"This book would be of particular interest to researchers investigating the general topics of arts and exhibitions, and the role of international fairs in presenting new concepts in art and design to a world audience. In addition, for scholars of Soviet history this book provides detailed information on the topics of the Soviet Union’s self-image and how it tried to depict itself to the outside world in its first decade of existence, as well as the early Soviets’ attitudes on the role of the arts in promoting their country."
Ayse Dietrich, Middle East Technical University, International Journal of Russian Studies
"Both engaging and informative, April in Paris offers the reader the ultimate experience: to go back in time as if strolling through the Grand Palais and the numerous pavilions which presented their diverse national achievements and ambitions."
Catherine Gaughan, The French Review
"April in Paris is a consistently engaging and insightful monograph, full of the connections that provoke further study."
Laurence Senelick, Theatre Journal
"Organizing her study through a series of questions that bring to the fore the role of modern theater design in charting new forms of space, creativity, and audience, Makaryk also tracks for readers the cultural dynamics of expositions and the role of recalcitrance, primarily on the part of the exposition’s planning committee, in dampening the impact the most modern designs and theatrical experiments could have had on the evolution of theater."
Jordana Mendelsohn, Slavic Review
"Makaryk’s book is a useful addition to literature on both the Paris 1925 Exposition and theatrical modernism and its dissemination, and it is especially heartening to see these topics addressed together. Long may the revolution continue."
Alexandra Chiriac, Art Margins
"The combination of analysis of theatrical art and a chronological and geographical expansion of the history of the 1925 expo makes this book an important study for understanding the pivotal moment that this international show represents in Western cultural history."
Juliette Milbach, H-SHERA
"Makaryk gives a graphic account and gathers up the threads of her thoroughly researched and documented narrative of the international cultural significance of the spectator-designer-performer nexus in this period."
Natalie Rewa, Queen’s University, University of Toronto Quarterly
"Overall, April in Paris is extremely well researched, informative, and very readable."
Maureen Boulanger, Chukyo University Repository for Academic Resources
"For those interested in modernism in theater arts, this book analyzes a crucial moment on the global stage that captures a diverging yet linked path between revolution and restoration, internationalism and nationalism."
Tara M. Wheelwright, Brown University, Slavic and East European Journal
"This book allows us to see that our very understanding of theatrical modernism, even modernism itself, as crafted for and around the Paris Expo, is impoverished if we do not see it as arising explicitly within, and informed by, particular spaces and the meanings ascribed to them."
Charles R. Batson, Union College, French History
"With highly original material and analysis, April in Paris fills a gap in our knowledge of international expositions, and offers an interesting perspective on Soviet attempts to interact with a world that was not ready to recognize the Bolshevik government. Irena R. Makaryk’s work underscores the importance of theatre in the history of modernism."
Alison Rowley, professor of History, Concordia University
"Well written, accessible, and engaging, April in Paris brings together interesting and surprising threads in order to illuminate modernist culture and its influence on the rest of the twentieth century."
Ihor Junyk, associate professor of Cultural Studies, Trent University
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