poignant from his years of work as a sound designer and consultant. Overall, the book, though written from a highly individual perspective, provides a much needed history of the evolution of sound as an aspect of theatrical production. Collison's style shows what we Americans would probably consider typical British reserve and understatement, but the book is well written and should be very interesting and useful to anyone involved in theatre audio. Though not a text for a beginning sound course, The Sound of Theatre should become a valuable resource for advanced students in the study of sound. The text should also prove of great interest to historians of theatre, especially through its compilation of information from scholarship and from primary sources. John Bracewell, author of Sound Design in the Theatre (1993), recieved USITT's Harold Burris-Meyer Distinguished Career in Sound Design Award for 2001. W I N T E R 2009 theatre design & technology 61