Abstract
In his unassuming, modestly presented (8'x10', paperback) monograph, Performing Canada: The Nation Enacted in the Imagined Theatre, Alan Filewod overcomes the challenging incongruities between postmodern theory and the particularities of Canadian theatre history with an argument that is imaginative yet convincing and rigorous yet elegantly styled. Despite its brevity, Performing Canada is a history of Canadian theatre from Marc Lescabot's The Theatre of Neptune in New France in 1606 to Garth Drabinsky's controversial production of Show Boat in Toronto in 1993, with reflective essays on the 19th century history dramas of Charles Mair and Sarah Anne Curzon, on Vincent Massey and the establishment of the epitome of the high-brow mainstream in Canada, the Stratford Festival, in 1953, and on "alternative" theatre as exemplified by Chris Brookes' Mummers Troupe in the 1970's in Newfoundland and their production of They Club Seals, Don't They?
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