Arrested Voices: Resurrecting the Disappeared Writers of the Soviet Regime. By Vitaly Shentalinsky. New York: The Free Press, 1996; 322 pp. $25.00 cloth.

DiCenzo discusses some of the productions, offers an impressive reading of how the plays and the productions worked in light of McGrath’s ideas and commitments. :’s most famous production, The Cheviot, the Stag, and the Black, Black Oil () is especially well discussed in terms of its structural principles and their link to the variety of dramatic forms employed (monologue, scene, sketch, song) and to their sources in panto, music hall, Scottish culture (Ceilidh) and documentary history. DiCenzo also describes the audience/company involvement in performance, and talks about the play’s reception in various parts of Scotland and in relationship to political occasions such as the Scottish National Party conference. The chapter provides the reader with a way to appreciate the interplay of the company’s productions, its audiences, its political context, and moment of production in relationship to the larger cultural context of Scotland and Britain through two decades of change. There are a few other books about alternative companies from this period: for example, Michael Coveney’s book on the Glasgow Citizens Theatre (Nick Hern Books, ), Rob Ritchie’s sourcebook on Joint Stock (Methuen, ), and Roland Reese’s Fringe First (Reese himself the Artistic Director of Foco Novo, one of the companies that rose and fell during this period; Oberon Books, ). They all make valuable contributions to documenting the history of their various subjects. But DiCenzo’s book is by far the best in terms of a sophisticated analysis and a politically interested account of a specific company of great importance.