This collection of essays seeks to present articles that examine the early ventures of the 1960s and 1970s in the progressive theatre of identity with a new contemporary view considering the intersection of race, gender, ethnicity, economic class, and sexual orientation.In 1964, Edward Albee and his producers, Richard Barr and Clinton Wilder, produced Funnyhouse of a Negro by Adrienne Kennedy, and Dutchman by Amiri Baraka (then, Leroi Jones), and by 1968, had produced the seminal gay drama, The Boys in the Band by Mart Crowley. No other major American playwright of this period (including Thornton Wilder, Arthur Miller, Tennessee Williams, or William Inge) produced the plays of their junior colleagues with a specific focus on difference and diversity. For most scholars, these productions and Albee?s involvement in them are a somewhat obscure footnote in theatre history. But...
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