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<i>Drop Dead </i>makes a distinctive and valuable contribution to theatre and performance studies scholarship. It is careful and nuanced in its approach to theatre-historical practices, and introduces an urban frame that changes how these practices have commonly been narrated and understood. <b>-- Michael McKinnie, author of <i>City Stages: Theatre and Urban Space in a Global City </i></b> .. .an especially fascinating read <b>--<i>American Theater </i></b>

Drop Dead makes a distinctive and valuable contribution to theatre and performance studies scholarship. It is careful and nuanced in its approach to theatre-historical practices, and introduces an urban frame that changes how these practices have commonly been narrated and understood. Michael McKinnie, author of City Stages: Theatre and Urban Space in a Global City

Drop Dead makes a distinctive and valuable contribution to theatre and performance studies scholarship. It is careful and nuanced in its approach to theatre-historical practices, and introduces an urban frame that changes how these practices have commonly been narrated and understood. Michael McKinnie, author of City Stages: Theatre and Urban Space in a Global City Drop Dead makes a distinctive and valuable contribution to theatre and performance studies scholarship. It is careful and nuanced in its approach to theatre-historical practices, and introduces an urban frame that changes how these practices have commonly been narrated and understood. -- Michael McKinnie, author of City Stages: Theatre and Urban Space in a Global City .. .an especially fascinating read --American Theater In her exciting study, named for the Daily News headline of 1975 protesting the federal refusal to help out New York City, Hillary Miller combines urban geography and theater history to focus on the cash-starved performing arts in New York's fiscal crisis of the 1970s. Reversing the traditional zero-sum picture of New York theater, Miller takes little interest in the commercial stages of midtown Manhattan and focuses instead on Brooklyn, street and neighborhood performance across the city, and the downtown emergence of La MaMa and the Public. The reader is left almost aching with nostalgia for the bad old times. --Elinor Fuchs, author of The Death of Character: Perspectives on Theater after Modernism In her exciting study, named for the Daily News headline of 1975 protesting the federal refusal to help out New York City, Hillary Miller combines urban geography and theater history to focus on the cash-starved performing arts in New York s fiscal crisis of the 1970s. Reversing the traditional zero-sum picture of New York theater, Miller takes little interest in the commercial stages of midtown Manhattan and focuses instead on Brooklyn, street and neighborhood performance across the city, and the downtown emergence of La MaMa and the Public. The reader is left almost aching with nostalgia for the bad old times. Elinor Fuchs, author of The Death of Character: Perspectives on Theater after Modernism

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Hillary Miller is an assistant professor of theater at California State University, Northridge, USA.

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