Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE ( © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 30 November 2020

(p. xi) List of Contributors

(p. xi) List of Contributors

Rosemarie Bank has published in Theatre Journal, Nineteenth-Century Theatre, Theatre History Studies, Essays in Theatre, Theatre Research International, Modern Drama, Journal of Dramatic Theory and Criticism, Women in American Theatre, Feminist Rereadings of Modern American Drama, The American Stage, Critical Theory and Performance (both editions), Performing America, Interrogating America through Theatre and Performance, and Of Borders and Thresholds. She is the author of Theatre Culture in America, 1825–1860 (Cambridge University Press, 1997) and is currently preparing Staging the Native, 1792–1892. A member of the College of Fellows of the American Theatre, a past fellow of the American Philosophical Society and several times a fellow of the National Endowment for the Humanities, she was the editor of Theatre Survey from 2000 to 2003 and currently serves on several editorial boards. She is past president of the American Theatre and Drama Society, past convener of the International Federation for Theatre Research’s Working Group in Theatre Historiography, and has served several terms on the Executive Committee of the American Society for Theatre Research. Dr. Bank is professor of theatre at Kent State University.

Roger Bechtel is an associate professor of theater at Carleton College. He is the author of Past Performance: American Theatre and the Historical Imagination (Bucknell University Press, 2007). Among the books he has contributed chapters to are The History of Collective Creation and The Wooster Group and Its Traditions, and his articles have appeared in Theatre Journal, Journal of Dramatic Theory and Criticism, and New England Theatre Journal. He is also the artistic director of the intermedia performance company Big Picture Group.

Steven F. Bloom is associate vice president for academic affairs, dean of undergraduate education, and professor of English at Lasell College in Newton, Massachusetts. He is the editor of Critical Insights: Eugene O’Neill, published in 2013 by EBSCO/Salem Press and the author of the Student Companion to Eugene O’Neill, published in 2007 by Greenwood Press. He is currently chairman of the Board of Directors of the Eugene O’Neill Society, and he has served as a member of the Board since 2000. He was president of the Eugene O’Neill Society from 2006 through 2007, vice president from 2004 through 2005, and he was the founding book reviews editor of The Eugene O’Neill Review from 1988 until 2004. He has published numerous articles and reviews on O’Neill in The Eugene O’Neill Newsletter, The Eugene O’Neill Review, and elsewhere (most recently in Eugene O’Neill’s One-Act Plays: New Critical Perspectives, edited by (p. xii) Michael Y. Bennett and Benjamin D. Carson), and he speaks frequently on O’Neill at many professional conferences and public forums.

Stephen Bottoms is professor of contemporary theatre and performance at the University of Manchester, UK. His books include Sex, Drag and Male Roles (with Diane Torr, 2010), Small Acts of Repair (with Matthew Goulish, 2007), Playing Underground (2004), and The Theatre of Sam Shepard (1998). He edited Methuen’s student edition of Tennessee Williams’ The Glass Menagerie (2000).

Dorothy Chansky is an associate professor and head of history/theory/criticism in the Department of Theatre and Dance at Texas Tech University. She is the author of Composing Ourselves: The Little Theatre Movement and the American Audience and is completing a book about domestic labor on the American stage.

Michelle Dvoskin is an assistant professor of theatre history and theory in the Department of Theatre and Dance at Western Kentucky University. Her writing has appeared in The Oxford Handbook of the American Musical, edited by Raymond Knapp, Mitchell Morris, and Stacy Wolf (Oxford University Press, 2011) and Broadway: An Encyclopedia of Theater and American Culture, edited by Thomas A. Greenfield (Greenwood Press, 2010).

Harry J. Elam, Jr. is the Olive H. Palmer professor in the humanities and the Freeman-Thornton vice provost for undergraduate education at Stanford University. He is author of Taking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka; and The Past as Present in the Drama of August Wilson; and coeditor of five books, African American Performance and Theater History: A Critical Reader; Colored Contradictions: An Anthology of Contemporary African American Drama; The Fire This Time: African American Plays for the New Millennium; Black Cultural Traffic: Crossroads in Performance and Popular Culture; and The Methuen Drama Book of Post-Black Plays. His articles have appeared in American Theater, American Drama, Modern Drama, Theatre Journal, Text and Performance Quarterly as well as journals in Belgium, Israel, Poland, and Taiwan. He has also written essays published in several critical anthologies. Professor Elam is the former editor of Theatre Journal and is on the editorial boards of Atlantic Studies, Journal of American Drama and Theatre, and Modern Drama.

