MILLER EVENTS
Scroll down to view Calls for papers, Conferences and panels, Current productions,
and Special events, as well as links to archives for past events.
We would appreciate it if you could send us any current information for the following categories to make them as detailed as possible; include past, current and future events so that people can use this as an archive. Send information to webmaster Sue Abbotson. We try to keep only upcoming events on this page--but you can link in each section to archive pages for information on past conference papers, productions and events.

N.B.  For information on the  Arthur Miller Journal--including how to subscribe and content lists for
previously published isssues,  go to the Journal website.
 

The Arthur Miller Theater at the University of Michigan

picture of theater 

Calls For Papers:
The Arthur Miller Society is always looking for anyone who would like to organize Miller panels at conferences, such as ALA, SAMLA, CDC, American Studies, ATHE--please contact our current President, Paula Langteau, with proposals/details.

During Arthur Miller's 2015 centennial year, the expectation is that conferences, theaters
and publishers will be especially interested in engaging with Miller material,
and so we encourage you to share any plans for celebrations,
publications or productions with the society that we can help to publicize,
or solicit us for ideas/assistance.

The Arthur Miller Centennial   
October 16-18, 2015  
Sponsored by the Arthur Miller Society at St. Francis College, Brooklyn, New York

The Twelfth International Arthur Miller Conference will center on the observance of
the 100th anniversary of Arthur Miller’s birth in New York City on October 17, 1915. We are pleased to return to St. Francis College in Brooklyn Heights, the neighborhood where Arthur Miller lived the in 1940s and 50s. 
 
We seek papers on any aspect of the dramatic and non-dramatic work that Miller produced in his stellar career. We invite discussions from all critical and performance perspectives. We also are interested in analysis of Miller as a political and cultural figure, his connection to and influence on other playwrights, and comparative studies.
 
The conference also wants to include discussion of the artistic relationship between Arthur Miller and his wife Inge Morath, the world-renowned photojournalist. The society desires to provide a venue for academic inquiry into how Miller and Morath collaborated on their books of photojournalism and dramatic productions and how they informed each other’s art, aesthetics, and politics. The conference will feature of photo exhibit of Morath’s work provided by her foundation.
 
The conference also will include panels comprised of playwrights, theatre critics, actors, and directors. In addition, we plan staged readings and performances of Miller’s work.

Please forward abstracts or completed manuscripts for a presentation not to exceed  twenty minutes to:
Stephen Marino
The Arthur Miller Journal
St. Francis College
180 Remsen Street
Brooklyn, New York 11202
smarino@sfc.edu
 
Deadline for submission is February 1, 2015

Click here to get a .pdf flyer you can post to help spread the word!

Ongoing CFP:

Arthur Miller Journal
Looking for papers on any aspect of the life and work of Arthur Miller for the Arthur Miller Journal which is published Spring and Fall. Go to the Journal page for more detail regarding submissions, subscriptions, contact e-mails for the various editors, and for contents of past volumes. You can make a submission to the Journal of an essay, performance review, or book review, as well as offer material for the notes section--directly at this website. If a Miller play is being produced in your area (check the listings below)--please attend and upload your review through the above link (website).


“LAUGHING MATTERS?: HUMOR IN AMERICAN THEATRE AND DRAMA”
FIFTH INTERNATIONAL CONFERENCE ON AMERICAN THEATRE AND DRAMA
Málaga, Spain on 25th-27th May 2016

