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date: 16 October 2019

(p. xviii) (p. xix) List of Contributors

(p. xviii) (p. xix) List of Contributors

Misty G. Anderson

is Professor of English and adjunct Professor of Theatre at the University of Tennessee, Knoxville. She edits the journal Restoration: English Literature Culture, 1660–1700 and is the author of Imagining Methodism in Eighteenth-Century Britain: Enthusiasm, Belief, and the Borders of the Self (2012) and of Female Playwrights and Eighteenth-Century Comedy: Negotiating Marriage on the London Stage (2002).

Paula R. Backscheider

is Stevens Eminent Scholar at Auburn University. She is the author of Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England (1993). Her Daniel Defoe: His Life (1992) won the British Council Prize and Eighteenth-Century Women Poets and their Poetry (2005) received the MLA James Russell Lowell Prize. Her book-in-progress is a study of times when the theatre was an important participant in social and political controversies.

Kathryn R. Barush

is a Postdoctoral Research Associate at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. She completed her doctoral dissertation on pilgrimage and the visual imagination in early-to-mid-nineteenth-century Britain, at Oxford University, where she also helped to annotate and digitize an edition of William Godwin’s Diary. She is currently preparing her dissertation for publication.

Nandini Bhattacharya

is Professor of English at Texas A&M University, where she is an affiliate of the Women’s Studies, Africana Studies, and Film Studies programmes. She has taught and published on feminism and visual culture, colonial and post-colonial analyses of eighteenth-century literature, and gender in South Asia. Her most recent book is Slavery, Colonialism, and Connoisseurship: Gender and Eighteenth-Century Literary Transnationalism (2006).

Colin Blumenau

is the former artistic director and chief executive of the Regency-era Theatre Royal, Bury St Edmunds. During his tenure the building was restored to its original 1819 state, whilst his Restoring the Repertoire initiative gained national prominence as it began to explore some of the forgotten works of the English drama of the Georgian period. He also writes plays of his own under the pseudonym of Daniel O’Brien.

Betsy Bolton

is Professor of English at Swarthmore College. She has published essays on theatricality and imperialism, and is the author of Women, Nationalism, and the Romantic Stage: Theatre and Politics in Britain, 1780–1800 (2001). She is currently working on two (p. xx) books, provisionally entitled The Secret Celebrity of Romantic Psychology and Romantic Lyric and the Public Imagination.

Helen E. M. Brooks

is Lecturer in Drama at the University of Kent. She is associate editor of the forthcoming Encyclopedia of British Literature 1660–1789, and has published articles on eighteenth-century women as actresses and theatre managers, on private theatricals, and on performance historiography. She is currently completing a monograph examining actresses and their engagement with various female identities over the course of the eighteenth century.

Matthew S. Buckley

is Associate Professor of English at Rutgers University. He has published widely on Georgian and Victorian drama, and is author of Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama (2006). He is currently working on Becoming Melodramatic, a study of the formal and cultural development of early stage melodrama.

Michael Burden

is Professor in Opera Studies at the University of Oxford, and Fellow in Music at New College. He has published widely on the staging of opera and dance in London in the seventeenth to nineteenth centuries. He is currently working on two databases, The Italian Aria on the London Stage before 1801, and The London Stage 1800–1900. His study of the soprano Regina Mingotti’s London years, and a five-volume collection of opera documents, London Opera Observed 1711–1844, were published in 2013.

Catherine Burroughs

is the Ruth and Albert Koch Professor of English at Wells College. She is the author of Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers (1997), as well as many articles on British Romantic drama. She edited Women in British Romantic Theatre: Drama, Performance, and Society, 1790–1840 (2000), and co-edited Reading the Social Body (1993) and Approaches to Teaching Early British Women Playwrights (2010).

Frederick Burwick, Research Professor at UCLA, is the author and editor of twenty-eight books, including Illusion and the Drama (1991) and Poetic Madness and the Romantic Imagination (1996). He has been named Distinguished Scholar by both the British Academy (1992) and the Keats–Shelley Association (1998). His recent monographs include Romantic Drama: Acting and Reacting (2009) and Playing to the Crowd: London Popular Theatre, 1780–1830 (2011).

