A Review

by Kim Snider


Book: Riley, J. (2021). Teaching Drama With, Without and About Gender: Resources, Ideas and Lesson Plans for Students 11−18 (1st ed.). Routledge. https://doi.org/10.4324/9781003080800

Gender is a timely topic in today’s classrooms, one whose impact is certainly felt in drama spaces. Jo Riley’s Teaching Drama With, Without and About Gender is a welcome addition to the field, offering ‘new insight into how existing drama units can be redefined to create a space where the exploration of gender identity is not only allowed but something exciting and joyful to focus on.’ 


In the introduction, Riley acknowledges the need for safety for 2SLGBTQ+ students, providing a succinct overview of gender concepts, including Judith Butler’s notion of ‘gender performativity,’ and a helpful glossary of terms. The author’s understanding of gender is nuanced and inclusive, and she positions drama as a site of inquiry to explore one’s identity, ‘practice at real life,’ and interrogate notions of gender with students.


Each chapter provides background on a range of drama in education and theatre forms, including children’s stories, mask, Elizabethan drama, and Japanese Noh theatre. Jonothan Neelands and Tony Goode’s conventions of role on the wall and still image are woven into practical sections, while more advanced lessons draw from theatre practitioners Augusto Boal and Robert Lepage. The book might feel a bit dense for novice drama teachers, but it offers a wide range of theatre forms that may pique their interest to dig deeper into these traditions. 


Chapters are divided into sections: teaching drama with, without, and about gender. Each one provides theoretical considerations and ‘excavations,’ with practical lesson ideas and prompting questions for students. In teaching drama with gender, the story of Peter Rabbit is used to explore emerging identities as students imagine how the story might change if Peter’s gender changes. Other lessons explore ‘shapeshifting’ in Grimms’ fairy tales and gender roles in the ancient epic of the Ramayana. Drama without gender offers techniques for mask work that move students away from gendered roles. Drama about gender examines the tradition of gender fluid casting in Elizabethan theatre and touches on the work of Merce Cunningham and Anne Bogart. Though some teachers might wish for more fully developed lesson ideas, these excavations are useful points of entry for educators who, like me, are rethinking the gender possibilities in the sources we teach. 


The book covers Western theatre as well as Asian theatre forms. Riley trained in and has written extensively about Chinese theatre, and her expertise is clear; however, I wanted more discussion of considerations for exploring world theatre forms with students without appropriating. It would also benefit from more explicit mention of 2SLGBTQ+ artists, characters, texts, and themes, as it is vital for 2SLGBTQ+ students to see themselves represented in class materials. Riley’s ideas are an excellent basis for a gender in drama unit, but what about gender in the day to day life of the drama classroom? Apart from a thoughtful discussion of safe vs. brave spaces in the introduction, there is little here on tackling thorny issues of prejudice, misogyny, and transphobia in schools. 


Overall, Teaching Drama With, Without and About Gender is an expansive and thoughtful resource for educators. It acknowledges theatre’s heavily gendered traditions while, at the same time, skillfully using them to problematize notions of gender and envision new, more liberatory ways to think about gender in our classrooms.