Humor in its various forms, as well as the effort to contain it, has been present from the very first traces of a theatrical tradition in America, which opens with an attempt to perform a farce being promptly suppressed by the authorities. Entertainment has always been a key function of American theatre, and humor has been among the most recurrent mechanisms when it came to getting an audience to laugh heartily and send it home in a hopeful, light mood, sure of its values and world-view, and conveniently “humored.” Music, vaudeville routines, slapstick, and countless other manifestations of so-called lowbrow theatrical culture (whether mistakenly or not) were often thought to pose no threat whatsoever to the status quo and the deep-seated convictions of audiences.  However, the repeated struggle to repress and control even supposedly innocent forms of entertainment suggests that, in spite of appearances, humor and comedy have been seen as no laughing matters, and have been used in potentially subversive ways to mirror, satirize and criticize the manners and foibles of society in the U.S.
The Fifth International Conference on American Theatre and Drama, a collaborative venture between three Spanish universities (Málaga, Cádiz, Seville) and the ATDS, is the continuation of a series of conferences that have brought together hundreds of American drama and theatre scholars from all over the world, and will be held in Málaga on 25th-27th May 2016.
For this event we would like to build on the possibilities opened up by the title to invite participants to look at the uses, purposes, kinds, and effects of humor and laughter as deployed by American playwrights over the years, both in entertaining and pleasing audiences, and in proving that laughing –at what or whom, when, where, how, and for what reason-- certainly matters.

The Conference can thus address, among many other topics, the origins and development of an ample variety of forms of entertainment and light comedy in the USA, examining such issues as the vaudeville, the musical, the romantic comedy, or the convention of the happy ending, as well as the transformation of such entertainment into a characteristic Broadway product and its later adaptations by Hollywood and the mass media. Conversely, it can consider why the playwrights often thought of as contributing most to the American theatrical tradition are those who have refused to treat many issues as simply “laughing matters,” and have not given audiences what they expected or demanded, either because they have not incorporated humor, or because they incorporated it in unexpected, challenging, unsettling ways. We are also interested in the work of the dramatists or theater professionals who have consistently refused to simply entertain America, and in why they have chosen to do so. The dialectic springing from the aims of authors keen on unsettling certain sensibilities and the eventual resistance of audiences can similarly yield fascinating insights sure to enrich the conference.


Presentations are invited on topics including, but not limited to, the following areas:
-Particular forms and genres: conventions, uses, transformations, adaptations. This might include farce, slapstick, romantic comedy, the musical, physical comedy, stand-up comedians…
-The functions of humor: Entertainment, comic relief, satire, sarcasm, irony…
-Humor as a therapeutic tool.
-Humor and the criticism of American culture, society and politics.
-Pleasing/confronting American audiences.
-The limits of humor: censorship, political correctness, audience reactions
- Audience reception: how does humor work from a cognitive perspective?
- Humor and the critics: revisiting how critics have tended to prioritize tragedy over comedy
- Transatlantic laughter: are there particular forms of American humor that simply do not work when staged abroad?
-Translating humor: linguistic, social and/or cultural elements
-Adapting laughter between genres: from dramatic text to film script
-The use of comedy as a feminist tool
-Humor and language: word play, signifyin’, sarcasm, etc.
-Camp as a specific tradition: parody, performance, identity
-Humor and minorities: Is there a specific Jewish-American/African-American/ Mexican-American/homosexual/lesbian… sense of humor?

To submit your proposal, please write a brief e-mail stating its title and including a 5-7 line resume, attach a 450 -word abstract, and send it to humor2016@uma.es by September 30, 2015. Proposals will be carefully considered, and feedback will be provided within 45 days.


CALL FOR PAPERS    
JCDE: Journal of Contemporary Drama in English    
 
Editors: Martin Middeke (Augsburg, Editor in Chief), Eckart Voigts (Brunswick),
Christina Wald (Berlin, Reviews), Clare Wallace (Prague)    

Publisher: De Gruyter (Berlin/Boston) http://www.degruyter.com/view/j/jcde    
 
The bi-annual, peer-reviewed journal focuses on contemporary Anglophone dramatic literature
and theatre performance. It renegotiates the understanding of contemporary aesthetics
of drama and theatre by treating dramatic texts of the last fifty years.    

 
For issue 2.2 (2014), we invite papers engaging in close readings of plays that also touch upon
historical, political, formal, theoretical and methodological aspects of contemporary drama, theatre, and performance.
Essays should be no longer than 8,000 words (including notes and bibliography) and should be

formatted according to MLA style (7th edition, 2009). Deadline for issue 2.2 (2014) is 15 June 2014.    
  