Marvin Carlson

is the Sidney E. Cohn Professor of Theatre, Comparative Literature and Middle Eastern Studies at the Graduate Center of the City University of New York. He is the recipient of the ATHE Career Achievement Award, the ASTR Distinguished Scholarship Award, the George Jean Nathan Award for Dramatic Criticism, and the Calloway Prize for writing in theatre. He is the founding editor of the journal Western European Stages, and is the author of twenty-one books.

(p. xxi) Mita Choudhury

teaches eighteenth-century British literature and culture in the Department of English and Philosophy at Purdue University Calumet. She is author of Interculturalism and Resistance in the London Theatre, 1660–1800: Identity, Performance, Empire (2000) and co-editor of Monstrous Dreams of Reason: Body, Self, and Other in the Enlightenment (2002). Currently, she is working on a book entitled Nation-space in Britain, 1660–1800.

Jeffrey N. Cox

is Professor of English, of Comparative Literature, and of Humanities at the University of Colorado Boulder. His publications include In the Shadows of Romance: Romantic Tragic Drama in Germany, England, and France (1987; rpt. 2011), Poetry and Politics in the Cockney School: Shelley, Keats, Hunt, and their Circle (1998), and Keats’s Poetry and Prose (2008).

Thomas C. Crochunis

is Assistant Professor of English at Shippensburg University. He is co-editor of the online project ‘British Women Playwrights around 1800’ and the forthcoming Broadview Anthology of British Women Playwrights, 1777–1843. He edited the collection Joanna Baillie, Romantic Dramatist: Critical Essays (2004). He has published work on gothic drama, women playwrights, and humanities scholarship online.

Jim Davis

is Professor of Theatre Studies at the University of Warwick. His major research interest is in nineteenth-century British theatre and his most recent books are Victorian Pantomime: A Collection of Critical Essays (2010)—the first academic book devoted exclusively to this topic—and Lives of the Great Shakespearian Actors: Edmund Kean (2009). He is also joint-author of a study of London theatre audiences in the nineteenth century Reflecting the Audience: London Theatre-going 1840–1880 (2001).

Frank Felsenstein

is the Reed D. Voran Honors Distinguished Professor of Humanities at Ball State University, Indiana. His publications on Inkle and Yarico include English Trader, Indian Maid: Representing Gender, Race, and Slavery in the New World (1999), and John Thelwall: Two Plays (2006). His most recent book is an edition of Tobias Smollett's Travels through France and Italy (2011).

John Gardner

is Principal Lecturer in English Literature at Anglia Ruskin University. He mainly teaches eighteenth and nineteenth century literature and culture. His recent research has focused on poetry and politics in the years following the battle of Waterloo, which he explores in his book Poetry and Popular Protest: Peterloo, Cato Street and the Queen Caroline Controversy (2011).

Penny Gay

is Professor Emerita of English and Drama, University of Sydney. Her publications include Jane Austen and the Theatre (2002), As She Likes It: Shakespeare’s Unruly Women (1994), and The Cambridge Introduction to Shakespeare’s Comedies (2008), as well as a chapter in The Cambridge Companion to Jane Austen (2nd edn., 2011). Her current research is on the roles written for actresses in eighteenth-century drama.

Odai Johnson

is Professor in theatre history at the University of Washington’s school of Drama. He is also director of the University’s Center for Performance Studies. His books (p. xxii) include Rehearsing the Revolution (1999), The Colonial American Stage: A Documentary Calendar (2001), and Absence and Memory on the Colonial American Stage (2005). His current book project is entitled Ruins: Classical Theatre and the Archeology of Memory.

Prithi Kanakamedala

is the historian for a public history project entitled In Pursuit of Freedom that examines Brooklyn’s anti-slavery movement. She teaches at New York City College of Technology, Brooklyn. Her interdisciplinary work looks at the transnational histories of the Atlantic with a focus on the representation of black identity. She is currently working on a book that examines theatre ephemera and Atlantic slavery during the nineteenth century.

