“‘Why Even Parody These Characters?’: Jill Johnston, The Wooster Group, and Vanguard-itis,” ASAP/Journal, forthcoming (2024).

(Photo by Zbigniew Bzymek)

“Vinnette Carroll, Langston Hughes, and the Creation of the Gospel Song-Play,” in The Great North American Stage Directors, Vol. 4eds. Chase Bringardner and Henry Bial (Bloomsbury Methuen Drama, 2021), 119-149.

Mabou Mines’ Dead End Kids and Performing Artists for Nuclear Disarmament,” in Side by Side: Collaborative Artistic Practices in the United States, 1960s1980s, eds. Gwyneth Shanks and Allie Tepper, Vol. III of the Living Collections Catalogue (Minneapolis: Walker Art Center, 2020).

Television as Theatre Text in the Austere Academy: A Curricular Exploration,” RiDE: The Journal of Applied Theatre and Performance 24.3: Creative Pedagogies, Neoliberal Realities (August 2019): 299-315.

“Marching Off-Beat and On Screen: New York’s Reform Movements & Charles Hale Hoyt’s A Milk White Flag,” in Performing the Progressive Era: Immigration, Urban Life, and Nationalism on Stage, 1890-1920, eds. J. Christopher Westgate and Max Shulman (University of Iowa Press, 2019).

Hidden Vacancies: Theatre and Real Estate,” Contemporary Theatre Review 27.2 (June 2017)eds. Ella Parry-Davies and Elyssa Livergant, invited contribution for the online “Interventions.”

(Image: Martha Cooper)

Institutional ‘Landing Sites’ and Uneven Cultural Development: Planned Shrinkage and La Mama E.T.C.,” Performance Research Vol. 20, No. 4: ‘On Institutions’ (September 2015): 53-61.

“Live from the Nebulizer: Annie Lanzillotto and Eviction Survival,” in Lateral Journal, Performance and Cultural Studies Special Issue (September 2015).

(Photo by Marlène Ramírez-Cancio)

“Walking the Elastic City: An Interview with Niegel Smith and Todd Shalom of Elastic City,” in Radical History Review 114: Voyeurs, Walkers, and the Politics of Urban Space (Fall 2012): 191-205.

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