ESSAY CONTRIBUTIONS should be sent to:     Prof. Dr. Martin Middeke, Chair of English Literature,
University of Augsburg, Universitaetsstraße 10, D-86159 Augsburg, Germany.   

EMAIL: martin.middeke@phil.uni-augsburg.de   
 
SUGGESTIONS FOR REVIEWS should be sent to: Prof. Dr. Christina Wald, Humboldt Universität zu Berlin, Philosophische Fakultät II, Institut für Anglistik und Amerikanistik, Unter den Linden 6, D-10099 Berlin, Germany.   
EMAIL: christina.wald@hu-berlin.de    

Hungarian Journal of English and American Studies  published near the close of 2006 a special Arthur Miller Edition: Volume 11, Number 2 (2005):  ISSN:  12 18-7364  that contains several new essays on Miller's work--see details in the archive link below for Special Events/News/Releases 2007 regarding how to order yourself a copy.  The Journal is meanwhile looking for further submissions:  Manuscripts should conform to the latest edition of the MLA Handbook in all matters of style (parenthetical citations keyed to a works-cited list). Contributions on history should conform to the latest edition of the Chicago Manual of Style. All submissions should be sent together with a disk copy of the article in Word 95 for Windows. All correspondence should be addressed to the Editor, HJEAS, University of Debrecen, Pf. 73, Hungary 4010; e-mail: abnagyzo@delfin.unideb.hu

Below are photographs of Mr. Miller from the 9th International Arthur Miller Conference, taken by Dr. Jeffrey Mason, University of Oregon.
 

Conferences and Panels:
  (Link to AMS conference archive) (Link to ALA archive
)

Members, especially, please make every effort possible to attend any conference panels with
papers on Miller and
support the continuation of Arthur Miller scholarship.

Every year the Arthur Miller Society arranges for two panels and a business meeting at the American Literature Association (ALA) conference that takes place in May (alternating between Boston and San Francisco). Check their website (http://americanliterature.org) for more details, and let us know if you are interested in organizing a future panel.

Two exciting panel discussions organized by the Arthur Miller Society
will be presented at the
26-28 March 2015
 Comparative Drama Conference in Baltimore:


Session Title: How Plays Become Classics – A Centennial Discussion of the Works of Arthur Miller on Saturday, March 28, from 10.30 to 11.45.
A 75 minute round-table. Statements from five panelists regarding why some works of literature continue to resonate with audiences so that they become classics? We shall explore this issue by looking at the plays of Arthur Miller, their role in American culture, and the reasons they continue to be produced so widely around the world.

Presider: David Palmer, Massachusetts Maritime Academy.
1:   Susan C. W. Abbotson, Rhode Island College
2:   Claire Gleitman, Ithaca College.
3:   Susan Albert Loewenberg, L. A. Theatre Works in Los Angeles.
4:   Stephen A. Marino, St. Francis College.
5:   Brenda Murphy, University of Connecticut.

Plenary Session: Visions of Tragedy in American Theatre on Saturday, March 28, from 1:30-3:00.
A 90-minute round-table. Statements from eight panelists, each devoted to a different American dramatist’s vision of tragedy, followed by discussion among the panelists and then an open discussion with the audience where visions of tragedy beyond those of American dramatists also may be considered.

Co-Chairs:
1.    David Palmer, Massachusetts Maritime Academy
2.    J. Chris Westgate, California State University, Fullerton
Panelists:
1.    On Edward Albee: Lincoln Konkle, The College of New Jersey, Edward Albee Society
2.    On Susan Glaspell: Sharon Friedman, New York University, Susan Glaspell Society
3.    On David Mamet: Brenda Murphy, University of Connecticut
4.    On Arthur Miller: Stephen A. Marino, St. Francis College, Arthur Miller Society
5.    On Eugene O’Neill: Jeffery Kennedy, Arizona State University, Eugene O’Neill Society
6.    On Thornton Wilder: Jackson R. Bryer, University of Maryland, Thornton Wilder Society
7.    On Tennessee Williams: Susan C. W. Abbotson, Rhode Island College
8.    On August Wilson: Sandra G. Shannon, Howard University, August Wilson Society



American Literature Association  26th Annual Conference
http://americanliteratureassociation.org/calls/annual-conference/
Boston, Massachusetts  May 21-24, 2015

The Arthur Miller Society business meeting will take place on Friday 22 May, during Session 8-O, 9:40 to 11:00. Our two academic sessions will take place the same day in the afternoon.

