In the “last analysis” the concern must always be for insight. Saul Bellow made it a demand: “Now I want insight.” So, too, should the reader of theatre history. Unfortunately, in the vast majority of recently published material on American theatre history that demand is not being met. Among the many young scholars researching and writing on this subject, few appear even to aspire to that mastery of the material which will produce major scholarship. The old guard persists, but today's youthful historians of American theatre tend toward an annual birth and death pattern rather than perennial growth. Obviously, such an observation should not be construed as an adverse criticism of all existing scholarship; yet, it does describe a general condition of research in American theatre history. There are surveys, general observations, memoirs, descriptions, expository and critical essays on various topics, studies of theatres and playwrights, essays on popular entertainment and ethnic or racial theatre. Some of these publications contribute meaningfully to an understanding of American theatre; few, however, suggest insight into the history of that theatre.