Brian Eugenio Herrera is an Associate Professor of Theater and Gender & Sexuality Studies in the Lewis Center for the Arts at Princeton University. He is, by turns, a writer, teacher and scholar whose work, both academic and artistic, examines the history of gender, sexuality and race within and through US popular performance. He is author of The Latina/o Theatre Commons 2013 National Convening: A Narrative Report (2015) and Latin Numbers: Playing Latino in Twentieth-Century US Popular Performance (2015), which was awarded the George Jean Nathan Prize for Dramatic Criticism. He is also the Inaugural Resident Scholar for The Sol Project, an initiative dedicated to producing the work of Latinx playwrights in New York City and beyond. Anne García-Romero is Professor of Film, Television and Theatre at the University of Notre Dame. She is the author of The Fornés Frame: Contemporary Latina Playwrights and the Legacy of María Irene Fornés (2016). Her plays include Paloma (2017), Lorca in New York (2015), Juanita's Statue (2013), Mary Domingo (2013), Provenance (, 2012), Desert Longing (2010), Earthquake Chica (2007), and Santa Concepcíon (2007). She is a founding member of the Latinx Theatre Commons, where she contributes to the Fornés Institute.

Select Guide Rating

• Part I. Places and People: 1. Havana and New York City Eric Mayer-García; 2. Paris Elaine Romero; 3. The Actors Studio Brian Eugenio Herrera; 4. Judson Memorial Church Kaelani Rae Burja; 5. Padua Hills Playwrights Workshop and Festival Andréa J. Onstad; 6. INTAR (International Arts Relations, Inc.) Caridad Svich; 7. Latin American Writers Workshop Kenneth Prestininzi; 8. Hans Hofmann Christina A. León; 9. Susan Sontag Alisa Solomon; 10. Carmen Collado Fornés Anne García-Romero; Part II. Theatre: 11. Stage Direction and Design Scott T. Cummings; 12. Off-Off Broadway Morgan Jenness; 13. Environmental Theatre Stephen Scott-Bottoms; 14. Music Theatre Trevor Boffone; 15. Performance Art and the Post Dramatic Juliana Frey-Méndez; 16. Translation and Adaptation Adam Versényi; Part III. Culture, Society and Politics: 17. Cuban Lillian Manzor; 18. Hispanic/Latinx/Latine Jon D. Rossini and Patricia Ybarra; 19. Avant Gardist Roy Pérez; 20. Environmentalist Gwendolyn Alker; 21. Feminist Michael Breslin and Catherine María 'Cat' Rodríguez; 22. Lesbian Nicole Stodard; 23. Elder Katie Pearl and Michelle Memran; Part IV. Legacy: 24. Playwriting Method Migdalia Cruz; 25. Alumni Playwrights Luis Alfaro; 26. Documentation Carla Della Gatta; 27. Publication Bonnie Marranca and Jennifer Parker-Starbuck; 28. Final (and Incomplete) Works Anne García-Romero; 29. Community-Based Advocacy Movements Olga Sanchez Saltveit; 30. The Fornésian Tradition Maria M. Delgado.

Brian Eugenio Herrera is an Associate Professor of Theater and Gender & Sexuality Studies in the Lewis Center for the Arts at Princeton University. He is, by turns, a writer, teacher and scholar whose work, both academic and artistic, examines the history of gender, sexuality and race within and through US popular performance. He is author of The Latina/o Theatre Commons 2013 National Convening: A Narrative Report (2015) and Latin Numbers: Playing Latino in Twentieth-Century US Popular Performance (2015), which was awarded the George Jean Nathan Prize for Dramatic Criticism. He is also the Inaugural Resident Scholar for The Sol Project, an initiative dedicated to producing the work of Latinx playwrights in New York City and beyond. Anne García-Romero is Professor of Film, Television and Theatre at the University of Notre Dame. She is the author of The Fornés Frame: Contemporary Latina Playwrights and the Legacy of María Irene Fornés (2016). Her plays include Paloma (2017), Lorca in New York (2015), Juanita's Statue (2013), Mary Domingo (2013), Provenance (, 2012), Desert Longing (2010), Earthquake Chica (2007), and Santa Concepcíon (2007). She is a founding member of the Latinx Theatre Commons, where she contributes to the Fornés Institute.