Organized by David Palmer, Massachusetts Maritime Academy: dpalmer@maritime.edu.


Arthur Miller at 100: Centennial Reflections on His Life and Work (Session 10J, 12:40 - 2:00 p.m.)

Chair: Joshua Polster, Emerson College
1.     “Memory and the American Cultural Unconscious in Arthur Miller’s The Price,” Lewis Livesay, Saint Peter’s University
2.     “Attention Must Be Paid: Staging Linda Loman in the 21st Century,” Rosemary Malague, University of Pennsylvania
3.     “Willy Loman and the Walking Dead,” Stephen Marino, St. Francis College and the Arthur Miller Journal
 
Making Willy Loman Real: A Round-Table Discussion of Death of a Salesman in Performance (Session 11E, 2:10 - 3:30 p.m.)

Moderator: David Palmer, Massachusetts Maritime Academy
Beginning with a reminiscence of the role the play had as a turning point in a person's life, the discussion continues with a short presentation on major past productions and interpretations, and focuses on the vision of the play in the critically acclaimed production at Boston's Lyric Stage Company in the winter of 2014. Open discussion with the audience is encouraged. Panel consists of:
  • Susan C. W. Abbotson, Rhode Island College
  • Ken Baltin, Actor
  • John D. Grote, Baylor University
  • Paula Plum, Actor
  • Spiro Veloudos, Lyric Stage Company of Boston

William Inge Theater
millertree
plaque
Outside the William Inge Theatre they have
planted a tree for each past Honoree of the
William Inge Festival Achievement Award
who has passed on.
The tree they planted in Miller's
memory right outside the
William Inge Theatre in
Independence, Kansas.
Here is the plaque at the base of the tree.

Current Stage Productions (Link to Archive)
A useful place to check for upcoming productions of plays is the DPS website, where you can search by the playwright to see which plays have been licensed through them for production (both professional and non-professional). The listings below, however, contain more details and generally more up-to-date information.

If you are looking for a Miller expert to provide a lecture, keynote, seminar or talkback in conjunction with a production, please contact us and we will try and put you in touch with any scholars in your area.

