I am committed to cross-disciplinary work, believing that disciplines such as history, literature, and theater are not discrete units, but fields that inform one another and work together to both produce and reproduce culture. I believe this passion helps me design courses and learning opportunities that realize the University’s mission “to prepare our students to lead purposeful and fulfilling lives in a global society by providing the highest-quality education through experiential, collaborative and discovery-based learning.” This philosophy informs both my approach to teaching, in courses such as Production Dramaturgy, and my scholarship, in essays such as "Metatheatrical Labor in Rude Mechanicals’ The Method Gun," which I presented at the American Society for theater Research's annual conference in 2011. I am particularly invested in helping students engage in the learning process and hope that they can develop personal strategies that allow them to recognize the value of writing as a way to make critical thinking an active, physical process and enable them to develop the skills and the confidence to enthusiastically, publicly articulate their points of view.
Ph.D., The University of Texas at Austin
Dissertation: “. . . give us the history we haven’t had, make us the women we can’t be”: Motherhood & History in
Plays by Caryl Churchill and Pam Gems, 1976-1984
M.F.A., The University of Georgia
B.A., Suffolk University, Boston, MA
“Got to Get Over the Hump: The Politics of Glam in the Work of Labelle and Parliament.” Taking it to the Bridge: Music as Performance. Eds. Nicholas Cook and Richard Pettengill. U of Michigan P, 2013. 155-179.
“Value, Voice, and Identity in Three Birds Alighting on a Field.” International Dramaturgy: Translation and Transformation in the Theater of Timberlake Wertenbaker. Eds. Sara Freeman and Maya Roth. Peter Lang, 2008. 195-208.
“Utopia in absentia: Staging Possibilities in Kirk Lynn’s WAR.” Drama and the Postmodern: Assessing the Limits of Metatheatre. Ed. Daniel K. Jernigan. Cambria, 2008. 327-349.
“Performing Arts: Performers.” Encyclopedia of Women in World History. Eds. Bonnie G. Smith, et al. Oxford UP, 2008. 437-441.
“Danse Macabre: The Waltz as Utopian Performative in The Baltimore Waltz and Arcadia,” “Literature and Dance: Interactions and Reactions” seminar, Northeast Modern Language Association (NEMLA), Boston, MA, March 2013
“Choreographing Diversity and the American Experience: Myra Kinch & Group, Federal Theatre Project, 1937-1939,” “Experiments in Democracy: Performing an Interracial and Multicultural America, 1900-1950” working group, American Society for Theatre Research (ASTR), Nashville, TN, November 2012
“Metatheatrical Labor in Rude Mechanicals’ The Method Gun,” “Spectacles of Labor” working group, American Society for Theater Research (ASTR), Montreal, Canada, November 2011
“She Was Always Sad: Remembering Mother in Caryl Churchill's Not Enough Oxygen and A Number,” Symposium: Performing Motherhood in Modern and Contemporary Drama, Mount Allison University, Sackville, New Brunswick, Canada, October 2008.
“‘I Want You to Bring it up in the Conversation’: Value, Voice, and Identity in Three Birds Alighting on a Field,” International Dramaturgy: Translations and Transformations, A Symposium on the Theater of Timberlake Wertenbaker, Georgetown University, March 2006
Tom Stoppard's Arcadia, directed by Rachel Anderson-Rabern, Fall 2012
Stephen Sondheim and James Lapine's Into the Woods, directed by Heather Reba, Spring 2013
Mary Zimmerman's The Secret in the Wings, directed by Rachel Anderson-Rabern, Fall 2013
ENGL 1110 Composition & Literature
ENGL 2212 Modern British Writers
ENGL 3341 Shakespeare
ENGL 3353 Romantic Era
ENGL 4481 Comedy: Ancient Greek to Contemporary Drama
ENGL 4491 Production Dramaturgy