“Mabou Mines’ Dead End Kids & Performing Artists for Nuclear Disarmament” was published in Side by Side: Collaborative Artistic Practices in the United States, 1960s–1980s, co-edited by Gwyneth Shanks and Allie Tepper. Vol. III of the Walker Art Center’s Living Collections Catalogue features five new case studies that explore the aesthetic and affective conditions that arise from collective practice.
Performance studies scholar and theater historian Hillary Miller offers a new study of the 1980 production of Dead End Kids: A History of Nuclear Power by the New York-based avant-garde theater collective, Mabou Mines. Through a close reading of the play, Miller explores the relationship between this production and the little researched organization, Performing Artists for Nuclear Disarmament (PAND), revealing the correlations between collaboratively-generated theater practices and concurrent protest movements.