers. For the first time, readers will hear the unvarnished truth of the New York movie industry—tales about union politics, labor strikes, movie families, dangerous locations, difficult shots, volatile directors, anecdotes about actors, pranks, friendships, rivalries, generational shifts, substance use and abuse, technical feats, and more. Readers will hear never heard before stories about classic (and not so classic) films and television shows including: Midnight Cowboy, The Warriors, The French Connection, The Exorcist, The Godfather, The Wiz, The Taking of Pelham 123, Annie Hall, Cruising, Do The Right Thing, When Harry Met Sally, Home Alone 2, The Sopranos, and Law and Order. Expect to discover secrets about how your favorite scenes were shot and the outrageous characters with outsized talents whose personalities sometimes dwarfed actors and directors. Tales of their exploits, what they saw (and did) on these sets was previously only passed among themselves as showbiz lore but now, readers learn of Marlon Brando's pranks on the set of The Godfather, how crews kept William Friedkin from killing them, the actors, and himself, and how consummate New Yorker Sidney Lumet was the angel to Friedkin's demons. Michael Lee Nirenberg has worked as a scenic artist in New York since 2006, and in many cases, alongside many of the people featured in the book. This book is a labor of love comprised of over 150 interviews and hundreds of hours of recordings. Cinematic Immunity includes hundreds of behind-the-scenes images from studio archives and from the technicians who were there. Daniel Moran's writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, found here on the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Since the 1990s, a largely underground upwelling of trans creativity has helped new trans identities, communities, and political movements come together. In Trans Cinema: Making Communities, Identities, and Worlds (University of California Press, 2026), Dr. Laura Horak provides an entryway to the wildly diverse and creative cinema made by trans creators, including those who are Black, Indigenous, and people of color. Overlooked until now, this rich collection of media ranges in genre from romantic comedies to horror films and asks essential questions about how to be human and how to craft a livable life in a world on fire. Okay.Using the fundamentals of film studies, Horak reveals the innovative approaches taken by trans and gender-nonconforming artists to explore how we relate to other people, what it's like to have a body, and how we survive in an oppressive society. These filmmakers tackle the challenging paradox of representing trans lives when greater visibility is associated with ever-increasing levels of harm. In the process, they produce art that emphasizes trans survival and resilience and imagines a more expansive world for trans communities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

S. An-ski's play The Dybbuk, a story of possession set in a shtetl (think The Exorcist meets Fiddler on the Roof), is the foundation of modern Jewish drama. This talk by scholar Gabriella Safran explores its roots: in Jewish folklore, the scandalous blood libel trial in Kiev in 1913, and the political passions of Russian-Jewish revolutionaries. In composing the play, An-ski was torn between two Jewish myths, each still modern: the tragic ambivalence of the dybbuk, a lost, wandering soul, and the technological triumphalism of the golem, a robot set in motion by practical kabbalah and capable of defending the Jews from every harm. This lecture originally took place on June 3, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

How can an entirely foreign cast perform the American “The Shawshank Redemption” in the Chinese language across China? In this episode of the Nordic Asia podcast, Julie Yu-Wen Chen talks with Matti E. Lehtonen, a Finnish national who shares his journey from a decades-long career in engineering and business to a starring role in the first Chinese-language stage production of The Shawshank Redemption performed by an all-foreign cast. Directed by the legendary Zhang Guoli, this production marks a cultural milestone in Chinese theater. Matti discusses his portrayal of the librarian, a tragic figure who represents the “saddest role” in a story otherwise defined by hope. This episode dives into why Zhang Guoli insisted on foreign actors to avoid stereotypical and slightly fake portrayals of foreigners and how this choice may have helped the play navigate censorship. Matti also discusses the complexities of proactive self-censorship, securing government approvals for every city, and performing with a censor in the audience. Join us for a fascinating look at cross-cultural artistic collaboration and the evolving landscape of performance art in contemporary China. Julie Yu-Wen Chen is Professor of Chinese Studies and Asian studies coordinator at the Department of Cultures at the University of Helsinki (Finland). The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland), Centre for East and South-East Asian Studies, Lund University (Sweden) and Centre for South Asian Democracy, University of Oslo (Norway). We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Over the last seven decades, some of