Theatre Research in Canada
Peter Dickinson’s World Stages, Local Audiences is a book I really, really wanted to like. It takes significant risks in style and structure. It is personal and invested. It is compelled by the same kinds of ques- tions—about political performance, social justice, community affect, and cultural change—that motivate a great deal of my own work. It is relentlessly eclectic in its choice of primary sources, examining everything from the Beijing and Vancouver Olympics to the drama of Tony Kushner to the media spectacles of professional soccer. It is a scholarly nomadology (136-175)—a term I suspect Dickinson won’t mind me applying here—as well as a book with real heart. And yet, for all that, it doesn’t really work.