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The United States is one of a very few Western industrial democracies to not have an institution designated as a National Theatre. Indeed, their are numerous nations of far less affluence that boast such world-class institutions. How is it that the "last best hope of man" should lack such a commonplace institution? This book explores this question and argues that the truest form of American national theatre can be found in the decentralized Regional theatre system. Though decentralized, these "Regionals" are capable of producing world-class work on par with any of the "nationals." Further, it examines the cultural role decentralization has played in American history, particularly in light of the debates over Federalism and the works of Alexis de Tocqueville. Despite decentralization, this book posits that it is still talk about a coherent "national theatre" through the work of the contemporary dramaturg. In the end, dramaturgy is the unifying force behind any cohesive theatre for the United States. Engaging this structural difference, and learning how to properly exploit it, will pay dividends for future artists and the makers of cultural policy.

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Holds a Master of Fine Arts in Performing Arts. He studied Theatre and Political Theory at Texas A&M University-Commerce and Michigan State University. He is a freelance dramaturg and director. His projects include the founding and Artistic direction of the Coastal Empire New Play Festival in Savannah, GA.

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