Publications
The Lines Between the Lines: How Stage Directions Affect Embodiment. Under contract with University of Michigan Press. Forthcoming fall 2021.
“Ruhls of the House: Surreal Spaces for Queer Homes in the Plays of Sarah Ruhl,”
Modern Drama 63, no. 3 (2020): 330-353. doi: 10.3138/md.63.3.1012. Article.
“Against Chronology: Intergenerational Pedagogical Approaches to Queer Theatre and Performance Histories,”
Theatre Topics 30, no. 2 (2020): 69-83. doi: 10.1353/tt.2020.0030.
Article co-written with Benjamin Gillespie.
“Burning the Bridge While Bridging the Gap: Riotous Pedagogy in
The Plough and the Stars riot of 1926,” in
Theatre Scandals: Social Dynamics of Turbulent Theatrical Events, edited by Vicki-Ann Cremona, Henri Schoenmakers, Bess Rowen, and Anneli Saro, 84-100. Leiden: Brill/Rodopi, 2020. doi: 10.1163/9789004433984. Book chapter.
“People Come to the Theatre to Feel Something Old: Branden Jacobs-Jenkins and Theatre History,”
Journal of Dramatic Theory and Criticism 33, no. 2 (2019): 81-94. doi: 10.1353/dtc.2019.0005. Interview with critical introduction.
“Crushing Her with the Weight of His Eloquence: Reconsidering the Theatricality of Eugene O’Neill’s Stage Directions,”
Eugene O’Neill Review 39, no. 2 (2019): 294-312. doi: 10.5325/eugeoneirevi.39.2.0294. Article.
“Undigested Reading: Rethinking Stage Directions through Affect,”
Theatre Journal 70, no. 3 (2018): 309-329. doi: 10.1353/tj.2018.0057. Article.
“Completing the Sentence with a Gesture: The Deconstructed Dialogue – Stage Direction Binary in the Work of Tennessee Williams,”
The Tennessee Williams Annual Review 15 (2016): 127-145. Article.
“Nobler Womanhood: An Exploration of Sororities and Scripted Femininity,”
Emerging Theatre Research 1 (2013): 21-53. doi: 10.12675/etr.2013.1121. Article.
“I Mumble the Body Electric, or (i)Phone, (u)Phone,”
Imagined Theatres 4 (2020). Accessed September 5, 2020.
http://imaginedtheatres.com/i-mumble-the-body-electric-or-iphone-uphone/. Short play.
“
Eugene O’Neill and the Tragic Tension,”
The Eugene O’Neill Review 41, no. 1 (2020): 92-95. doi: 10.5325/eugeoneirevi.41.1.0092. Book “re-review” of Doris V. Falk’s
Eugene O’Neill and the Tragic Tension.
“
Night of the Iguana,”
The Tennessee Williams Annual Review 19 (2020): 143-149. Performance review of
Night of the Iguana.
“
Kirche, Küche, Kinder: At Outrage for the Stage,”
The Tennessee Williams Annual Review 16 (2017): 101-104. Performance Review of
Kirche, Küche, Kinder.
“
The Two-Character Play,”
The Tennessee Williams Annual Review 14 (2014): 129-131. Performance Review of Tennessee Williams’s
The Two-Character Play.
“Gaga Feminism: Sex, Gender, and the End of Normal,”
Women & Performance: A Journal of Feminist Theory (2014): 1-3. DOI: 10.1080/0740770X.2014.898424. Book Review of J. Jack Halberstam’s
Gaga Feminism: Sex, Gender, and the End of Normal.
“Titled Feminist Review,”
Women & Performance: A Journal of Feminist Theory 23 (2013): 150-152. DOI: 10.1080/0740770X.2013.827377. Performance Review of Young Jean Lee’s
Untitled Feminist Show.
“The Complete & Condensed Stage Directions of Eugene O’Neill: Vol. 1 Early Plays/Lost Plays and Early Plays,”
Theatre Journal 64.3 (2012): 409-412. Dual Performance Review of The New York Neo-Futurists’
The Complete & Condensed Stage Directions of Eugene O’Neill: Volume 1, Early Plays/Lost Plays and New York City Players’
Early Plays.
“The Spirit of the Age:
Orlando,”
Women & Performance: A Journal of Feminist Theory 21 (2011): 286-287. DOI: 10.1080/0740770X.2011.607605. Performance Review of Sarah Ruhl’s
Orlando.