Select Guide Rating

• Part I. Places and People: 1. Havana and New York City Eric Mayer-García; 2. Paris Elaine Romero; 3. The Actors Studio Brian Eugenio Herrera; 4. Judson Memorial Church Kaelani Rae Burja; 5. Padua Hills Playwrights Workshop and Festival Andréa J. Onstad; 6. INTAR (International Arts Relations, Inc.) Caridad Svich; 7. Latin American Writers Workshop Kenneth Prestininzi; 8. Hans Hofmann Christina A. León; 9. Susan Sontag Alisa Solomon; 10. Carmen Collado Fornés Anne García-Romero; Part II. Theatre: 11. Stage Direction and Design Scott T. Cummings; 12. Off-Off Broadway Morgan Jenness; 13. Environmental Theatre Stephen Scott-Bottoms; 14. Music Theatre Trevor Boffone; 15. Performance Art and the Post Dramatic Juliana Frey-Méndez; 16. Translation and Adaptation Adam Versényi; Part III. Culture, Society and Politics: 17. Cuban Lillian Manzor; 18. Hispanic/Latinx/Latine Jon D. Rossini and Patricia Ybarra; 19. Avant Gardist Roy Pérez; 20. Environmentalist Gwendolyn Alker; 21. Feminist Michael Breslin and Catherine María 'Cat' Rodríguez; 22. Lesbian Nicole Stodard; 23. Elder Katie Pearl and Michelle Memran; Part IV. Legacy: 24. Playwriting Method Migdalia Cruz; 25. Alumni Playwrights Luis Alfaro; 26. Documentation Carla Della Gatta; 27. Publication Bonnie Marranca and Jennifer Parker-Starbuck; 28. Final (and Incomplete) Works Anne García-Romero; 29. Community-Based Advocacy Movements Olga Sanchez Saltveit; 30. The Fornésian Tradition Maria M. Delgado.

Brian Eugenio Herrera is an Associate Professor of Theater and Gender & Sexuality Studies in the Lewis Center for the Arts at Princeton University. He is, by turns, a writer, teacher and scholar whose work, both academic and artistic, examines the history of gender, sexuality and race within and through US popular performance. He is author of The Latina/o Theatre Commons 2013 National Convening: A Narrative Report (2015) and Latin Numbers: Playing Latino in Twentieth-Century US Popular Performance (2015), which was awarded the George Jean Nathan Prize for Dramatic Criticism. He is also the Inaugural Resident Scholar for The Sol Project, an initiative dedicated to producing the work of Latinx playwrights in New York City and beyond. Anne García-Romero is Professor of Film, Television and Theatre at the University of Notre Dame. She is the author of The Fornés Frame: Contemporary Latina Playwrights and the Legacy of María Irene Fornés (2016). Her plays include Paloma (2017), Lorca in New York (2015), Juanita's Statue (2013), Mary Domingo (2013), Provenance (, 2012), Desert Longing (2010), Earthquake Chica (2007), and Santa Concepcíon (2007). She is a founding member of the Latinx Theatre Commons, where she contributes to the Fornés Institute.

Select Guide Rating

• Part I. Places and People: 1. Havana and New York City Eric Mayer-García; 2. Paris Elaine Romero; 3. The Actors Studio Brian Eugenio Herrera; 4. Judson Memorial Church Kaelani Rae Burja; 5. Padua Hills Playwrights Workshop and Festival Andréa J. Onstad; 6. INTAR (International Arts Relations, Inc.) Caridad Svich; 7. Latin American Writers Workshop Kenneth Prestininzi; 8. Hans Hofmann Christina A. León; 9. Susan Sontag Alisa Solomon; 10. Carmen Collado Fornés Anne García-Romero; Part II. Theatre: 11. Stage Direction and Design Scott T. Cummings; 12. Off-Off Broadway Morgan Jenness; 13. Environmental Theatre Stephen Scott-Bottoms; 14. Music Theatre Trevor Boffone; 15. Performance Art and the Post Dramatic Juliana Frey-Méndez; 16. Translation and Adaptation Adam Versényi; Part III. Culture, Society and Politics: 17. Cuban Lillian Manzor; 18. Hispanic/Latinx/Latine Jon D. Rossini and Patricia Ybarra; 19. Avant Gardist Roy Pérez; 20. Environmentalist Gwendolyn Alker; 21. Feminist Michael Breslin and Catherine María 'Cat' Rodríguez; 22. Lesbian Nicole Stodard; 23. Elder Katie Pearl and Michelle Memran; Part IV. Legacy: 24. Playwriting Method Migdalia Cruz; 25. Alumni Playwrights Luis Alfaro; 26. Documentation Carla Della Gatta; 27. Publication Bonnie Marranca and Jennifer Parker-Starbuck; 28. Final (and Incomplete) Works Anne García-Romero; 29. Community-Based Advocacy Movements Olga Sanchez Saltveit; 30. The Fornésian Tradition Maria M. Delgado.