It’s amazing to see so many young people of color in a Broadway theatre-that fact alone is enough to warrant this musical’s blockbuster success.

I saw it again Broadway in November with my students and some colleagues among a packed house of thrilled young people.

I got to see it first at the Public last year (as it turns out, the same performance that the Clintons attended, which provided layers of irony and heightened awareness for the entire audience, as we watched a former and possibly future President watch actors playing past presidents and politicians). The performance grabs you and holds you for 2½ hours. It’s fast, kinetic, beautifully designed, superbly performed.

From the moments the lights come up, it’s electric, exhilarating, pulsing, infectious.

For Your Viewing Pleasure: Gender, Sexuality, and Popular Culture.

Feminist Performance Festival Roundtable (2011).

“Feminism, Utopia, and Performance”: The Progressives Corner (2012).

Performing Que(e)ries Part IV: Holly Hughes in conversation with Jill Dolan (2013).

“What Makes a Jewish Theatre Artist” (2013).

Teaching and Mentoring, for Grad Students and New Faculty.

“Feminist Performance Criticism and the Popular: Reviewing Wendy Wasserstein” (2008).

“Colleague-Criticism: Performance, Writing, and Queer Collegiality” (2009).

“On ‘Publics’: A Feminist Constellation of Keywords” (2011).

“Casual Racism and Stuttering Failures: An Ethics for Classroom Engagement” (2012).

“Performing Jewishness In and Out of the Classroom” (2012).

“Feeling Women’s Culture: Women’s Music, Lesbian Feminism, and the Impact of Emotional Memory” (2012).

“To Teach and to Mentor: Toward Our Collective Future” (2013).

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