THESES:

1)       Edith Sitwell:  A Study  (Unpublished M. A.  Thesis, Univ. of Wisconsin, 1951).

2)       Dramatizations of American Novels:  1900–1917  (Ph. D. Dissertation, Stanford University, 1953: “With Distinction”).  Copy in Library of Congress.

 FICTION:

1)       “Letters From a Soldier,”  Adelphi Quarterly  (Summer 1961),  Vol. 4, No. 4, pp. 48-54.

PLAYS:

1)       Keep the Homefires Burning  (Unpublished; copyrighted).

2)       Open Season  (Unpublished; copyrighted).

3)       Endowed by Their Creator  (Unpublished; copyrighted).

4)       Mrs. Plato  (Unpublished; copyrighted).

5)       Beware of Greeks (Unpublished; copyrighted).

6)       The House of Mirth  (Edited by Loney; by Edith Wharton and Clyde Fitch).

BOOKS:

1)       Briefing and Conference Techniques,  McGraw-Hill Series in Speech (New York: McGraw-Hill Book Co., Inc., 1959), 194 pp.

(Published in two editions: Trade and College-Text.  Monthly book selection of Executive Book Club and of McGraw-Hill Management Book Club.)

2)       Your Future in the Performing Arts, with Lawrence Epstein (New York: Richards Rosen Press, 1980), 146 pp.

3)       “The House of Mirth”: The Play of the Novel  (East Brunswick, NJ: Associated University Presses, 1981), 182 pp.

4)       Twentieth Century Theatre: a Chronology of British and American Theatre  (New York: Facts on File, 1983), 2 Vols., 521 pp.

5)       California Gold-Rush Plays  (New York: Performing Arts Journal, 1983), 180 pp.

6)       Unsung Genius: The Passion of Dancer-Choreographer Jack Cole  (New York: Franklin Watts/ Grolier, 1984), 376 pp.

7)       Creating Careers in Music Theatre, with William Boswell (New York: Peter Lang, 1988), 294pp.

8)       Peter Brook: Oxford To Orghast, with Richard Helfer (Harwood Academic Publishers, 1998), 329pp. [Vol. 27 in HAP Contemporary Theatre Studies Series.]

EDITING OF & CONTRIBUTIONS TO BOOKS:

1)       John Gassner, Dramatic Soundings  (New York: Crown Pubs., 1968).  716 pp.  Edited, with an Introduction (pp. xiv-xx) by Glenn Loney.

2)       George Freedley & John A. Reeves,  A History of the Theatre  (New York: Crown Pubs., 1968).  Third Newly Revised Edition.  Chapter XXX: “The United States – American Theatre (1954 – 1967), by Glenn Loney.  pp. 885-904.

3)       John Gassner & Edward Quinn, eds., The Reader’s Encyclopedia of World Drama  (New York: Thomas Y. Crowell Co., 1969).  Essays on Operetta, Musical Comedy, Wagner, DaPonte, and Gilbert & Sullivan, by Glenn Loney.

4)       Robert Corrigan, ed., and Glenn Loney, headnotes.  Comedy: a Critical Anthology  (Boston: Houghton Mifflin, 1971). 787 pp.

5)       Robert Corrigan, ed., and Glenn Loney, headnotes.  Tragedy : a Critical Anthology  (Boston: Houghton Mifflin, 1971).  787 pp.

6)       Robert Corrigan, ed., and Glenn Loney, headnotes.  The Forms of Drama  (Boston: Houghton Mifflin, 1972).  746 pp.

7)       C. Ray Smith, ed.  The Theatre Crafts Book of Costume  (Emmaus, Penn.: Rodale Press, Inc., 1973).  (Interviews with Marjorie Slaiman, Peter Harvey, & Florence Klotz.)

8)       C. Ray Smith, ed.  The Theatre Crafts Book of Make-Up, Masks, & Wigs  (Emmaus, Penn.: Rodale Press, Inc., 1974).  (Chapters on TV Make-Up and Make-Up for Scratch.)

9)       Glenn Loney, Interviewer-Editor.  Peter Brook’s Production of William Shakespeare’s A Midsummer Night’s Dream:  Authorized Acting Edition.  (Chicago, Ill.: Dramatic Publishing Co., 1974). 127pp. + 175a/b pp.

10)   Glenn Loney, Interviewer-Editor, The Frank Dunlop/Young Vic Production of Seapino: Authorized Acting Edition.  (Westport, Conn.: Dramatic Publishing Co., 1975). 133pp. + 206a/b pp.

11)   Glenn Loney and Patricia MacKay, The Shakespeare Complex  (New York: Drama Book Specialists, 1975). 182pp.

12)   Glenn Loney, Author-Editor, Lesson Plans and Class Questions for Use With Recorded Interviews With:

Playwright Collection 1:  Edward Albee, Robert Anderson, Brian Friel, William Gibson, Lillian Hellman.

Playwright Collection 2:  Jean Kerr, Arthur Miller, John Osborne, Neil Simon, Douglas Turner Ward.

Actor Collection 1:          Anne Bancroft, Morris Carnovsky, Katharine Cornell, Jose Ferrer, John Gielgud.

Actor Collection 2:         Helen Hayes, Bert Lahr, The Lunts, Sidney Poitier, Maureen Stapleton, Shelley Winters.

Actor Collection 3:         Alan Arkin, Barbara Bel Geddes, Hume Cronyn, Colleen Dewhurst, Faye Dunaway, Lou Gossett.

Actor Collection 4:         Dustin Hoffman, Stacey Keach, Estelle Parsons, George C. Scott, Jessica Tandy, Cicely Tyson.

(Chicago, Ill:  Dramatic Publishing Co., 1975).

13)    Glenn Loney, Contributing Critic, Contemporary American Theatre Critics  (Metuchen, NJ: Scarecrow Press, 1977), pp. 480-501.

14)   Glenn Loney, Contributing Editor, The Academic American Encyclopedia  (Princeton, NJ: Arete Publishing Co., 1980).

15)   Glenn Loney, Advisor/Contributor, McGraw-Hill Encyclopedia of World Drama  (New York: McGraw-Hill, 1984), Vol. 1, “American Drama Since 1940,” pp. 91-119.

16)   Glenn Loney, Editor & Introduction, Musical Theatre in America  (Westport, CT: Greenwood Press, 1984), 448 pp.

17)   Glenn Loney, Contributor, Biographical Dictionary of Dance  (New York: Schirmer Publ., 1982), pp. 193-194  (“Jack Cole.”)

18)   Glenn Loney, Contributor, Forty Years of Mise-en-Scene: 1945-1985, (Dundee, Scotland: Lochee Publ., 1986), ed. Prof. Claude Schumacher, pp. 83-94: “Adventures with Elizabethan Stages: Various Directors Work with One Designer: Richard Hay, Ashland.”

19)   Glenn Loney, Contributor, Pipers Enzyklopedia des Musik Theaters  (Munich: Piper Verlag GmbH, 1987), pp. 354-57 (Girl Crazy).

20)   Glenn Loney, Contributor, Pipers Enzyklopedia des Musik Theaters  (Munich: Piper Verlag GmbH, 1989), pp. 286-289  (“Jerome Kern: Leave It To Jane, Showboat.”)

21)   Glenn Loney, Contributor, Thank You, Gorbachev!  (Wall-to-Wall Press, New York, 1990), p.36.

22)   Glenn Loney, Editor/Contributor, Staging Shakespeare: Seminars on Production Problems  (New York: Garland Publishing, 1990), 278 pp.

23)   Glenn Loney, Contributor, Neil Simon Interview in “Beyond the Broadway Musical:  Crossovers, Confusions, & Crisis,” in Bruce King’s Contemporary American Theatre (London: Macmillan, 1991), pp. 151-176.

24)   Glenn Loney, Contributor, “Christopher Fry,” in British Writers: Supplement III (New York: Charles Scribner’s Sons/Simon-Schuster/Macmillan, 1996), pp. 191-210.

25)   Glenn Loney, Contributor, Contemporary Dramatists (London: St. James, 19xx), pp.xx-xx.

JOURNAL & MAGAZINE ARTICLES:

1)       “The Heyday of the Dramatized Novel,”  Educational Theatre Journal  (Oct 1957), pp. 194-200.

2)       “Where Classics Come to Life,”  Theatre Arts Magazine  (Jun 1959), pp. 66-68.

3)       “Some European Theatre Publications,”  Educational Theatre Journal  (Mar 1960), pp. 18-19.

4)       “A Grand Tour of Theatres Eternal,”  Theatre Arts Magazine  (Apr 1961), pp. 62-67, 74-75.

5)       “A Russian Sampler: ‘People’s Plays’ in the USSR.,” The Commonweal  (Apr 14, 1961), pp. 76-78.

6)       “The Novelist Writes for the Theatre:  Edith Wharton and The House of Mirth,”  Modern Drama  (Sep 1961), pp. 152-163.

7)       “The German Theatre Menu,” Ramparts  (Sep 1962),  pp. 38-44.

8)       “The Theatre of the Absurd: It is Only a Fad,” Theatre Arts Magazine  (Nov 1962), pp. 20, 22, 24, 66-68.

9)       “Classic Drama Revivals in Greece,” Quarterly Journal of Speech  (Dec 1962), pp. 379-387.

10)   “A Letter From London,” Players Magazine  (May 1963), p.254.

11)   “Wagner Worship in Bavaria,” The Reporter  (Jul 4, 1963), pp. 32-36.

12)   “Festival Fever,” Ramparts  (Winter, 1964), Vol. 2, No. 4, pp. 65-72.

13)   “Theatre and College: Adventure in Liberalization,”  Teachers College Record  (Columbia University, May 1964), pp. 693-701.

14)   “The Children’s Hour in Stockholm,” Players Magazine  (May 1964), pp. 241-2, 249.

15)   “Radio Sweden: Education and Entertainment,” National Association of Educational Broadcasters Journal  (Jul-Aug 1964), pp. 18-23.

16)   “State-Supported Theatre in Sweden,” Educational Theatre Journal  (Oct 1964), pp. 276-9.

17)   “Swedish School Broadcasts,”  National Association of Educational Broadcasts Journal  (Nov-Dec 1964), pp. 3-9.

18)   “Broadway in Review,” Educational Theatre Journal  (Mar 1965), pp. 56-59.

19)   “Broadway in Review,” Educational Theatre Journal  (May 1965), pp. 131-44.

20)   “No Word From the Sponsor,” The American-German Review  (Jun-Jul 1965), pp. 2-6.

21)   “Broadway in Review,” Educational Theatre Journal  (Oct 1965), pp.265-70.

22)   “After Many a Summer—Still More Festivals,” Educational Theatre Journal  (Oct 1965), pp. 240-50.

23)   “From the Flames A Delayed Phoenix: Munich’s Rebuilt National Theatre,” Theatre Design & Technology  (Oct 1965), pp. 3-8.

24)   “Cult and Myth on the Green Hill,” High Fidelity/Musical America  (Oct 1965), pp.160-1. [Bayreuth Wagner Festival]

25)   “London’s Subsidized Theatres,” Quarterly Journal of Speech  (Feb 1966), pp. 63-9.

26)   “Bayreuth Brigadoon,” The American-German Review  (Feb-Mar 1966), pp. 36-7.

27)   “Broadway in Review: Broadway and Off-Broadway Supplement,” Educational Theatre Journal  (Mar 1966), pp. 66-72.

28)   “Broadway in Review: Broadway and Off-Broadway Supplement,” Educational Theatre Journal  (May 1966), pp. 174-77.

29)   “Bergman in the Theatre,” Modern Drama  (Sep 1966), pp. 170-77.

30)   “For Children of All Ages,” Stockholm Marionette Theatre Program  (Fall 1966), pp.1-5.

31)   “Broadway in Review: Broadway and Off-Broadway Supplement,” Educational Theatre Journal  (Oct 1966), pp. 280-86.

32)   “Hundert Jahre Tristan: Review,” Quarterly Journal of Speech  (Oct 1966), p. 321.

33)   “In Cold Blood: Review,” and “Much Ado About Nothing: Review,” High Fidelity/Musical America  (Oct 1966), pp. 162-164.

34)   “Two Hundred Candles—Simulated—for the Drottningholm,” Theatre Design & Technology  (Dec 1966), pp.3-11.

35)   “Broadway in Review: Broadway and Off-Broadway Supplement—The Set’s the Thing,” Educational Theatre Journal  (Dec 1966), pp. 454-59.

36)   “Performing Arts—The Economic Dilemma: Review,” Quarterly Journal of Speech  (Feb 1967), pp. 89-90.

37)   “Staging ‘Dangerous’ Drama,”  The American-German Review (Feb—Mar 1967), p. 21.

38)   “Theatre Abroad,” Educational Theatre Journal  (Mar 1967), pp. 87-95.

39)   “The Film That Went Underground,” The American-German Review  (Apr—May 1967), pp.31-32.

40)   “Broadway and Off-Broadway Supplement,” Educational Theatre Journal  (May 1967), pp.198-204.

41)   “The Experts Speak on Theatre Administration: Review,” Theatre Design & Technology  (May 1967), p. 35.

42)   “Patrons and Patriotism: Review,” Quarterly Journal of Speech  (Oct 1967), pp. 306-7.

43)   “Broadway in Review,” Educational Theatre Journal  (Oct 1967), pp. 392-401.

44)   “The Scene/California: Hippie Home in Walden Pond West,” Life  (Nov 24, 1967), pp. 4 & 6.

 [Also Published: Life International  (Dec 11, 1967),  p. AM2]

45)   “Broadway in Review,” Educational Theatre Journal  (Dec. 1967), pp. 511-17.

46)   “Ex-Con’s Play, ‘Cage,’ Grimly Authentic,” Variety  (Anniversary Issue/Jan 3, 1968), pp. 3 & 49.

47)   “Another View of LBJ,” Life International  (Feb 19, 1968), p. 36. [NOTE: This interview with President Lyndon Johnson’s first school-teacher, Katherine Dietrich Loney—GML’s aunt—was published in three different editions of Life International to defuse hatred abroad of LBJ & America during the Vietnam War, but it was never published in American editions of LIFE, the editors fearing it might encourage Johnson to seek a second term when potential voters discovered what a thoughtful man he essentially was.]

48)   “Who Goes to An American Opera?” Educational Theatre Journal (Mar 1968), pp. 73-79.

49)   “Broadway in Review,” Educational Theatre Journal  (Mar 1968), pp. 97-102.

50)   “Creating The Great White Hope:  The Director—Edwin Sherin, Executive Director—Thomas C. Fichandler, Set Designer—Douglas Schmidt, Costume Designer—Marjorie Slaiman, Property Mistress—Christi Oswald, & Publicity Director—Susanne Roschwalb,” Theatre Today  (Spring 1968—First Issue), pp. 4-9, 13.

51)   “Broadway in Review,” Educational Theatre Journal  (May 1968), pp. 229-236.

52)   “Acting Up or Showing Off,” Players  (August—September 1968), pp. 196-201.

53)   “The Theatre: Notes From London,” Cue  (August 31, 1968), p. 9.

54)   “Broadway in Review,” Educational Theatre Journal  (October, 1968), pp. 468-72.

55)   “The Scene/Tripoli: Libya’s Great Leap Forward,” Life  (October 25, 1968), pp. RR.

56)   “Robert Macbeth and the New Lafayette Theatre,” Theatre Today  (Fall, 1968), pp. 3-6, 13.

57)   “Robert Hooks and the Negro Ensemble Company,” Theatre Today  (Fall, 1968), pp. 7-10.

58)   “The Baroque Theatre—Theater des Barok: Review,” Quarterly Journal of Speech  (Oct 1968), pp. 299-300.

59)   “Alexander’s Brainchild,” Theatre Crafts  (November/December 1968), pp. 39-41.

60)   “Byways of Europe—4: Bohemia,” Opera News  (December 7, 1968), pp. 6-7.

61)   “Broadway in Review,” Educational Theatre Journal  (December 1968), pp. 594-99.

62)   “Günther Rennert, Opera Doctor,” Music Journal  (January 1969), pp. 28-31.

63)   “Julius Rudel van de New York City Opera,” Opera  Netherlands Opera Foundation  (Season 1968/69, No. 3), pp. 11-13.

64)   “On Interviewing Ingmar Bergman,” After Dark  (Feb 1969), pp. 32-37.

65)   “Shakespeare on Wheels,” Theatre Today  (Winter 1969), pp. 10-13.

66)   “Richard Wagner: The Man, His Mind, and His Music: Review,” Quarterly Journal of Speech  (February 1969), pp. 102 -03.

67)   “Rudolf Bing Spreekt,” Opera  Netherlands Opera Foundation (Season 1968/69, No. 4), pp. 20-22.

68)   “Bringing the Past Back to Life: The Four Winds Theatre,” After Dark  (Mar 1969), pp. 42-47.

69)   “Theatre in Review,” Educational Theatre Journal  (March 1969), pp. 103-107.

70)   “Sangre y Arena in Washington,” Players  (April—May 1969), pp. 163-66.

71)   “Two California Poster-Designers,” American Artist  (May 1969), pp. 48-53, 82-84.

72)   “Europe Isn’t Houston—But It Isn’t Bad,” After Dark  (May 1969), pp. 34-39.

73)   “Review: Yale Drama School, New Haven Connecticut, The Bacchae,” After Dark  (May 1969), pp. 58-59.

74)   “Theatre in Review,”  Educational Theatre Journal  (May 1969), pp. 220-21.

75)   “Getting into the A.C.T.,” After Dark  (June 1969), pp. 32-39.

76)   “McCarther Theatre,” Players  (June—July 1969), pp. 198-202.

77)   “Review: Glory! Hallelujah! ACT, San Francisco,” After Dark  (July 1969), p. 57.

78)   “And Wagner Said: Let There Be Light—But Not Too Much,” Theatre Crafts  (Sep 1969), pp. 28-33, 42-43.

79)   “Busby Berkeley On a Budget,” Theatre Crafts  (Oct 1969), pp. 6-11, 34-36.

80)   “Theatre in Review,” Educational Theatre Journal  (Oct 1969), pp. 353-54.

81)   “Everding,” Opera News  (Oct 11, 1969), p. 16.

82)   “Opera Reviews: Edinburgh,” Opera News  (Nov 1, 1969), p. 26.

83)   “America Can’t See This Opera,” After Dark  (Nov 1969), pp. 55-57.

84)   “Review from London: A Tale of Two Seconds,” After Dark  (Nov 1969),  p. 13.

85)   “Dual Control: Jean-Pierre Ponnelle,” Opera News  (Dec 27, 1969), p. 25.

86)   “Tito Capobianco Over Opera-Regie,” Opera [Netherlands]  (Season 1969-70: Nr. 3), pp. 15-16.

87)   “Kleines und Grosses: Germany’s Joy?” Theatre Today  (Fall 1969), pp. 10-14.

88)   “Royal Castles and Harold Prince,” After Dark  (Jan 1970), pp. 38-43.

89)   “Libya: Love Among the Ruins,” After Dark  (Jan 1970), pp. 56-59.

90)   “Reviews: Waiting for Grotowski,” After Dark  (Jan 1970), pp. 60-61.

91)    “My Fair Coco?  Chanel by Cecil Beaton,” After Dark  (Feb 1970), pp. 28-31.

92)   “I Am Curious (Susan Sontag),” After Dark  (Feb 1970), pp. 46-53.

93)   “Reviews: Tried and True,” After Dark  (Feb 1970),  pp. 59-61.

94)   “Dionysus-Michigan,” Players  (Feb 1970),  pp. 129-132.

95)   “Theatre in Review,”  Educational Theatre Journal  (Mar 1970), p. 90, pp. 92-94.

96)   “Reviews: Theatre: Black Is the Color,”  After Dark  (Mar 1970), pp. 62-64.

97)   “Blow, Winter Wind,”  Andy Warhol’s Inter/VIEW  (Apr 1970), Vol. 1, No. 6, pp. 8-9.

98)   “Sons and Mothers: Niklas Ek and Birgit Cullberg,” Dance  (Apr 1970), pp. 32-37.

99)   “On With the Dance at NYU: Jean Erdman Seeks Roots of Style,” Dance  (Apr 1970), pp. 44-49.

100)      “On Stage in the Nation’s Capital: Washington Theatre Club, Ford’s Theatre, the John F. Kennedy Center,” After Dark  (Apr 1970), pp. 30-39.

101)      “The Virgin from Where?”  After Dark  (Apr 1970), pp. 46-51.

102)      “Theatre Reviews: The Y-Factor,” After Dark  (Apr 1970), pp. 66-69.

103)      “The Urge to Dance,” Dance  (May 1970), pp. 48-57.

104)      “Pay the Piper,” Dance  (May 1970), p. 4.

105)      “Airbrush in the Bowery: Jack Brusca Plays the Numbers,” After Dark  (May 1970), pp. 50-53.

106)      “Reviews: Theatre: Give the Little Lady a Great Big Hand,” After Dark  (May 1970), pp. 65-67.

107)      “Interview with Wolfgang Wagner: A Ring for All Seasons,” Music Journal  (May 1970), pp. 52-54.

108)      “I Dreamed I Saw Joe Hill: An Inter-VIEW with Bo Widerberg,” Andy Warhol’s Inter/VIEW (May 1970), p. 3.

109)      “Making It in Films/John Schlesinger,” Andy Warhol’s Inter/VIEW (May 1970), pp. 11-13.

110)      “Film-Making in Sweden: New Directors and Films,” Andy Warhol’s Inter/VIEW (May 1970), Vol. 1, No. 7, pp. 24-27.

111)      “Long Warf Theatre,” Players  (Jun—Jul 1970), pp. 228-234.

112)      “German Playwrights Band Together,” Dramatists Guild Quarterly  (Summer 1970), pp. 26, 35-36.

113)      “Oh! Calcutta! Revisited,”  After Dark  (Jun 1970), pp. 32-33.

114)      “Reviews: Theatre: Borstal Boy,” After Dark  (Jun 1970), pp. 64-66.  (plus overset)

115)      “Tom Courtenay: The Loneliness of the Long-Distance Actor,” Andy Warhol’s Inter/VIEW (Jul 1970), Vol. 1, No. 9, pp. 10-11.

116)      “The Lively Ones: Theatre—A Treat or a Treatment?” Signature  (Jul 1970), pp. 18.

117)      “Fish and Ships: South Street Seaport,” After Dark  (Jul 1970), pp. 22-29.

118)      “I Can Be Pretty Insulting: Joseph Strick,” After Dark  (Jul 1970), pp. 47-49.

119)      “Reviews: Theatre: Wilson in the Promised Land,” After Dark  (Jul 1970), p. 66.

120)      “Cue Reports from the Holland Festival,” Cue  (Aug 1, 1970), pp. 11-12.

121)      “The Film That Shattered the Berlin Film Festival,” Andy Warhol’s Inter/VIEW (Aug 1970), Vol. 1, No. 10, pp. 14-15, 20.

122)      “USA Today at the Holland Festival,” Andy Warhol’s Inter/VIEW (Aug 1970), Vol. 1, No. 10, p. 21.

123)      “Onstage at the Met: A Museum Puts the Past on Parade,”  After Dark  (Aug 1970), pp. 24-29.

124)      “Reviews: Theatre: Othello,” After Dark  (Aug 1970), p. 65.

125)      “Germany After the Fall: Cranko’s Munich Deputy, Ed Dutton,” Dance  (Aug 1970), pp. 23-31.

126)      “Daniel Nagrin’s Magnet: the Peloponnesian War,” Dance  (Aug 1970), pp. 63-71.

127)      “Visiting Viveca, Visiting Actress: An Interview,” Theatre Today  (Fall 1970), pp. 3-6, 16.

128)      “A Sally Through the Alley: Houston’s New Alley Theatre,” After Dark  (Sep 1970), pp. 32-35.

129)      “The Constant Ryszard Cieslak,” After Dark  (Sep 1970), pp. 36-41.

130)      “What Joe Orton Saw: Death and the Maiden,” After Dark  (Sep 1970), pp. 42-44.

131)      “Come on Over to Our Place: the American Place Theatre,” After Dark  (Sep 1970), pp. 48-51.

132)      “Book Reviews: Two Plays/Theatre 2/Dionysus in 69,” After Dark  (Sep 1970), pp. 71-74.

