The Cambridge History of American Theatre is an authoritative and wide-ranging history of American theatre in all its dimensions, from theatre building to play writing, directors, performers, and designers. Engaging the theatre as a performance art, a cultural institution, and a fact of American social and political life, the History recognizes changing styles of presentation and performance and addresses the economic context that conditions the drama presented. The History approaches its subject with a full awareness of relevant developments in literary criticism, cultural analysis, and performance theory. At the same time, it is designed to be an accessible, challenging narrative. Volume One deals with the colonial inceptions of American theatre through the post-Civil War period: the European antecedents, the New World influences of the French and Spanish colonists, and the development of uniquely American traditions in tandem with the emergence of national identity.

The American Society for Theatre Research has awarded the Barnard Hewitt Award for Outstanding Research to The Cambridge History of American Theatre, Volume 1.

‘Wilmeth and Bigsby’s history is the finest written about the American theatre in many years. A must for all college and university libraries.’

Source: Choice

‘The essays give the reader not only the flavour of the times but also a growing sense of national identity that the theatre began to reflect.’Michael Whitlatch, Buena Vista University

Source: Journal of Theatre Research International

‘Nowhere has the American theatre been treated to such a thorough discussion of its culture, plays and players, directors, designers, architects and producers, also encompassing the development and transformation of the theatre within the country’s changing social and political climate.’

Michael Whitlatch - Buena Vista University

‘All three volumes have greatly contributed to a better understanding of the American theatre as a reflection of the changing political, social and cultural face of the United States.’Michael Whitlatch, Buena Vista University

Source: Journal of Theatre Research International