Chapter 25

Throughout the book Chemers makes use of several theoretical frameworks, applying them unsystematically. As he readily admits, his method involves "employing analytical tools from whichever domains of human inquiry seem most productive to the purpose" (5). That being said, Chemers does position him- self strongly in relation to Joseph Roach's concept of "surrogation" (5), borrowing his technique of conducting research that is both deep and broad in order to uncover aspects of material practice and theoretical frameworks that were previously hid- den. Chemers also finds a useful model in Rosemarie K. Bank's Theatre Culture in America, 1825-1860 as he endeavors to lay out "spatial histories" (3), which help bring to light an array of indirect relationships among subjects. Bank's model suggests that historians look beyond a single domain of critical theory when conducting a study in order to reveal concealed connections and associations. Chemers follows Bank's suggestion, using a wide array of theoretical frameworks in order to avoid a positivist or reductionist view of his subject matter. Due to this wide sampling of critical techniques, however, the book can read more as a loosely connected set of reflections upon Chemers's favorite stage monsters than a sus- tained deep engagement with theory. This is not necessarily a bad thing. though. Through his serendipitous use of several critical frameworks, Chemers some insightful observations and unearths interesting connections that are rife with opportunities for further study. Instead of new information, there is old infor- mation here explored in new ways. The book also contains a wide-ranging bibliog- raphy that can offer inspiration for additional research, although it does contain some notable omissions. For example, Chemers does not include David J. Skal's Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage Sereen (Norton, 1990) or his The Monster Show: A Cultural History of Horror (Norton. 1993), two texts with extensive information about staged monsters. I was also surprised to discover that Noel Carroll's The Philasophy of Horrer (Routiedge, 1990) was not referenced. In spite of these omissions and its idiosyn- cratic approach to theory, this book does successfully demonstrate how theatre ani- mates ideas about monsters in ways that books and films cannot. It stands as a reminder that not only have monsters played an important role in the history of the theatre, but theatre has played an important role in the history of monsters. The Story of Drama: Tragedv, Comedy and Sacrifice from the Greeks to the Present. By Gary Dav. London and New York: Bloomsbury Methuen Drama, 2016: pp. viii + 237. S114 cloth, $24.99 paper. $22.49 e-book. doi:10. 1017/SO040S57418000406 Reviewed by Andrew Walker White, George Mason University Wherever we go, whatever we do, the Greeks will always be with us- whether in terms of medieval manuscripts, or archacological sites, or the contem- perary practices and theories we continue to project upon them. There are palpable.