  • Productions During 2015
    • All My Sons Dec. by Wanderlust Theatre Co. at Cité des Arts, 109 Vine Street, Lafayette, LA. Call (337) 291-1122 or check the website.
    • The Crucible 13 October – 8 November 2015 by Theatre Calgary, 220 - 9th Ave. S.E., Calgary, AB, Vancouver, Canada. Call 403-294-7440 or check the website.
    • The Crucible 16-18 Oct. by Creative Arts Theater, 15615 8th St Victorville, CA. Call 760-963-3236 or check the website.
    • Broken Glass 6-31 Oct. 2015 by Westport Country Playhouse, 25 Powers Court, Westport, CT. Directed by Mark Lamos. Call (203) 227-4177 or check the website.
    • A Memory of Two Mondays Sept/Oct. by Defibrillator Theatre, London, UK. Directed by Robert Hastie. Plans are to stage the play in a warehouse setting. Check the website for updates.
    • The Crucible 18 Sept.-4 Oct. by Pec Playhouse Theatre, 314 Main St, Pecatonica, IL. Call (815) 239-1210 or check the website.
    • Broken Glass 5-27 Sept. by New Repertory Theatre, Arsenal Center for the Arts, 321 Arsenal St., Watertown (Boston), MA. Directed by Jim Petosa, with Jeremiah Kissel. Call 617-923-8487 or check the website.
    • The Price in Aug. by TimeLine Theatre, 615 W. Wellington, Chicago, IL. Directed by Louis Contey, with Mike Nussbaum. Call 773 281 8463 or check the website.
    • Death of a Salesman 9-26 July by Ironweed Productions, Santa Fe, NM. Call 505.927.5406 or check the website.
    • Death of a Salesman July by Chats Productions, at the Jetty Memorial Theatre, Coffs Harbour, NSW, Australia. Directed by Rex Madigan. E-mail for info, or check the website.
    • The Hook 5 June-25 July by Royal and Derngate theater in Northampton in 5-27 June, followed by a run at the Everyman Theatre in Liverpool in 1-25 July. Directed by James Dacre.The play is adapted by Ron Hutchinson from Miller's screenplay. Check their websites for more details: Northampton and Liverpool.
    • Death of a Salesman 29 May-14 June by Barn Theater, on Plano Street at Olive Avenue, Porterville, CA. Call (559) 310-7046 or check the website.
    • The Crucible 22-30 May by Acting Unlimited at Theatre 810, 810 Jefferson Street, Lafayette, LA. Call (337) 484-0172 or check their Facebook website.
    • The Price 13 May-21 June by Olney Theatre Center, at the lab space, 2001 Olney-Sandy Spring Road, Olney, MD. Directed by Michael Bloom. Call 301-924-3400 or check the website. There will be a pre-show discussion at 5pm on May 16.
    • A View from the Bridge 8-17 May by at Cité des Arts, 109 Vine Street, Lafayette, LA. Call (337) 291-1122 or check the website.
    • Death of a Salesman 1-16 May by Dreamwell Theatre Company, 10 S. Gilbert St., Iowa City, IA in two locations. 1-2 May at First Street Community Center, Mt. Vernon and 8-16 May at Iowa Children’s Museum, Coralridge Mall. Directed by David Pierce. Call 319-423-9820, or check the website.
    • The Crucible 29 April-3 May at Helene Zelazo Center for the Performing Arts, University Of Wisconsin- Milwaukee, 2400 E. Kenwood Blvd. Milwaukee, WI. Call (414) 229-4308 or check the website.
    • The Crucible 11 April-24 May by Guthrie Theater, Wurtele Thrust Stage, 818 South 2nd Street, Minneapolis, MN. Directed by Joe Dowling. Call 612.377.2224, or check the website for more information.
    • Death of a Salesman 1 May-7 June by Loft Ensemble, 929 East Second Street, #105, Los Angeles, CA. Call 213.680.0392 or check the website.
    • All My Sons 17 April-10 May by WaterTower Theatre, 15650 Addison Road, Addison, Texas. Directed by David Denson with Terry Martin, Diana Sheehan, Christopher Cassarino, and Tabitha Ray. Call 972.450.6230, or check the website.
    • Death of a Salesman 10-18 April by Neuse Little Theatre, 104 South Front Street, Smithfield, NC. Directed by:  Randy Jordan. Call (919) 934-1873 or check the website.
