ALBERT BERMEL, Professor of Theatre at Lehman College and Acting Executive Officer of the Ph.D. Program in Theatre at the Graduate Center of C.U.N.Y., is the author of Contradictory Characters, Arlaud's Theatre of Cruelty, One-Act Comedies of Moliere, several recent translations of longer works by Molière, and Farce: A History from Aristophanes to Woody Allen.

STEPHEN A. BLACK, Professor of English at Simon Fraser University, spoke on "O'Neill in Mourning" at the conference on "Eugene O'Neill--the Later Years" at Suffolk University in Boston in May 1986, and on "The War Among the Tyrones" at the convention of the Northeast Modern Language Association in the same city this April.

MARSHALL BROOKS is associate editor of the Newsletter and editor of the literary magazine Nostoc. The latest publication of Arts End Books, which he operates, is Blackness of a White Night: Stories and Poems, his own edition of the work of American writer Sherry Mangan (1904-1961). $13.00 Cloth (ISBN 0-933292-16-3), $6.50 Paper (ISBN 0-933292-17-1). For copies, write to Arts End Books, Box 162, Newton, MA 02168.

SHEILA HICKEY GARVEY, who teaches acting, directing and theatre history at Dickinson College, where she also directs productions in the performance program, led two sessions at the 1986 O'Neill conference in Boston. She is revising for publication her doctoral dissertation---a history of the Circle in the Square Theatre in New York.

ISRAEL HOROVITZ, Artistic Director of the Gloucester Stage Company in Massachusetts, is one of America's most prolific and respected playwrights. In the last three decades, more than 50 Horovitz plays have been translated and produced in more than 20 languages worldwide. Among his best known plays are The Indian Wants the Bronx, Line, The Wakefield Play (a seven-play cycle), The Primary English Class (the longest running play in Canadian theatre history), The Widow's Blind Date, a "growing up Jewish" trilogy (Today I Am A  Fountain Pen, A Rosen By Any Other Name, and The Chopin Playoffs) that was produced in 1986 by the American Jewish Theatre in New York City, North Shore Fish, and The Year of the Duck, which had its world premiere at the Portland (ME) Stage Company last March.

JAMES C. McKELLY is an Associate Instructor of English at Indiana University, where he is completing a doctorate in 20th century American literature and drama. The Newsletter is proud to sponsor, in this issue, his first publication--an auspicious start, we feel, for a most promising scholarly career.

TOM J. A. OLSSON, Curator of the Archives and Library of the Royal Dramatic Theatre in Stockholm, is the author of O'Neill och Dramaten (O'Neill and the Royal Dramatic), a study of that theatre's pioneering premieres of O'Neill's last plays and of the playwright's relations with Sweden in general. Dr. Olsson is organizing, with the Royal Dramatic, an international O'Neill-Strindberg symposium that will be held in Stockholm on May 24-27, 1988.

JAMES P. PETTEGROVE has written extensively about O'Neill and German--language productions of his plays. His "Eugene O'Neill as Thinker" appeared in Maske and Kothurn, 10 (1964), 617-624; and his "O'Neill on the German-Language Stage" appeared in the Spring 1985 issue of the Newsletter (pp. 36-39).

JEFFREY E. SANDS is a doctoral candidate in theatre history and criticism at the University of Illinois at Champaign-Urbana. He will present a paper, "O'Neill in Revival During the 'Silent Years,' 1934-1946," as part of the O'Neill Centennial Lecture Program series at Connecticut College in 1988.

LOUIS SHEAFFER is the author of the two-volume biography, O'Neill: Son and Playwright (1968), which won the George Freedly Award of the Theater Library Association as the best theater book of its year, and O'Neill: Son and Artist, winner of the 1974 Pulitzer Prize for biography. He is presently at work on a study of publications about O'Neill, and an illustrated volume surveying O'Neill's life and career.

GARY VENA is Assistant Professor of Speech at Manhattan College. His doctoral dissertation (NYU, 1984) was on the 1946 Theatre. Guild production of The Iceman Cometh, also the subject of an essay in the Winter 1985 issue of the Newsletter (pp. 11--17) and a paper in the "production history" session at the 1986 conference on "Eugene O'Neill--the Later Years" at Suffolk University in Boston.