The Theatre History Podcast

Popular culture has largely forgotten about the freak show – or has it? The display of so-called "freaks," human beings with bodies that were perceived as drastically different from what was considered "normal," was once an incredibly popular form of public entertainment, but one which we now look back on with embarrassment. However, as Dr. Matt DiCintio explains in this episode, the origins of the freak show reveal fascinations and anxieties with matters of race and physical difference that remain with us to this very day. CORRECTION TO THE EPISODE: Matt has confirmed that Emma Leach's appearances took place in 1771-2, not 1781-2.

Mary Ann Yates is the best actress whom you've never heard of. That's how Dr. Elaine McGirr characterizes this fascinating woman, who rose to stardom on the eighteenth-century British stage and later went on to become the first female manager of a major London theatre. As Elaine explains in this episode, Yates's time as the reigning queen of the stage, as well as her subsequent obscurity, reveal a lot about how we write women into —and out of—theatrical history.

If you've ever tried to get permission to perform a play, you've probably encountered some issues having to do with theatrical copyright. But where did the concept of copyrighting theatrical works come from? What do the legal wrangles over who owns the rights to a performance say about the nature of theatre?

How do you depict pregnancy onstage when your cast is all-male? That was one of a number of problems that English playwrights and performers faced in the Stuart era, when plays like The Winter's Tale frequently began to feature pregnancies as major plot points. Dr. Sara BT Thiel has been exploring this subject, and it's resulted in a chapter entitled "'Cushion Come Forth': Materializing Pregnancy on the Stuart Stage." The chapter appears in the new book Stage Matters: Props, Bodies, and Spaces in Shakespearean Performance. Sara joins us to explain how Stuart-era playwrights and theatre companies created the illusion of pregnancy onstage, as well as the significance of her research to how we understand the depiction of women in Shakespeare's time.

Dr. Robert Davis has been studying the world of nineteenth-century theatre in New York City for much of his career, but he's recently engaged with that world in a new and unconventional way. Robert is the author of Broadway: 1849, an online game and app that takes the form of a multiple-choice novel. Players can explore what it was like to manage a theatre in the 1840s and navigate the outsized personalities and harrowing events that marked the theatrical world of the period. Robert joined us to talk about how his game reflects New York's social, political, and artistic history, as well as the ways in which turning this subject matter into a game provide a new perspective on historical events.

When people think of Indonesia's performing arts, traditions such as the shadow puppets of wayang kulit and the dance-drama of Bali often come to mind. However, as our guest for this episode teaches us, there's a vibrant modern theatre scene that developed over the course of the twentieth century and continues to produce new and exciting work today. Dr. Cobina Gillitt introduces us to the work of playwright and director Putu Wijaya, as well as the larger context in which modern Indonesian theatre emerged.

The classic circus, featuring performing animals in three rings under the big top, has passed away. What's taken its place? That's the question that CarlosAlexis Cruz is exploring with his studies in the rise of acrobatics and the modern circus. He joins us for this episode to explain how the circus has increasingly become a place where performers use their bodies to tell stories and invite the audience to join with them in celebrating the amazing physical potential of the human form.

How did African American theatre and the struggle for civil rights intersect? For many critics in the 1950s and '60s, they didn't, at least not in a meaningful way. But, as Dr. Julie Burrell points out in a recent essay for Black Perspectives, the blog of the African American Intellectual History Society, some of the works produced in the 1940s and '50s are far more radical than we might expect. She explores the story of William Branch's A Medal for Willie, a 1951 one-act that impressed Lorraine Hansberry and demonstrated the subversive potential for Black theatre before the 1960s.

Back in 2016, playwright Chantal Bilodeau announced that she was breaking up with Aristotle. In addition to her work writing plays, Chantal is also a translator and the Artistic Director of the Arctic Cycle, which aims to create theatre that engages with the ongoing climate crisis. That latter role, in particular, has led her to rethink how we write plays and how we approach the legacy of the famous ancient Greek theorist. Chantal joined the podcast to discuss her feelings towards Aristotle, as well as to discuss how we might begin to move past his strictures in creating new theatre.

When we think of operetta, words like "edgy" and "sexy" rarely come to mind. Dr. Kevin Clarke is hoping to change that through his work with the Operetta Research Center, which focuses on studying and reevaluating works from the first half of the twentieth century. These had long been denigrated as "silver operetta," as opposed to the supposed Golden Age of the late nineteenth century, when composers like Johann Strauss and Gilbert & Sullivan created some of the most famous examples of the genre. Weimar operetta was a vibrant expression of international culture and sexual liberation, incorporating new musical influences such as jazz and frequently showcasing the work of Jewish artists, which made it a particular target of the Nazi regime. After World War II, social conservatives sought to keep these operettas in obscurity, repelled by their freewheeling and tolerant-minded explorations of sexuality. Now, these hidden gems of musical theatre are making a comeback, thanks to the efforts of scholars like Kevin and directors like Barrie Kosky. Kevin joined us to talk about the ongoing reevaluation of this long-neglected part of operetta history.