    • The Crucible 10-19 April by Merced Playhouse, 452 W. Main Street, Merced, CA. Call 209 725 8587 or check the website.
    • Death of a Salesman 16-26 April by Jewish Theatre Grand Rapids, 2727 Michigan NE, Grand Rapids, MI. Call 616-234-3595, or check the website.
    • Death of a Salesman 28 March- 2 May by The Royal Shakespeare Company in Stratford-Upon-Avon. Directed by Gregory Doran with Antony Sher, Harriet Walter, and Alex Hassell. Call 0844 800 1110 or check the website.
    • All My Sons (in Cantonese, translation by Dominic Cheung) 27-29 March, presented by the Leisure and Cultural Services Department and produced by the Hong Kong Federation of Drama Societies at the Auditorium, Ko Shan Theatre New Wing, Ko Shan Road, Hung Hum, Hong Kong. Directed by Luther Fung, with Chung King-fai, Patra Au, Guthrie Yip, Lai Yuk-ching, Johnson Yu, Mary Lee, Barry Chan, Ruby Chu, Andy Tang and Ngai Chi-hang. Call 2111 5999 or visit www.urbtix.hk.
    • All My Sons 27 March-19April 19 by Alley Theatre, 615 Texas Ave., at University of Houston, Houston, TX. Directed by Theresa Rebeck. Call 713.220.5700 or check the website.
    • The Archbishop’s Ceiling24 March–19 April by Arvada Center for the Arts and Humanities, in their Black Box theater,  6901 Wadsworth Blvd., Arvada, Colorado.  Directed by Brett Aune, with Michael Morgan, William Hahn, Rodney Lizcano, and Heather Lacy. Set design by Brian Mallgrave. Call 720-898-7200 or check the website.
    • Death of a Salesman 12-28 March by Nashville Repertory Theatre at at Andrew Johnson Theater at Tennessee Performing Arts Center, 505 Deaderick St., Nashville, TN. Directed by René D. Copeland, with Chip Arnold, Rona Carter, Eric Pasto-Crosby and, Matt Garner. Set design by Gary Hoff. Call 615 782-6560 or check the website.
    • Death of a Salesman 13-22 March at San Joaquin Delta College, Alred H. Muller Studio Theatre, 5151 Pacific Ave, Stockton, CA. Directed by Harvey Jordan, who also plays Willy, alongside Jane Dominik as Linda. Call (209) 954-5110 or check the website.
    • Death of a Salesman 13-28 March by Dover Little Theatre, 69 Elliott Street, Dover, NJ. Directed by Claire Bochenek, with Bob Scarpone, Kate Daly, Michael Reddin, and Michael Jay. Call 973-328-9202 or check the website.
    • All My Sons 13-28 March by New Century Players, 11022 SE 37th, Milwaukie, OR. Directed by Colin Murray. Call (503) 367-2620 or check the website.
    • Death of a Salesman Spring (Dates TBA) by Dreamwell Theatre Company, 10 S. Gilbert St., Iowa City, IA. Call 319-423-9820, or check the website.
    • Playing For Time 12 March-4 April by The Crucible Theatre, 55 Norfolk Street, Sheffield, UK. Directed by Richard Beecham, with Kate Adams, Pascale Burgess, Imogen Daines, Christopher Staines, Amanda Hadingue, Melanie Heslop, Kate Lynn-Evans, Danny Scheinmann, and Siân Phillips. To mark the 70th anniversary of the liberation of Auschwitz and the centenary of the playwright’s birth. Call 0114 249 6000 or check the website.
    • All My Sons 6-29 March by Cherry Creek Theatre, at the Shaver-Ramsey Carpet Gallery, 2414 East Third Avenue, Denver, CO. Call (303) 800-6578 or check the website.
    • All My Sons 6-22 March by Germantown Community Theater, 3037 S Forest Hill-Irene Rd, Germantown, TN. Directed by John Maness. Call (901) 754-2680 or check the website.
    • All My Sons 6-22 March Curtain Call Inc., 1349 Newfield Avenue, Stamford, CT. Directed by John Atkin with Joseph Caputo, Greg Chrzczon, Robert Rosado, Alexandria Clapp, John Ponzini, Karen Pope, Katie Bookser, Robie Livingstone, James Avery and Christopher Beaurline. Set design is by Peter Barbieri Jr. Call (203) 461-6358 ext. 13. or check the wesbite.
    • All My Sons 6-14 March by JCC Uncommoners, in Robert Lee Scharmann Theatre at Jamestown Community College, 525 Falconer Street, Jamestown, NY. Call 716.338.1153 or check the website.