rock 'n' roll's most celebrated figureheads have flirted with the imagery and theater of the Third Reich. From Keith Moon and Vivian Stanshall kitting themselves out in Nazi uniforms to Siouxsie Sioux and Sid Vicious brandishing swastikas in the pomp of punk, generations of performers have associated themselves in troubling ways with the aesthetics, mass hysteria, and even ideology of Nazism. Whether shock factor, stupidity, or crass attempts at subversion, rock 'n' roll has indulged these associations in a way not accepted in any other art form. But how accountable should fans, the media, and the music industry be for what has often seemed a sleazy fascination with the eroticized perversions of a fascist regime? In This Ain't Rock 'n' Roll: Pop Music, the Swastika, and the Third Reich (Akashic Books, 2026), award-winning music historian Daniel Rachel navigates these turbulent waters with extraordinary delicacy and care, asking us to look anew at the artists who have defined us, inspired us, and given us joy--and consider why so many have been drawn to the imagery of a movement responsible for some of the twentieth century's worst atrocities. Rachel asks essential questions of actions often overlooked or underplayed, while neither casting sweeping judgment nor offering easy answers. In doing so, he asks us to reassess the history of rock 'n' roll, and he sheds new light on the grim echoes of the Third Reich in popular culture and the legacy of twentieth (and twenty-first) century history as it defines us today and sheds new light on the grim echoes of the Third Reich in popular culture--and the legacy of twentieth (and twenty-first)-century history as it defines us today. Daniel Rachel is a former musician turned award-winning and best-selling author. His previous books include Too Much Too Young, the 2 Tone Records Story; Isle of Noises: Conversations with Great British Songwriters; and The Lost Album of the Beatles: What If the Beatles Hadn't Split Up? He has also written sleeve notes for many artists including the Kinks, Madness, Ocean Colour Scene, Ray Davies, and Bryan Ferry. He lives in London. Daniel Rachel's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Currencies of Cruelty: Slavery, Freak Shows, and the Performance Archive (NYU Press, 2026) is a bold and incisive reconsideration of the relationship between enslavement, disability, and performance in 19th- and early 20th-century America; a time when transition from slavery to legal freedom became entangled with the spectacle of the freak show stage, where disabled and racialized performers became lucrative attractions. At the heart of this powerful study are conjoined twins Millie Christine McKoy, born into slavery and later emancipated, and the so-called “original Siamese Twins,” Chang and Eng Bunker, who navigated the freak show circuit not only as performers but also as enslavers. Their stories reveal how archival practices surrounding enslavement and performance labor worked in tandem, creating a system where unfree and newly freed bodies were simultaneously valued and devalued—exploited for their spectacle yet rendered abject within traditional labor economies. Blending historical analysis with innovative archival theory, Currencies of Cruelty challenges conventional narratives of labor, freedom, and human worth. A gripping exploration of race, commerce, and bodily spectacle, this book sheds crucial light on how histories of subjugation continue to shape our understanding of value and visibility today. Author Danielle Bainbridge is an Assistant Professor of Theatre at Northwestern University, where she also holds courtesy appointments in Performance Studies and Black Studies. You can find her at the Northwestern University website, on Instagram, and on Bluesky. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Caryn Rose's Three Chords and Blessed Noise (2026) is an ode to the lost art of the tour diary. In November of 2025, Patti Smith and her band embarked on a short tour in the United States and Europe to commemorate this auspicious occasion and to allow us, the children of this particular revolution, to celebrate this achievement, these songs and these people. Rose headed off for a week of shows: Chicago, New York City, and Boston. One more time. Maybe one last time. As someone whose writing career has focused on rock and roll in its live form, and who spent several years researching and writing a book about Patti Smith (Why Patti Smith Matters, University of Texas Press, 2022), she felt this anniversary outing needed to be captured for posterity.  Rose didn't want to write yet something else that would get lost on the World Wide Web, she didn't want to be limited by word count, and she wanted something tangible. This is the end result. Less than a book, more than a zine. Caryn Rose is a music journalist and writer. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Today's guest, John Kuhn, is the author of Making Pagans: Theatrical Practice and Comparative Religion in Early Modern England (U Pennsylvania Press, 2024). Making Pagans argues that drama played a powerful role in the articulation of religious difference in the seventeenth century. Examining the common scenes of pagan ritual that filled England's seventeenth-century stages—magical conjurations, oracular prophecies, barbaric triumphal parades, and group suicides—Kuhn traces these tropes across dozens of plays, from a range of authors including Ben Jonson, Christopher Marlowe, John Dryden, and Philip Massinger. Tracing connections between the history of stagecraft and ethnological disciplines such as ethnography, antiquarianism, and early comparative religious writing, Kuhn shows how early modern repertory systems that leaned heavily on thrift and reuse produced an enduring theatrical vocabulary for understanding religious difference through the representation of paganism—a key term in the new taxonomy of world religions emerging at this time, and a frequent subject and motif in English drama of the era.Drawing together theater history, Atlantic studies, and the history of comparative religion, Making Pagans reconceptualizes the material and iterative practices of the theater as central to the construction of radical religious difference in early modernity and of the category of paganism as a tool of European self-definition and colonial ambition. Jane Hwang Degenhardt is Professor English at the University of Massachusetts Amherst. She is the author of Globalizing Fortune on the Early Modern Stage (Oxford UP, 2022) and Islamic Conversion and Christian Resistance on the Early Modern Stage (Edinburgh UP, 2012). She is also a co-editor of the academic journal English Literary Renaissance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

With his fake beard, putty nose, and thick Yiddish accent, the “stage Jew” was once a common character in vaudeville, part of a genre that mocked immigrants and minorities. Essentially a variant of blackface minstrelsy, the music that accompanied these “Jewface” performances was not only performed on stage, but also published as colorfully illustrated sheet music so fans could play them at home. Outrageous and offensive by today's standards, these “Yiddish” dialect songs exploited a variety of unpleasant stereotypes about Jews. Based in part on the sheet music collection of The New York Times' Sunday Magazine Critic-at-large Jody Rosen, YIVO presents its latest exhibition, Jewface: “Yiddish” Dialect Songs of Tin Pan Alley. Join Eddy Portnoy (Senior Researcher & Exhibition Curator, YIVO), the curator of Jewface, and Jody Rosen for a discussion with Tablet Magazine editor-in-chief Alana Newhouse about this form of early 20th-century entertainment, how it mocked Jews, engaged Jews, and developed Yiddish-accented English for comic effect. Allen Rickman, Yelena Shmulenson, and Steve Sterner will be performing selections from the exhibit, as well as a number of classic Yiddish/English comedy routines. This exhibition opening took place on November 24, 2015. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

"Roman theatre" is a term often used to describe the theatre of ancient Italy during the second and third century BCE. Plautus and Terence are referred to as ‘Roman playwrights,' and Rome itself is generally regarded as the driving force behind the development of theatrical culture in Italy. But was this early theatre in Italy specifically or characteristically Roman? Using previously marginalised archaeological source material and placing it in constructive dialogue with the surviving ancient literature, A New History of Ancient Roman Theatre (Liverpool UP, 2025) offers a significant reinterpretation of how theatre developed in the Italian peninsula, as well as a radical reappraisal of the role of Republican Rome as the impetus for cultural change. Challenging a long-held scholarly consensus, it is argued that whilst Rome would eventually rise to political and cultural dominance, the archaeological evidence does not encourage us to view Rome as a significant factor in the development of theatre in Italy until at least the end of the first century BCE and the construction of the Theatre of Pompey. Our attention is directed instead to other cities in the Italian peninsula during the third and second centuries BCE, which have hitherto been greatly overshadowed by imperialistic narratives of Roman cultural development. Jessica Clarke is a historian and archaeologist specialising in ancient Roman theatre and entertainment culture. She was awarded her PhD by University College London in 2024. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Higher education continually mediates long standing traditions while seeking new ways of thinking, creating a quiet tension as institutions respond to shifting and multiple socio-cultural values. Dance programs, not immune to these currents, must consider intersecting obligations to build a more equitable curriculum, meet the needs of an increasingly diverse population, and prepare students for a wider array of dance-based careers. In view of their critical role in stewarding the next generation of dance artists-educators-scholars-leaders and fostering change in higher education, faculty must give more attention to the experiences of those committed to dance in higher education.Stories We Dance / Stories We Tell: Essays on Dance in Higher Education (McFarland, 2025) articulates and considers these lived experiences, revealing the inner workings of dance in higher education. Autoethnographic essays varying in style and scope illuminate the pressures encountered across one's career trajectory. By unearthing and contextualizing hidden challenges, expectations, and opportunities, the authors speak to possibilities for how proactive change in dance education can occur. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Women, Dance and Parish Religion in England, 1300-1640: Negotiating the Steps of Faith (Boydell & Brewer, 2022) Dr. Lynneth Miller Renberg presents a lively exploration of the medieval and early modern attitudes towards dance, as the perception of dancers changed from saints dancing after Christ into cows dancing after the devil. The devil's cows, impudent camels, or damsels animated by the devil: late medieval and early modern authors used these descriptors and more to talk about dancers, particularly women. Yet, dance was not always considered entirely sinful or connected primarily to women: in some early medieval texts, dancers were exhorted to dance to God, arm-in-arm with their neighbors, and parishes were filled with danced expressions of faith. What led to the transformation of dancers from saints dancing after Christ into cows dancing after the devil? Drawing on the evidence from medieval and early modern sermons, and in particular the narratives of the cursed carolers and the dance of Salome, this book explores these changing understandings of dance as they relate to religion, gender, sin, and community within the English parish. In parishes both before and during the English Reformations, dance played an integral role in creating, maintaining, uniting, or fracturing community. But as theological understandings of sacrilege, sin, and proper worship changed, the meanings of dance and gender shifted as well. Redefining dance had tangible ramifications for the men and women of the parish, as new definitions of what it meant to perform one's gender collided with discourses about holiness and transgression, leading to closer scrutiny and monitoring of the bodies of the faithful. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Postcolonialism Now: Literature, Reading, Decolonising (Orient BlackSwan, 2024) by Sourit Bhattacharya introduces a new method of decolonial reading and criticism. It critically examines the history and ongoing influence of colonialism and imperialism in postcolonial cultures and texts. The volume seeks to address the crucial question of how to read postcolonial literatures closely and comparatively, particularly through the lenses of decolonisation and anticolonialism. Through rubrics such as migration, ecology, trauma, minorities and futurity, Postcolonialism Now engages with close readings of films, graphic novels, fiction, theatre and poetry from across the globe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In October 1973, the poet and singer Leonard Cohen—thirty-nine years old, famous, unhappy, and at a creative dead end—traveled from his home on the Greek island of Hydra to the chaos and bloodshed of the Sinai desert when Egypt attacked Israel on the Jewish high holiday of Yom Kippur. Moving around the front with a guitar and a group of local musicians, Cohen met hundreds of young soldiers, men and women at the worst moment of their lives. Those who survived never forgot the experience. And the war transformed Cohen. He had announced that he was abandoning his music career, but he instead returned to Hydra and to his family, had a second child, and released one of the best albums of his career. In Who by Fire, journalist Matti Friedman gives us a riveting account of those weeks in the Sinai, drawing on Cohen's previously unpublished writing and original reporting to create a kaleidoscopic depiction of a harrowing, formative moment for both a young country at war and a singer at a crossroads. Matti Friedman is an award-winning journalist and author. Born in Toronto and based in Jerusalem, his work has appeared regularly in the New York Times, The Atlantic, Tablet, and elsewhere. Friedman's last book, Spies of No Country: Secret Lives at the Birth of Israel, won the 2019 Natan Prize and the Canadian Jewish Book Award for history. Pumpkinflowers: A Soldier's Story of a Forgotten War was chosen in 2016 as a New York Times Notable Book and one of Amazon's 10 best books of the year. His first book, The Aleppo Codex, won the 2014 Sami Rohr Prize and the ALA's Sophie Brody Medal. Matti Friedman on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the early twentieth century, American ragtime and the Parisian tango fuelled a dancing craze in Britain. Public ballrooms were built throughout the country, providing a glamorous setting for dancing. The new English style, defined in the 1920s and followed by the films of Fred Astaire and Ginger Rogers in the 1930s, ensured that ballroom dancing continued to be the most popular British pastime until the 1960s, rivalled only by cinema. Ballroom: A People's History of Dancing (Reaktion, 2022) by Dr. Hilary French explores the vibrant history of ballroom and Latin dancing: the dances, lavish venues, competitions and influential instructors. It also traces the decline of couple dancing and its resurgence in recent years with the hugely popular TV shows Strictly Come Dancing and Dancing with the Stars. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Inspired by Richard Wagner's idea of the total artwork, European modernist artists began to pursue multimedia projects that mixed colors, sounds, and shapes. Dr. Polina Dimova's At the Crossroads of the Senses: The Synaesthetic Metaphor Across the Arts in European Modernism (Penn State UP, 2024) traces this new sensory experience of synaesthesia—the physiological or figurative blending of senses—as a modernist phenomenon from its scientific description in the late nineteenth century to its prevalence in the early twentieth. Structured around twenty theses on synaesthesia, this book explores the integral relationship between modernist art, science, and technology, tracing not only how modernist artists perceptually internalized and absorbed technology and its effects but also how they appropriated it to achieve their own aesthetic, metaphysical, and social goals. Through case studies of prominent multimodal artists—Oscar Wilde, Aubrey Beardsley, Richard Strauss, Aleksandr Scriabin, Wassily Kandinsky, František Kupka, Andrei Bely, and Rainer Maria Rilke—At the Crossroads of the Senses reveals the color-forms and color-sounds that, for these artists, laid the foundations of the world and served as the catalyst for the flourishing exchanges among the arts at the fin de siècle. Rooted in archival research in Russia, Germany, France, and the Czech Republic, At the Crossroads of the Senses taps overlooked scientific sources to offer a fresh perspective on European modernism. Sensory studies scholars, literary critics, and art and music historians alike will welcome its many contributions, not least among them a refreshing advocacy for a kind of sensuous reading practice. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Welcome to the hard streets: working-class London in the late nineteenth and early twentieth centuries, in Hard Streets: Working-Class Lives in Charlie Chaplin's London (Profile, 2026) by Dr. Jacqueline Riding. Charlie Chaplin rose from the hard streets of Edwardian London to worldwide fame. But his work and outlook were always shaped by the world he came from, a place of cheap entertainments and the threat of the workhouse, radical politics and desperate poverty. Framed through the life of this iconic success story, acclaimed historian Jacqueline Riding reveals working-class London in the late nineteenth and early twentieth centuries. Breathing life into forgotten stories of mothers and sons, labourers and actors, vagrants and sex workers, of suffering, survival and success against the odds, this compelling social history paints a striking portrait of a vanished city. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

My Excellency: Comedy in Three Acts (Swan Isle Press, 2025) by Luis Rechani Agrait was translated into English by William Carlos Williams but not published in his lifetime. This first-ever edition of Williams's translation was edited and has an introduction by Jonathan Cohen. It includes a foreword by Julio Marzán and an afterword by José Luis Ramos Escobar. It also includes the lecture Williams gave on poetry at the 1941 Inter-American Writers' Conference of the University of Puerto Rico, where he met Rechani Agrait and received from him the published play as a gift. William Carlos Williams's English translation of the play, Mi Señoría, by Puerto Rican playwright Luis Rechani Agrait, reflects Williams's connection to his Puerto Rican roots and deft skills as a translator. The play is a satirical critique of political corruption, featuring comical malapropisms and an idealistic but naive politician's rise, highlighting themes of materialism and power, and showcasing Williams's adept handling of language. William Carlos Williams's mother, Raquel Hélène Rose Hoheb Williams, was from Mayagüez, Puerto Rico. Williams was deeply engaged with translation and the unique cultural worlds wrought by migration. His rendering of My Excellency invites us to think about translation not simply as a linguistic act, but as an ethical and artistic one: What happens when a Puerto Rican political satire crosses languages, audiences, and power structures? What is gained, what is altered, and what remains unresolved? In this episode, Jeffrey Herlihy-Mera (UPR-M) and editor Jonathan Cohen discuss the historical context of the play, Williams's role as translator, and the broader questions the work raises about voice, authority, and cultural mediation. By looking closely at My Excellency, we open a wider conversation about literature in translation and the complex relationships between language, migration, text, and translation. This conversation forms part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, which seeks to connect medicine, science, technology, and engineering with the interpretive and ethical sensibilities cultivated in the humanities. By foregrounding literature, poetry, history, philosophy, and the arts, the initiative reimagines how humanistic study can serve as a central component of technical and scientific education. In this episode are: • Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez (UPR-M) and Director of the Instituto Nuevos Horizontes. • Jonathan Cohen is an award-winning translator of Latin American poetry and scholar of inter-American literature. He is editor of Williams's verse translations from Spanish, By Word of Mouth, and his translation of the Spanish Golden Age novella The Dog and the Fever. Topics discussed and scholars mentioned: Emilia Quiñones Otal, Directora del Departamento de Humanidades, UPR-M Julio Marzán, The Spanish American Roots of William Carlos Williams. Marta Aponte Alsina "The Art and Science of Translation" Rebecca Ruth Gould and “co-translating” William Carlos Williams Society 2024 conference at the UPR-M Last Nights of Paris, Philippe Soupault "Translation will motivate English to do new things ... to serve as an apprentice to a master writer."