This epilogue offers a rumination on the continuing place of the modernist theatre in the plays and performance practices of the latter twentieth century and beyond. It begins with the aesthetic disputes staged within Lorraine Hansberry’s The Sign in Sidney Brustein’s Window, written and set at the cusp of the transition from the modern to the postmodern. The shadow of modernism looms large over Hansberry’s characters, just as it does over many of the plays and productions to follow. From the evergreen influence of the avant-gardists to the long-lasting legacy of a figure like Bertolt Brecht to the perpetual restagings and radical rewriting of works by Henrik Ibsen or August Strindberg, the figures and aesthetics of the modernist era permeate and help give shape to the postmodern. Far from a retrograde revolution, modernism may best be regarded as a still-living mode of aesthetic and theatrical practice.