Jeffrey H. Richards is the author of Theater Enough: American Culture and the Metaphor of the World Stage, 1607–1789 (1991), and Mercy Otis Warren (1995), and has edited three other books. He has published articles in Early American Literature, William and Mary Quarterly, and other journals and collections. He has taught at the University of North Carolina, Duke University, and is currently Professor of English at Old Dominion University.

"...a useful and insightful work for the Revolutionary period and the first formative decades of the nation....the work is well-researched and clearly written, occasionally amusing, and always honest in its style and assumptions." Odai Johnson, Virgina Magazine

• Introduction; 1. American identities and the transatlantic stage; Part I. Staging Revolution at the Margins of Celebration: 2. Revolution and unnatural identity in Crevecoeur's 'Landscapes'; 3. British author, American text: The Poor Soldier in the New Republic; 4. American author, British source: writing revolution in Murray's Traveller Returned; 5. Patriotic interrogations: committees of safety in early American drama; 6. Dunlap's Queer Andre: versions of revolution and manhood; Part II. Coloring Identities: Race, Religion, and the Exotic: 7. Susannah Rowson and the dramatized Muslim; 8. James Nelson Barker and the stage American native; 9. American stage Irish in the Early Republic; 10. Black theater, white theater, and the stage African; Part III. Theatre, Culture, and Reflected Identity: 11. Tales of the Philadelphia theatre: Ormond, National performance, and supranational identity; 12. A British or an American Tar? Play, player, and spectator in Norfolk, 1797–1800; 13. After The Contrast: Tyler, civic virtue, and the Boston stage.

Jeffrey H. Richards is the author of Theater Enough: American Culture and the Metaphor of the World Stage, 1607–1789 (1991), and Mercy Otis Warren (1995), and has edited three other books. He has published articles in Early American Literature, William and Mary Quarterly, and other journals and collections. He has taught at the University of North Carolina, Duke University, and is currently Professor of English at Old Dominion University.

"...a useful and insightful work for the Revolutionary period and the first formative decades of the nation....the work is well-researched and clearly written, occasionally amusing, and always honest in its style and assumptions." Odai Johnson, Virgina Magazine

• Introduction; 1. American identities and the transatlantic stage; Part I. Staging Revolution at the Margins of Celebration: 2. Revolution and unnatural identity in Crevecoeur's 'Landscapes'; 3. British author, American text: The Poor Soldier in the New Republic; 4. American author, British source: writing revolution in Murray's Traveller Returned; 5. Patriotic interrogations: committees of safety in early American drama; 6. Dunlap's Queer Andre: versions of revolution and manhood; Part II. Coloring Identities: Race, Religion, and the Exotic: 7. Susannah Rowson and the dramatized Muslim; 8. James Nelson Barker and the stage American native; 9. American stage Irish in the Early Republic; 10. Black theater, white theater, and the stage African; Part III. Theatre, Culture, and Reflected Identity: 11. Tales of the Philadelphia theatre: Ormond, National performance, and supranational identity; 12. A British or an American Tar? Play, player, and spectator in Norfolk, 1797–1800; 13. After The Contrast: Tyler, civic virtue, and the Boston stage.

Jeffrey H. Richards is the author of Theater Enough: American Culture and the Metaphor of the World Stage, 1607–1789 (1991), and Mercy Otis Warren (1995), and has edited three other books. He has published articles in Early American Literature, William and Mary Quarterly, and other journals and collections. He has taught at the University of North Carolina, Duke University, and is currently Professor of English at Old Dominion University.

"...a useful and insightful work for the Revolutionary period and the first formative decades of the nation....the work is well-researched and clearly written, occasionally amusing, and always honest in its style and assumptions." Odai Johnson, Virgina Magazine

• Introduction; 1. American identities and the transatlantic stage; Part I. Staging Revolution at the Margins of Celebration: 2. Revolution and unnatural identity in Crevecoeur's 'Landscapes'; 3. British author, American text: The Poor Soldier in the New Republic; 4. American author, British source: writing revolution in Murray's Traveller Returned; 5. Patriotic interrogations: committees of safety in early American drama; 6. Dunlap's Queer Andre: versions of revolution and manhood; Part II. Coloring Identities: Race, Religion, and the Exotic: 7. Susannah Rowson and the dramatized Muslim; 8. James Nelson Barker and the stage American native; 9. American stage Irish in the Early Republic; 10. Black theater, white theater, and the stage African; Part III. Theatre, Culture, and Reflected Identity: 11. Tales of the Philadelphia theatre: Ormond, National performance, and supranational identity; 12. A British or an American Tar? Play, player, and spectator in Norfolk, 1797–1800; 13. After The Contrast: Tyler, civic virtue, and the Boston stage.