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A play from the inimitable Kate Hamill, based on the true story of the groundbreaking Italian painter Artemisia Gentileschi

During the seventeenth century, Italian artists strove to reshape the very image of humanity. Artemisia Gentileschi—the daughter of a painter—dreams of making her mark at a time when a woman is not thought capable of being an artist, let alone one of the greats. Just as her career begins to gain unexpected momentum, a series of devastating betrayals crack the foundation of her work—and her life. In electrifying verse and gorgeous artwork, The Light and The Dark depicts the deeply moving true story of a young woman who changed the very image of women in society . . . weaving a magnetic and empowering tapestry of ambition, rage, and resilience across the ages.

The official journal of the Mid-America Theatre Conference

Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference is dedicated to the growth and improvement of all forms of theatre throughout a twelve-state region encompassing Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin. The purposes of the conference are to unite people and organizations within the region and elsewhere who have an interest in theatre and to promote the growth and development of all forms of theatre. THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is cataloged in numerous periodical indexes and databases.

Along with sixteen book reviews on the latest publications from established and emerging voices in the field, this issue of Theatre History Studies contains four sections with two introductions and nine essays total. In the general section, three essays consider performance histories and reevaluations of historiographical approaches. The special section on queer historiographies responds to calls for a more expansive and inclusive understanding of trans histories and for centralizing contemporary queer performers. In part III, the Robert A. Schanke Research Award-winning paper from the 2024 MATC conference by Ali-Reza Mirsajadi addresses erasures in the theatrical archive and highlights the long legacy of queer, Southwest Asian, and North African representation in dramatic texts. Taken together, volume 44 captures how this journal serves theatre historians as scholars and laborers as they work to attend and tend to their field.

The first-ever anthology from celebrated playwright Kate Hamill
 
Bringing together seven critically acclaimed feminist adaptations of literary classics and one delightfully original new work, this collection demonstrates why Kate Hamill is one of the most electrifying and widely produced playwrights working today. Whether probing the power of toxic leaders (The Piper), revitalizing Jane Austen for the stage (Sense and Sensibility, Pride and Prejudice, Emma), “cheerfully desecrating” Arthur Conan Doyle through a post-pandemic lens (Ms. Holmes & Ms. Watson—Apt. 2B), reexamining an American classic’s gender roles (Little Women), or dramatizing the nineteenth-century classic of puritanical New England through the lens of an ostracized mother and daughter (The Scarlet Letter), Hamill’s work has transformed the theatrical landscape over the past decade.
 
An introduction from editor Kristin Leahey and an interview with Hamill frame this landmark anthology, with reflections on the current state of American drama, Hamill’s unique dramaturgical practice, and how the art form may move further and faster toward a feminist theater.