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Piet Defraeye explores Milo Rau’s work in Central Africa, focusing on 2011’s Hate Radio and 2015’s The Congo Tribunal. Defraeye suggests that while Rau’s interest in Central Africa is not based on any personal connection, it began before the founding of his company, the International Institute of Political Murder (iipm), and has been something of a through line for the director. In analyzing both projects, Defraeye traces their development and provides the historical and cultural context of the events presented. In the case of Hate Radio, this involves looking at performances of the piece around Europe and on-site in a radio studio in Kigali and explaining the role of radio in the Rwandan genocide of 1994. With The Congo Tribunal, Defraeye identifies several of the many global ramifications of what is often referred to as the African World War and summarizes the three cases that made up the three-day imagined trial in Bukavu, Congo, which, along with the follow-up presentation in Berlin and a wide range of ancillary materials, was the centerpiece of the project. Defraeye contextualizes The Congo Tribunal within both Rau’s oeuvre and the larger ecosystem of Central African activism, identifying Rau’s utopian goals as well as the criticisms leveled against him.

Nicole Nolette’s Jouer la traduction. Théåtre et hétérolinguisme au Canada francophone (2015) offers an intriguing analysis of heterolingual Franco-Canadian plays. Her samples survey multilingual theatre practices in the west (Franco-Alberta and Franco-Saskatchewan), the centre (Franco-Ontario), and the east (Acadia—primarily francophone New Brunswick).

This article offers a survey of theatre festivals in Germany (and Austria) in 2007. It pays particular attention to new work and to innovative directors, and concludes with an overview of the Romanian season at the Heidelberger Stuckemarkt.

Alan Filewood, Performing Canada: The Nation Enacted in the Imagined Theatre. Textual Studies in Canada, reviewed by Michael McKinnie, Michael Tremblay, Twelve Opening Acts, reviewed by Erin Hurley Marc Maufort and Franca Bellarsi, eds., Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium, reviewed by Janelle Reinelt Peta Tait, ed., Body Shawls: Australian Viewings of Live Performance, reviewed by Helena Crehan Helen Grehan, Mapping Cultural Identity in Contemporary Australian Performance, reviewed by Peta Tait Lionel Pilkington, Theatre and the State in Twentieth-Century Ireland: Cultivating the People, reviewed by Piet Defraeye S.E. Wilmer, Theatre, Society and the Nation: Staging American Identities, reviewed by Kurt Eisen David BEasley, McKee Rankin and the Heyday of American Theater, reviewed by Rosemarie K. Bank J. Ellen Gainor, Susan Glaspell in Context: American Theater. Culture, and Politics, 1915-48, reviewed by Jennifer Jones Brena Murphy, O'Neill: Long Day's Journey into Night, reviewed by Kurt Eisen Philip C. Kolin, ed., The Undiscovered Country: The Later Plays of Tennessee Williams, reviewed by D. Dean Shackelford Susan Letzler Cole, Playwrights in Rehearsal: The Seduction of Company, reviewed by James Frieze

Peter Dickinson's Here is Queer is an important book because it is a pioneering study. It is the first book, to my knowledge, that combines three foci of critical investigation within a Canadian context: identity, nationality, and sexuality. Dickinson problematizes assumptions of ‘Canadianess' (English, French, Native) by looking at notions of sexual identity as alternative indications of Canadianess or dissidence—hence "nationalisms" as a plural noun found in the subtitle. The title of the book is a clever answer to Northrop Frye's speculations on what ties Canadian literature together. If Canadianess is a given in the fact that the writing is from and/or about a place that situates itself within the geopolitical borders of Canada—a place, in other words, that is "here"—where, then, is "here"?