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Identifying an apprehension about the nature and constitution of urbanism in North American plays, Westgate examines how cities like New York City and Los Angeles became focal points for identity politics and social justice at the end of the twentieth century, and how urban crises inform the dramaturgy of contemporary playwrights.

Not long after the 2001 terrorist attacks in New York City, Bertolt Brecht’s name was on the lips of many writing about Broadway. Invoked knowingly—but not always knowledgeably—“Brecht” became something between marketing strategy and erudite justification for another season of Broadway musicals, another ignominy endured by the German playwright whose epic theater has only seldom been understood in the United States. To say that Brechtian and Broadway theatrical traditions represent divergence of philosophy, method, or ambition is to indulge—with the whimsy of Mark Twain—in...

***Listed in THE CHRONICLE OF HIGHER EDUCATION's Weekly Book List, July 11, 2011*** Identifying an apprehension about the nature and constitution of urbanism in North American plays, Urban Drama examines how cities like New York City and Los Angeles became focal points for identity politics and social justice at the end of the twentieth century. In plays as different as Tony Kushner's Angels in America, Anna Deavere Smith's Twilight Los Angeles, 1992, and David Henry Hwang's FOB, these concerns became spatialized against the urban environment, suggesting a shift of consciousness toward what...