—Jonathan Cohen "The Sugarcane Girl who was my mother" Walter Scott Peterson podcast, “[M]y ‘case' to work up': William Carlos Williams's Paterson” “Williams struggled throughout his life, and the conflict produced great literature.”—Jonathan Cohen David Unger Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

My Excellency: Comedy in Three Acts (Swan Isle Press, 2025) by Luis Rechani Agrait was translated into English by William Carlos Williams but not published in his lifetime. This first-ever edition of Williams's translation was edited and has an introduction by Jonathan Cohen. It includes a foreword by Julio Marzán and an afterword by José Luis Ramos Escobar. It also includes the lecture Williams gave on poetry at the 1941 Inter-American Writers' Conference of the University of Puerto Rico, where he met Rechani Agrait and received from him the published play as a gift. William Carlos Williams's English translation of the play, Mi Señoría, by Puerto Rican playwright Luis Rechani Agrait, reflects Williams's connection to his Puerto Rican roots and deft skills as a translator. The play is a satirical critique of political corruption, featuring comical malapropisms and an idealistic but naive politician's rise, highlighting themes of materialism and power, and showcasing Williams's adept handling of language. William Carlos Williams's mother, Raquel Hélène Rose Hoheb Williams, was from Mayagüez, Puerto Rico. Williams was deeply engaged with translation and the unique cultural worlds wrought by migration. His rendering of My Excellency invites us to think about translation not simply as a linguistic act, but as an ethical and artistic one: What happens when a Puerto Rican political satire crosses languages, audiences, and power structures? What is gained, what is altered, and what remains unresolved? In this episode, Jeffrey Herlihy-Mera (UPR-M) and editor Jonathan Cohen discuss the historical context of the play, Williams's role as translator, and the broader questions the work raises about voice, authority, and cultural mediation. By looking closely at My Excellency, we open a wider conversation about literature in translation and the complex relationships between language, migration, text, and translation. This conversation forms part of the STEM to STEAM initiative, sponsored by the Teagle Foundation, which seeks to connect medicine, science, technology, and engineering with the interpretive and ethical sensibilities cultivated in the humanities. By foregrounding literature, poetry, history, philosophy, and the arts, the initiative reimagines how humanistic study can serve as a central component of technical and scientific education. In this episode are: • Jeffrey Herlihy-Mera, Professor of Humanities at the University of Puerto Rico-Mayagüez (UPR-M) and Director of the Instituto Nuevos Horizontes. • Jonathan Cohen is an award-winning translator of Latin American poetry and scholar of inter-American literature. He is editor of Williams's verse translations from Spanish, By Word of Mouth, and his translation of the Spanish Golden Age novella The Dog and the Fever. Topics discussed and scholars mentioned: Emilia Quiñones Otal, Directora del Departamento de Humanidades, UPR-M Julio Marzán, The Spanish American Roots of William Carlos Williams. Marta Aponte Alsina "The Art and Science of Translation" Rebecca Ruth Gould and “co-translating” William Carlos Williams Society 2024 conference at the UPR-M Last Nights of Paris, Philippe Soupault "Translation will motivate English to do new things ... to serve as an apprentice to a master writer."—Jonathan Cohen "The Sugarcane Girl who was my mother" Walter Scott Peterson podcast, “[M]y ‘case' to work up': William Carlos Williams's Paterson” “Williams struggled throughout his life, and the conflict produced great literature.”—Jonathan Cohen David Unger Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Cosmosexuals: Screen Acting, Stardom, and Male Sex Appeal (U Texas Press, 2025), Dr. Mark Gallagher presents an examination of male screen sex appeal and the ways that race, ethnicity, and national origin combine with performance tools and film and television style to aid or inhibit actors' circulation on an increasingly global stage. Sex appeal is complicated, especially for screen actors. Looking good is not enough. Charisma and charm have to register when the camera rolls. And sexiness has to travel. Today's heartthrobs are expected to raise temperatures all around the world. Cosmosexuals theorizes male sex appeal as a form of capital in an age of international stardom. Screen scholar Dr. Gallagher assembles a diverse cast—Idris Elba, Pedro Pascal, Simu Liu, Ryan Gosling, and more—analyzing how each actor uses his appearance, voice, and movement to perform in ways that viewers across cultural divides register as sexually appealing. Cosmosexuals also explores the intersection of global sex appeal and exoticism in historical and contemporary contexts—from the malleable racial identities of Omar Sharif and Conrad Veidt to Mads Mikkelsen's “accented whiteness”—and assesses the barriers that confine nonwhite actors, in spite of their talent or celebrity. Far more than handsome faces and chiseled abs, male sex symbols emerge as laborers subject to disciplinary regimes steeped in patriarchy, racism, and structural inequity. As such, they have much to tell us about the economies of taste at work in the construction of screen masculinity and the terms of human desire. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

As Oscar Season rolls around, Recall This Book looks back to John's 2019 discussion with Columbia University professor Sharon Marcus about The Drama of Celebrity, her tour-de-force account of how stars are born, publicized, and in time devoutly scrapbooked by adoring fans. They tackle a question at least as old as Sarah Bernhardt: who or what makes a star? Rather than crediting star making to the culture industry, to fans, or to star themselves, Sharon makes the case that all three forces together constitute a celebrity creation machine. After discussing her archival work on theatrical scrapbooking in Indiana, Sharon pulls from the vaults a marvelous Hollywood memoir, Brooke Haywood's Haywired. That triggers discussion of the studio system and how its models of celebrity are and are not with us today. Sharon's two Recallable Books also capitalize on mid-century notions of celebrity: Mommie Dearest by Christina Crawford and Edie: American Girl by Jean Stein and George Plimpton. John's choice, The Entertainer by Margaret Talbot, another biographical account written by a star's daughter, gives a slightly rosier perspective on the family memoir. Discussed in this episode: Sharon Marcus, The Drama of Celebrity Daniel Boorstin, The Image (“a person who is known for his well-knownness”) Theodor Adorno and Theodore Horkheimer, “Culture Industry” in Dialectic of Enlightenment Henry Jenkins, “Textual Poachers“ Dick Herbdige, “Subculture: The Meaning of Style“ Mark Twain, Patented Scrapbook Innovator Brooke Hayward, Haywire Christina Crawford, Mommie Dearest Jean Stein, George Plimpton, Edie, American Girl Margaret Talbot, The Entertainer Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Only one performance style has dominated the lexicon of the casual moviegoer: “Method acting.” The first reception-based analysis of film acting, Imagining the Method: Reception, Identity, and American Screen Performance (U Texas Press, 2024) investigates how popular understandings of the so-called Method—what its author Justin Rawlins calls "methodness"—created an exclusive brand for white, male actors while associating such actors with rebellion and marginalization. Drawing on extensive archival research, the book maps the forces giving shape to methodness and policing its boundaries. Imagining the Method traces the primordial conditions under which the Method was conceived. It explores John Garfield's tenuous relationship with methodness due to his identity. It considers the links between John Wayne's reliance on "anti-Method" stardom and Marlon Brando and James Dean's ascribed embodiment of Method features. It dissects contemporary emphases on transformation and considers the implications of methodness in the encoding of AI performers. Altogether, Justin Rawlins offers a revisionist history of the Method that shines a light on the cultural politics of methodness and the still-dominant assumptions about race, gender, and screen actors and acting that inform how we talk about performance and performers. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Only one performance style has dominated the lexicon of the casual moviegoer: “Method acting.” The first reception-based analysis of film acting, Imagining the Method: Reception, Identity, and American Screen Performance (U Texas Press, 2024) investigates how popular understandings of the so-called Method—what its author Justin Rawlins calls "methodness"—created an exclusive brand for white, male actors while associating such actors with rebellion and marginalization. Drawing on extensive archival research, the book maps the forces giving shape to methodness and policing its boundaries. Imagining the Method traces the primordial conditions under which the Method was conceived. It explores John Garfield's tenuous relationship with methodness due to his identity. It considers the links between John Wayne's reliance on "anti-Method" stardom and Marlon Brando and James Dean's ascribed embodiment of Method features. It dissects contemporary emphases on transformation and considers the implications of methodness in the encoding of AI performers. Altogether, Justin Rawlins offers a revisionist history of the Method that shines a light on the cultural politics of methodness and the still-dominant assumptions about race, gender, and screen actors and acting that inform how we talk about performance and performers. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts