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This article outlines substantial recent transformations in Irish theatre and argues that much contemporary work has been focused on addressing the social and economic turbulences that Ireland has been experiencing by zooming in on the attendant anxieties and fears. It examines this thematic area in conjunction both with theatrical form and with the effect on the spectators, dividing plays and productions into four categories. The first of these includes works that have depicted Ireland and its anxieties by way of allegory; Mark Doherty’s (2004) and Michael West and Corn Exchange’s (2009) are discussed as examples reflecting different stages of recent Irish history. The second category features works focused on the anxieties of economically marginalised individuals and groups; detailed analysis is provided of ANU Productions’ (2012) as an instance of radical site-specific theatre that instigates fear in the spectators. Works in the third category centre on gender identity and the anxieties experienced by LGBT individuals; the fictitious docudrama by Amy Conroy is singled out as an instance of exciting emancipatory theatre. The fourth category is comprised of works dealing with the legacy of the Troubles in Northern Ireland and revolving around the fears and frustrations that concern the future; the recent plays by David Ireland, particularly the dark comedy , are discussed as representative of outlining the indelible effects of nationalism on individual identity and ending on a pessimistic note.

The Editor would like to publicly acknowledge the people listed below who served as reviewers on the journal during 2017. Without their efforts, the quality of the journal could not be sustained. Aasly, Jan Abadie, Caroline Abbott, Catherine Achermann, John Addis, Laura Aissani, Brahim Akizu, Naiara Al-Hertani, Walla Alhenc-Gelas, Francois Allikmets, Rando Altunoglu, Umut Anikster, Yair Ardissone, Anna Aretz, Stefan Arun, Banu Ataliotis, Paris Babovic-Vuksanovic, Dusica Balasubramanian, Meena Banfi, Sandro Barone, Rita Beales, Philip L Begemann, Matthias Behrens, Juergen Benusiglio, Patrick Berman, Jason Bertier, Gabrielle Bichet, Daniel Bijlsma, E Bindoff, Laurence Bitner-Glindzicz, Maria Blair, Michael Bliek, Jet Bochukova, Elena Bonaglia, Maria Clara Borck, Guntram Brohet, Richard Buiting, Karin Burdon, Kathryn Byers, Peter Campeau, Philippe Cannavo, Salvatore Capellá, Gabriel Cassone, Marco Castellanos, Elisabeth Chen, Jau-Nian Chenevix-Trench, Georgia Chevrette, Mario Chiapparini, Luisa Chung, Wendy Cleaver, James Colige, Alain Comi, Giacomo Pietro Cormier-Daire, Valerie Correa, Stephanie D'Silva, Patrick Daly, Adrian Darin, Niklas De Baere, Elfride De Marco, Patrizia Delisle, Jean-Sebastien Désilets, Valérie Devriendt, Koenraad Di Gioia, Alessandro Diodato, Daria Doble, Brett Dowling, James J Ebrahimi-Fakhari, Darius Eggermann, Thomas Eng, Charis Eppert, Kolja Errichiello, Edoardo Evans, D Gareth Falik-Zaccai, Tzipora Fan, Yuxin Fedorcsak, Peter Fichou, Yann Fish, Jason Flinter, Frances Fornasari, Diego Forsythe, Elizabeth Foulkes, William Gabellini, Davide Gale, Daniel Garavelli, Livia Gaston, Daniel Ghezzi, Daniele Giambona, Antonino Gillespie, Shannon Goffrini, Paola Goker-Alpan, Ozlem Goldgar, David Gonzàlez-Duarte, Roser Grarup, Niels Graziano, Claudio Graziano, Francesca Guerrini, Renzo Guilford, Parry Gunnarsson, Gunnar Gurnett, Christina Hall, Judith Haroon, Saroona Has, Cristina He, Yuxian Hehir-Kwa, Jayne Henriksen, Rudi Herbert, Mary Hitchins, Megan P Höiom, Veronica Houdayer, Claude Houge, Gunnar Huntsman, David Jackson, Leigh Jean-Paul, Bonnefont Jiang, Xia Jin, Tianbo John, Rosalind Jongmans, Marjolijn Kaariainen, Helena Kaiser, Frank Kalamarides, Michel Kalish, Jennifer Kamihara, Junne Karjalainen, Minna Keegan, Catherine Kernohan, Kristin Kibar, Zoha Kim, J M Kleinman, Claudia Korbel, Jan Kratz, Christian Krawitz, Peter Kurotaki, Naohiro Lahm, Harald Laing, Nigel Lalani, Seema Lauritzen, Lotte Lee, Soong Deok Lemke, Johannes Lenders, Malte Leonard, Helen Lesca, Gaetan Leuzzi, Vincenzo Lheureux, Stephanie Li, Quan Ligtenberg, Marjolijn Lindblom, Annika Lindstrand, Anna Links, Thera Linthorst, Gabor Liu, Chunyu Liu, Xiaoming Lombardo, Rachel Lombes, Anne Lu, Chuncheng Ludwig, Michael Lundin, Johanna Lupashin, Vladimir Ma, Duan Ma, Yiyi Mackay, Deborah Maekawa, Masato Magini, Pamela Makitie, Outi Malfait, Fransiska Matsunaga, Tatsuo Mazer, Bruce McGowan-Jordan, Jean McKelvey, Kent Meiser, Bettina Meyer, Sascha Michaud, Jacques Miettinen, Markku Mitchell, Michael Miyake, Masahiro Miyamoto, Toshinobu Moffatt, Pierre Molday, Robert S Morava, Eva Mossman, Jim Muscatelli, Francoise Musunuru, Kiran Najmabadi, Hossein Napolioni, Valerio Narod, Steven Netzer, C Ngeow, Joanne Niu, Dau-Ming Novara, Francesca Oosterwijk, Jan Opladen, Thomas Ounap, Katrin Pasquier, Laurent Pegoraro, Elena Plecko, Barbara Polychronakos, Constantin Poot, Martin Poulter, James Poulton, Joanna Preuss, Christoph Pysden, Karen Quan, Dianna Radvanszky, Jan Ragoussis, Jiannis Rak, Janusz Ranzani, Guglielmina Ray, Pierre Richard, Stephane Rizzo, William B Roosing, Susanne Ross, Elizabeth Rouault, Tracey A Roudier, Jean Rubini, Michele Ruiz-Narvaez, Edward A Ruiz-Pérez, Victor Russo, Antonio Sablonnière, Bernard Salomons, Gajja Santorelli, Filippo Sarasua, Sara M Sawyer, Sarah Scarpa, Maurizio Scherer, Stephen Schiffman, R Schuelke, Markus Schultz, Kris Ann Schutte, Brian Scott, Rodney Sebag, Michael Seixas, Susana Severino, Mariasavina Shalev, Stavit Shea, Lindsay Shields, Beverley Shivarov, Velizar Sillence, David Silvestri, Gabriella Simmaco, Maurizio Sisodiya, Sanjay Smith, Caren Soares, Paula Southey, Melissa Sparrow, Duncan Spielmann, Malte Steffann, Julie Stevenson, Roger Storry, Jill Striano, Pasquale Stumpel, Constanze Su, Yan Sukarova-Angelovska, E Sunde, Lone Swaroop, Anand Takahashi, Y Tarnopolsky, Mark Tartaglia, M Thevenon, Julien Thireau, Jérome Thorburn, David Tischkowitz, Marc Tomlinson, Ian Tommerup, Niels Toriello, Helga Tory, Kálmán Touré, Aminata Trakadis, Yannis Tucker, Kathy Tuffery-Giraud, Sylvie Turnpenny, Peter Ungar, Daniel Urreizti, Roser Valle, Laura Van den Veyver, Ignatia van Dijk, Fleur Van Esch, Hilde van Karnebeek, Clara Varilo, Teppo Viel, Alessandra Volpi, Nicola von Oettingen, Julia Vujkovac, Bojan Walsh, Kyle Warrick, John Weiss, Karin Weksberg, Rosanna West, Michael Wevers, Ron Wevrick, Rachel Wezel van, T Wiggs, Janey Wolf, Nicole Wong, C Xia, Fan Xu, Xiang-Min Yatsenko, Alexander Yotti, Raquel Zaucke, Frank Zhang, Wei Zoller, Heinz Zweier, Christiane

This essay examines the production of Global English through literary texts by examining three adaptations of Edgar Allan Poe’s short story “The Gold Bug” in the 1930s by competing figures in the vocabulary control movement—Harold Palmer, Michael West, and C. K. Ogden—leaders in the formation of the field of applied linguistics. The first part of the essay explains the colonial origins of the vocabulary word list and its ascendant value in the interwar period for the new discipline of applied linguistics, and as part of the competition for English language textbooks. This leads to an analysis of these three simplifications of Poe’s story that demonstrates how the language politics in Poe’s story provides a structure through which to express a nascent Global English ideology regarding race, vernacular, and auxiliary languages.

\"The bulk of the elements you would require if you want to have long term settlements could be found on Mars,\" says [Michael West]. \"[But] it's unlikely in the near term that we're going to see large-scale mining operations on the surface of Mars\" \"It's possible that there's copper, zinc, lead. Wherever on Earth there is hydrothermal activity you tend to find those minerals.\" \"It's a planet with the same surface area as Earth, but we've only been to about 10 places,\" he says. \"There's still a lot to explore.\"