Second Dialect Acquisition

that they find essential to their understanding of theater practice. Voice attempts to do something different as a Reader. Boston writes, “In keeping with the ethos of the series [. . .] the main thrust is about why and in what ways the practices in voice have developed” (xi). In this, Boston excels. She has created pockets of analysis that contribute original thinking to voice performance and training, in part because she is uniquely placed to speak to both scholars and practitioners. This book does “examine the formation and development of theater-based voice practices” and “encourages reflection on the subject” (xi) and as such makes a significant contribution to the development of voice studies. Whatever she has left out, to the disappointment of this or that reader, can be seen as a secondary call to action. Let us hope it does not take another 20 years before we see further examinations of the prevailing orthodoxies and “new ways of conceptualizing the voice and its function in theatre” (xi).