Gabriele Griffin's study of black and Asian women playwrights in contemporary Britain fills a gap in British theatre studies. Although a comprehensive study of black British theatre has yet to see print, two developments have, in the past decade or so, begun to stimulate critical attention in the field. One is the publication of plays by black and Asian authors, including collections of plays exclusively by women (such as Khadija George's edition of Six Plays by Black and Asian Women Writers of 1993), as well as the more systematic inclusion of works by writers such as Winsome Pinnock and Trish Cooke in anthologies of plays by new British dramatists. A second is the work of British cultural-studies scholars and sociologists during the same period, which has offered theatre historians some new approaches and challenges: Kobena Mercer's Welcome to the Jungle (1994); Catherine Ugwu's Let's Get It On (1995); Baker et al.'s Black British Cultural Studies (1996); Heidi Mirza's edited volume Black British Feminism (1997)—not to mention a vast body of work by Stuart Hall, Avtar Brah, Paul Gilroy, and others. Still, as Griffin notes at the outset, while immigrant and second-generation novels and films have received attention and accolades, black British theatre has tended to be ignored except by a handful of feminist theatre scholars.