Historiography, or the writing of history, has gained significant ground in theatre scholarship over the past few decades, but its impact on children’s theatre, or Theatre for Young Audiences (TYA) as it is now commonly referred to, has been generally ignored. Nonetheless, the way in which historians constructed a narrative, derived from the critical examination of their selection and interpretation of facts that is colored by their own ideological positions and identity locations, has greatly impacted TYA. The field is fraught with myths and axioms perpetuated through history in various cultural and sociological contexts.1 From Mark Twain in the United States to Alexandra Gozenpud in Soviet Russia, writers have claimed “firsts,” “most significants,” and “influentials,” constructing an image of the field that was at the very least incomplete, periodizing and situating it in a liminal and limiting frame of what Roger Bedard coined as “theatre-but-not-theatre” (“Negotiating” 98).