"This highly innovative assortment of studies by performers, scholars, and makers moves futurism firmly away from a basic historical reading towards something more kinetic and immediate. It contains scripts such as a 2009 piece A Futurist Doll’s House, new versions of Marinetti’s words-in-freedom, descriptions of sound-singing, a recipe for a futurist dinner, and an analysis of what the legacy of futurism might mean for dancers. It concludes with a valuable, comprehensive bibliography, which includes a list of online futurist performances. This book is a revelation: an ambitious, embodied rereading of a historical avant-garde movement that will appeal to makers and scholars alike."

"The scholarly rigor of any work authored or coordinated by London is more than guaranteed. All of his collaborators are clearly experts and supply chapters of outstanding quality, albeit working from widely diverging perspectives. Just holding the volume in one’s hands is a pleasurable experience, given the quality of its paper, careful layout, and abundant illustrations."

"As London reminds us in the Introduction, the aim of the volume is 'to make sure that the century of Futurism is not forgotten'. The imperative to remember stems from the call for disruption and renewal of Futurism and the historic Avant-Garde captured here in all its rich creative zest. Ultimately the volume is a fascinating and creative rereading of a historical Avant-Garde movement that will appeal to practitioners and scholars alike."

"This attractive and well-edited volume will be of interest to serious scholars of Futurism in all of its many forms and iterations."

"[The chapters] examine both Futurism’s original context through scholarly analysis, and the application of its concepts in contemporary performance, as narrated by practitioners. . . . The analysis and documentation provided will be of interest to scholars and researchers in the fields of theatre and performance, Italian Futurism, modernity, and histories of the avant-garde, and the politics of visual culture. Furthermore, the practitioners’ perspectives on Let’s Murder the Moonshine should initiate further discussion in regard to difficulties concerning the production of performance within specific historical or discursive contexts, and will open new possibilities for approaching similar material."