Matthew J. Kinservik

is Professor of English and Associate Dean for the Humanities at the University of Delaware. His research focuses on issues of censorship, sexuality, and celebrity in the eighteenth-century British theatre world. His books include Disciplining Satire: The Censorship of Satiric Comedy on the Eighteenth-Century London Stage (2002) and Sex, Scandal, and Celebrity in Late Eighteenth-Century England (2007).

Jean I. Marsden

is Professor of English at the University of Connecticut, where she teaches eighteenth-century literature and drama. She is the author of Fatal Desire: Women, Sexuality, and the English Stage, 1660–1720 (2006), The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory (1995), and, as editor, The Appropriation of Shakespeare: Post-Renaissance Reconstructions of the Works and the Myth (1991).

Heather McPherson

is Professor of Art History at the University of Alabama at Birmingham. She is author of The Modern Portrait in Nineteenth-Century France (2001), and has written and published extensively on Sarah Siddons and theatrical politics. Her current project investigates the intersection of painting and the stage in eighteenth-century London and the formation of modern celebrity culture.

Jacqueline Mulhallen

works as a playwright and actor, chiefly with Lynx Theatre and Poetry, for whom she wrote Sylvia and Rebels and Friends. She has written on the art of Sylvia Pankhurst and gave the 2009 Sylvia Pankhurst Memorial Lecture. She is the author of The Theatre of Shelley (2010).

Katherine Newey

is Professor of Theatre History at the University of Exeter. She is a theatre historian specializing in nineteenth century British popular theatre and women’s writing. Her recent publications include Lives of Shakespearian Actors: Fanny Kemble (2011), John Ruskin and the Victorian Theatre (2010), and Women’s Theatre Writing in Victorian Britain (2005). She also co-edits the journal, Nineteenth Century Theatre and Film.

Felicity A. Nussbaum

is Distinguished Professor of English at the University of California, Los Angeles, and has published widely on eighteenth-century British literature. Her most recent book is Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater (2010). Among her other publications are The Limits (p. xxiii) of the Human: Fictions of Anomaly, Race, and Gender in the Long Eighteenth Century (2003) and Torrid Zones: Maternity, Sexuality, and Empire (1995).

John O’Brien

is Associate Professor of English at the University of Virginia, where he teaches courses on seventeenth- and eighteenth-century British and American literature. He is the author of Harlequin Britain: Pantomime and Entertainment, 1690–1760 (2004), and is currently at work on a book entitled Literature Incorporated: The Cultural Unconscious of the Corporation in Anglo-American Culture, 1690–1850.

Daniel O’Quinn

is a Professor in the School of English and Theatre Studies at the University of Guelph. He is the author of Staging Governance: Theatrical Imperialism in London, 1770–1800 (2005) and Entertaining Crisis in the Atlantic Imperium, 1770–1790 (2011). He is also co-editor of the Cambridge Companion to British Theatre, 1730–1830 (2007), and recently co-edited Lady Mary Wortley Montagu’s Turkish Embassy Letters (2012).

David O’Shaughnessy

is Assistant Professor of English at Trinity College, Dublin. He has published widely on William Godwin, including his monograph William Godwin and the Theatre (2010) and his edition of The Plays of William Godwin (2010). He also co-edited The Diary of William Godwin (2010). He is currently working on a new book that considers the contribution of Irish playwrights to eighteenth-century London theatre.

Bridget Orr

is Associate Professor in the Department of English, Vanderbilt University. She is the author of Empire on the English Stage, 1660–1714 (2001); co-editor of Voyages and Beaches: Pacific Encounters, 1769–1840 (1999) and editor of The Pacific Eighteenth Century, a special issue of Eighteenth-Century: Theory and Interpretation (1997). She is currently completing a book called Enlightenment Theatre and Empire.

