Abstract
Taking theatrical responses to the financial crisis of 2007–8 as a prompt, Owen examines the mediation of neoliberal economic transformation in four plays – David Eldridge’s Market Boy (2006), Dennis Kelly’s Love and Money (2006), Lucy Prebble’s Enron (2009) and David Hare’s The Power of Yes (2009) – two of which were developed before the emergence of the crisis. Through a close analysis of the plays on the page and in performance, she theorizes the plays’ shared recourse to constructs of gender and sexuality to dramatize economic concerns.
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