Cheryl Black is Curators Distinguished Professor Emerita of theatre at the University of Missouri, Columbia, USA.

• List of FiguresSeries Introductions, James Peck (Muhlenberg College, USA)AcknowledgmentsIntroduction. Forerunners and Groundbreakers in the Art of Theatrical Directing, Cheryl Black (University of Missouri, USA)David Belasco1. The Belasco Brand: Directing the Modern Theatrical Experience, Christin Essin (Vanderbilt University, USA)2. The Cultural Imaginings of a Theatrical Impresario: David Belasco in Context, Cheryl Black (University of Missouri, USA)Arthur Hopkins3. Arthur Hopkins’s First Act: Before the Crash (1913–29), Arthur Feinsod (Indiana State University, USA)4. Arthur Hopkins’s Second Act: After the Crash (1928–48), Ronald Wainscott (Indiana University, USA)Margaret Webster5. “She Must Be Fierce”: Margaret Webster’s Groundbreaking Broadway Career, Wendy Vierow (New York University, USA)6. Not the Moor, but the Figure of the Moor: A Case Study of the Racial, Political, and Personal Stakes of Margaret Webster’s Othello (1943) and The Tempest (1945), Lisa Jackson-Schebetta (Skidmore College, USA)NotesNotes on ContributorsIndex

Provides a valuable in-depth look into the development of a stage directors’ work and how their efforts affected the development of the performative arts.

Cheryl Black is Curators Distinguished Professor Emerita of theatre at the University of Missouri, Columbia, USA.

• List of FiguresSeries Introductions, James Peck (Muhlenberg College, USA)AcknowledgmentsIntroduction. Forerunners and Groundbreakers in the Art of Theatrical Directing, Cheryl Black (University of Missouri, USA)David Belasco1. The Belasco Brand: Directing the Modern Theatrical Experience, Christin Essin (Vanderbilt University, USA)2. The Cultural Imaginings of a Theatrical Impresario: David Belasco in Context, Cheryl Black (University of Missouri, USA)Arthur Hopkins3. Arthur Hopkins’s First Act: Before the Crash (1913–29), Arthur Feinsod (Indiana State University, USA)4. Arthur Hopkins’s Second Act: After the Crash (1928–48), Ronald Wainscott (Indiana University, USA)Margaret Webster5. “She Must Be Fierce”: Margaret Webster’s Groundbreaking Broadway Career, Wendy Vierow (New York University, USA)6. Not the Moor, but the Figure of the Moor: A Case Study of the Racial, Political, and Personal Stakes of Margaret Webster’s Othello (1943) and The Tempest (1945), Lisa Jackson-Schebetta (Skidmore College, USA)NotesNotes on ContributorsIndex

Provides a valuable in-depth look into the development of a stage directors’ work and how their efforts affected the development of the performative arts.

Cheryl Black is Curators Distinguished Professor Emerita of theatre at the University of Missouri, Columbia, USA.

• List of FiguresSeries Introductions, James Peck (Muhlenberg College, USA)AcknowledgmentsIntroduction. Forerunners and Groundbreakers in the Art of Theatrical Directing, Cheryl Black (University of Missouri, USA)David Belasco1. The Belasco Brand: Directing the Modern Theatrical Experience, Christin Essin (Vanderbilt University, USA)2. The Cultural Imaginings of a Theatrical Impresario: David Belasco in Context, Cheryl Black (University of Missouri, USA)Arthur Hopkins3. Arthur Hopkins’s First Act: Before the Crash (1913–29), Arthur Feinsod (Indiana State University, USA)4. Arthur Hopkins’s Second Act: After the Crash (1928–48), Ronald Wainscott (Indiana University, USA)Margaret Webster5. “She Must Be Fierce”: Margaret Webster’s Groundbreaking Broadway Career, Wendy Vierow (New York University, USA)6. Not the Moor, but the Figure of the Moor: A Case Study of the Racial, Political, and Personal Stakes of Margaret Webster’s Othello (1943) and The Tempest (1945), Lisa Jackson-Schebetta (Skidmore College, USA)NotesNotes on ContributorsIndex

Provides a valuable in-depth look into the development of a stage directors’ work and how their efforts affected the development of the performative arts.