    • The Crucible 5-8 March in Kimmel Theatre at Midland University on the corner of 8th and Irving in Fremont, NE. Call 402.941.6399 or check the website.
    • All My Sons 5-7 March by Jewish Theatre Ensemble, Northwestern University, Evanston, IL. Check website for tickets and information.
    • View from the Bridge 4-14 March by The Touring Consortium Theatre Company with York Theatre Royal; opens in Nottingham on 4 March 2015, and then visits Cheltenham, Darlington, Wolverhampton, Bradford, Coventry and Edinburgh. 10-14 March  at Cheltenham’s Everyman Theatre, Regent Street, Cheltenham, UK. Directed by Stephen Unwin, with Jonathan Guy Lewis, Michael Brandon, Teresa Banham, Daisy Boulton, Philip Cairns, and James Rastall. Stage design by Liz Ascroft. For Cheltenham, call 01242 572573 or check the website
    • All My Sons 2 March-26 April by Front Row Theatre Company, Harrison College House, University of Pennsylvania, PA. Directed by Alex Polyak. Message on Facebook or check the website.
    • An Enemy of the People 25 Feb.-15 March by PlayMakers Repertory Company, Center for Dramatic Art, Chapel Hill, NC. Directed by Tom Quaintance, with Michael Bryan French, Tony Newfield, David Adamson, Benjamin Curns, Julia Gibson, Allison Altman, and Jeffrey Blair Cornell. Set design by McKay Coble. Call 919.962.7529 or check the website.
    • The Crucible 1 March-4 April by Shawnee Playhouse, 552 River Rd, Shawnee on Deleware, PA. Call (570) 421-5093 or check the website.
    • All My Sons 12 Feb.-25 April by Talawa Theatre Company, around the UK, is reviving its all-black 2013 production (co-produced with Manchester's Royal Exchange Theatre) for a national tour, with beginning performances at Ipswich's New Wolsey Theatre for 12-21st Feb. Call 01473 295 900. It will subsequently tour to Cambridge Arts Theatre (24-28 Feb. Call 01223 503 333), Salisbury Playhouse (3-7 March. Call 01722 320 333), Watford Palace Theatre (10-14 March. Call 01923 225 671), Oxford Playhouse (17-21 March. Call 01865 305 305), Birmingham Rep (24-28 March. Call 0121 236 4455), Richmond Theatre in South West London (31 March-5 April. Call 0844 871 7615), Colchester Mercury Theatre (14-18 April. Call 01206 573 948), and Malvern Theatres (Festival Theatre) (21-25 April. Call 01684 892 277). Directed by Michael Buffong, with Ray Shell, Doña Croll, Kemi Bo-Jacobs, Leemore Marrett Jr., and Ashley Gerlach. Stage design by Ellen Cairns. For further details and to book tickets, visit their website.
    • The Price 11 Feb.-22 March by Center Theatre Group at Mark Taper Forum, Music Center, 135 North Grand Ave., Los Angeles, CA. Directed by Garry Hynes, with Kate Burton, John Bedford Lloyd, Sam Robards, and Alan Mandell. Call 213 628 2772 or check the website.
    • All My Sons 26 Feb.-8 March, by Shreveport Little Theatre, 811 Margaret Pl, Shreveport, LA. Directed by Richard Folmer, with Shawn Dion, Ginger D. Folmer, Miles Jay Oliver, Cara Johnston, Bo Harris, Sloan Folmer, Debbie Posey, David McCart, Holly McCart and Mathew Born. Set design by Chris Gonzales. Call (318) 424-4439 or check the website.
    • A View from the Bridge 11 Feb.-11 April (transfer of the Young Vic’s much praised spring 2014 production), Wyndham’s Theatre, Charing Cross Road, London, UK. Directed by Ivo van Hove, with Mark Strong, Nicola Walker, Michael Gould, Emun Elliott, Phoebe Fox, and Luke Norris. Design and Light by Jan Versweyveld. Call 020 7922 2922 or 0844 482 5120, or check the website (which has an interesting 55 sec. trailer that will give you a sense of the production’s design).

    FILM INFORMATION (21st century developments): 

    Special Events/News/Releases for 2015-2016 (Link to Archive for past years)

    miller theater

    Inside the Arthur Miller Theater at the University of Michigan
    Recent Books on Miller (2011--current)   Archive 2005-2010