133)      “Theatre in Review,” Educational Theatre Journal  (Oct 1970), pp. 311-313.

134)      “Reports: Foreign: Bregenz,” Opera News  (Oct 10, 1970), p. 24.

135)      “Opera Festival: Munich,” High Fidelity/Musical America  (Oct 1970), pp. 28-29.

136)      “Like, Madness!”  Opera News  (Oct 17, 1970), p. 6.

137)      “Appalachian Spring Then and Now,” After Dark  (Nov 1970), pp. 48-55.

138)      “Launching Pad for New Drama,” After Dark  (Nov 1970), pp. 28-33.

139)      “Towards the Sun: Mot Solen,” Dance  (Nov 1970), pp. 62-65.

140)      “Theatre in Review: Bavarian Theatre/Summer / 1970,” Educational Theatre Journal  (Dec 1970), pp. 422-425.

141)      “Books: Studies in the Art of the 19th Century,” Theatre Design & Technology  (Dec 1970), pp. 23-24.

142)      “Entertainment: All That Glitters Is Not Bergman,” The Scandinavian Times  (Jan 1971), pp. 24-25.

143)      “A Night at the (Finnish) Opera,” High Fidelity/Musical America  (Jan 1971), pp.26-27.

144)      “Jean Voigt: A Beautiful Man Is Hard To Find,” After Dark  (Jan 1971), pp.39-41.

145)      “Don’t Call Me Madam!” Opera News  (Jan 23, 1971), pp. 6-7.

146)      “Josef Svoboda Retires?” Theatre Crafts  (Jan/Feb 1971), pp. 26-31, 39-40.

147)      “Me Jane,” After Dark  (Feb 1971), pp. 38-41.

148)      “The Telephone Book,” After Dark  (Feb 1971), pp. 50-53.

149)      “Dutch Mutations,” Dance  (Feb 1971), pp. 55-59.

150)      “Helsinki’s New City Theatre,” Theatre Design & Technology  (Feb 1971), pp. 10-15.

151)      “Byways of Europe: VII: Copenhagen—Royal Court Theatre,” Opera News  (Feb 13, 1971), p.29.

152)      “News From Nowhere,” Players  (Feb-Mar 1971), pp. 100-02.

153)      “Too Much Intelligence? On the Relevance of Drama,” Speech and Drama News  (Houghton Mifflin, Mar 1971), pp. 6-7, 12.

154)      “Reviews, Kaspar and Other Plays; The Prince of Pleasure and His Regency; Embrace of Life: the Sculpture of Gustav Vigeland,” After Dark  (Mar 1971), pp. 73-74.

155)      “Folksinger Grimstad: Daughter of Famous Tenor,” Music Journal  (Mar 1971), pp. 62-65.

156)      “Theatre in Review: Saved, Johnny No-Trump,” Educational Theatre Journal  (Mar 1971), pp. 85-87.

157)      “Shop Talk With a British Playwright: David Storey Discusses Home and Other Scripts,” Dramatists’ Guild Quarterly  (Spring 1971), pp. 27-30.

158)      “Which Twin Has the Tony: Broadway Greets Twin Playwrights Peter and Tony Shaffer,” After Dark  (Apr 1971), pp. 21-23.

159)      “Like an Art School Should: NCSA in Winston-Salem,” After Dark  (Apr 1971), pp. 26-31.

160)      “Lulu: Rita Shane,” Opera News  (Apr 17, 1971), p. 26.

161)      “McCarter at the Rubicon,” Players  (Apr—May 1971), pp. 176-179.

162)      “Oh No!  The Cockettes!” Andy Warhol’s Inter/VIEW (Vol. II, No.2), pp. 7 & 36.

163)      “Review: School for Wives, Hedda Gabler, A Doll’s House,” Educational Theatre Journal  (May 1971), pp. 136, 205-6.

164)      “No Fooling Around With Follies,” Theatre Crafts  (May—Jun 1971), pp. 14-17, 32-34.

165)      “Music for the Theatre,” Theatre Crafts  (May—Jun 1971), pp. 22-25, 38-42.

166)      “Distance—Does It Lend Enchantment?” Theatre Crafts  (May—Jun 1971), pp. 26-28.