Marjean D. Purinton

is Professor of English and Associate Dean of the University Honors College at Texas Tech University where she also teaches in the Women’s Studies Program. She has written two books and numerous articles on Romantic drama, and has served as President of the International Conference on Romanticism. She is a member of the Texas Tech University Teaching Academy and a recipient of several teaching awards, including the President’s Excellence in Teaching.

Peter P. Reed

is Associate Professor of English at the University of Mississippi, where he teaches early American literature and Atlantic performance cultures. His Rogue Performances: Staging the Underclasses in Early American Theatre Culture (2009) examines the formal and social impact of Atlantic class structures on the popular American stage.

Vanessa L. Rogers

is Assistant Professor of Musicology at Rhodes College (USA). She is also Research Associate at the University of Oxford, where she is one of the Associate Editors of the international London Stage 1800–1900 database and the Principal Researcher (p. xxiv) for Ballad Operas Online: An Electronic Catalogue. Her current project is a book entitled Ballad Operas, Burlettas, and Burlesques: Musical Comedy in Eighteenth-Century Britain.

Angie Sandhu

graduated from King’s College, Cambridge in 1988, and completed her PhD, ‘Texts and Contexts: Feminist Negotiations of Class, Race and Gender’, in 1994. She published Intellectuals and the People in 2007 and is currently working on a new book exploring contemporary fantasies of the non-West.

Gefen Bar-On Santor

is a part-time Professor of English at the University of Ottawa. She has published work on the performance and editing of Shakespeare in the eighteenth century and has written entries for the Dictionary of Literary Biography: Eighteenth- Century British Literary Scholars and Critics (2010). Her current project is entitled Shakespearean Tragedy in Newtonian England: A Science of Human Nature.

Erin J. Smith

holds a PhD in English from Birkbeck College, University of London. A classically trained ballet dancer and musician, Smith specializes in eighteenth-century British women’s literature, dance history, and the aesthetics of movement. She is currently a Program Manager for Liberal Arts at Western Governors University.

Kristina Straub

is Professor of Literary and Cultural Studies at Carnegie Mellon University. Her research focuses on gender and sexuality during the long eighteenth century. She has published books on the novelist Frances Burney, and on eighteenth-century theatre’s role in the history of modern sexuality. Her most recent book is Domestic Affairs: Intimacy, Eroticism, and Violence between Servants and Masters (2009).

Julia Swindells

was a writer and teacher in Cambridge. She wrote Glorious Causes: The Grand Theatre of Political Change, 1789–1833 (2001), and co-edited Pickering & Chatto’s edition of eighteenth-century women’s theatrical memoirs (2007–8). In 2004 she worked with playwright Steve Waters to recreate the 1737 dramatic satire The Golden Rump. Her other books include Victorian Writing and Working Women (1985) and, as editor, The Uses of Autobiography (1995).

David Francis Taylor

is Assistant Professor of English at the University of Toronto. He is the author of Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan (2012), as well as a number of articles on the political contexts of theatre in the Georgian period. His current book project looks at the cultural allusions of eighteenth-century graphic satire.

David Thomas

is Professor Emeritus at the University of Warwick. His published work includes Theatre in Europe—A Documentary History: Restoration and Georgian England 1660–1788 (1989, 2008); William Congreve (1992); and a documentary film, The Restoration Stage (1996, 2010). His co-authored work Theatre Censorship: From Walpole to Wilson (2007) explores the political history of theatre censorship in Britain.

(p. xxv) Shearer West

is Professor and Head of Humanities at the University of Oxford. She has published many books and articles on aspects of eighteenth-, nineteenth-, and twentieth-century European art and the relationships between art and theatre, including Portraiture (2004); The Visual Arts in Germany 1890–1939 (2000); The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble (1991); and, as editor, Italian Culture in Northern Europe in the Eighteenth Century (1999).

Marcus Wood

is a painter, performance artist, and film maker; since 2003 he has also been Professor of English at Sussex University. For the last thirty years he has made art and written books about how the traumatic memory of slavery and colonization have been encoded in art and literature. His books include Blind Memory (2000), Slavery, Empathy and Pornography (2003), and The Horrible Gift of Freedom (2010). (p. xxvi)