Mark Fearnow is a professor of theatre at Hanover College. He is the author of three books: The American Stage and the Great Depression: A Cultural History of the Grotesque (Cambridge University Press, 1997 and 2007); Clare Boothe Luce: A Research and Production Sourcebook (Greenwood, 1995); and Theatre and the Good: The Value of Collaborative Play (Cambria, 2007). Essays appear in TDR: The Drama Review, Theatre Survey, The Cambridge History of American Theatre, Changing the Subject: Marvin Carlson and Theatre Studies (University of Michigan Press, 2009), and The Oxford Companion to Theatre and Performance (2010). (p. xiii)

Christopher J. Herr is an associate professor in the Department of Theatre and Dance at Missouri State University. His recent writing on twentieth-century American drama has appeared in To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre (McFarland, 2011), edited by James Fisher, and in Blackwell’s A Companion to Satire (2007), edited by Ruben Quintero.

Thomas S. Hischak is an internationally recognized author and teacher in the performing arts. He is the author of twenty-four nonfiction books about theatre, film, and popular music, including The Oxford Companion to the American Musical, The Rodgers and Hammerstein Encyclopedia, Through the Screen Door, The Tin Pan Alley Encyclopedia, Off-Broadway Musicals Since 1919, The Disney Song Encyclopedia, The Jerome Kern Encyclopedia, American Literature on Stage and Screen, Theatre as Human Action, and The Oxford Companion to American Theatre (with Gerald Bordman). He is also the author of thirty-three published plays which are performed in the United States, Canada, Great Britain, and Australia. Hischak is a Fulbright scholar who has taught and directed in Greece and Lithuania. Since 1983 he has been professor of theatre at the State University of New York at Cortland where he has received such honors as the 2004 SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activity and the 2010 SUNY Outstanding Achievement in Research Award.

Mark Hodin is professor and chair of the English Department at Canisius College in Buffalo, New York. His writing on American drama and performance has appeared in Theatre Journal, Theatre Survey, Contemporary Literature, and American Literary History. He contributes a chapter on David Belasco to Countering Shylock as a Jewish Stereotype, edited by Edna Nahshon and Michael Shapiro (Cambridge University Press, forthcoming, 2014).

Odai Johnson is a professor in theatre history and head of the theatre PhD program at the University of Washington. His articles have appeared in Theatre Journal, Theatre Survey, New England Theatre Journal, Theatre Symposium, and the Virginia Magazine of History as well as contributions to numerous anthologies. His books include Rehearsing the Revolution (University of Delaware, 1999), The Colonial American Stage: A Documentary Calendar (AUP, 2001), and Absence and Memory on the Colonial American Stage (Palgrave-Macmillan, 2005). Professor Johnson is the director of the UW’s Center for Performance Studies and a Donald E. Petersen endowed fellow.

Katherine E. Kelly has recently retired as an associate professor of English from Texas A&M University where she taught modern drama, film, and Irish culture for 27 years. She has edited several collections, including Modern Drama by Women: An International Anthology 1880s–1930s (Routledge, 1996), two Cambridge Companions on the plays of Tom Stoppard and G. B. Shaw, and a section in Bonnie Kime Scott’s (ed.), Gender in Modernism (University of Illinois Press, 2007). In addition to an early book, Tom Stoppard and the Craft of Comedy (University of Michigan, (p. xiv) 1990), she has published essays on George Bernard Shaw, the Actresses’ Franchise League, Ibsen and Modernism, Theatrical Sociability, and the feminist history play (Theatre Journal, December 2010). She is currently compiling an organic garden in Bryan, Texas.

Amelia Howe Kritzer is a professor of English and theater at the University of St. Thomas in St. Paul, Minnesota, teaching a variety of courses in drama and theater at the undergraduate and graduate levels. She is the editor of Plays by Early American Women, 1775–1850 (University of Michigan Press, 1995), and has published a number of essays on early American drama and theater. She has also written Political Theatre in Post-Thatcher Britain (Palgrave, 2008) and The Plays of Caryl Churchill: Theatre of Empowerment (Macmillan, London, and St. Martin’s Press, 1991), as well as numerous essays on the work of Caryl Churchill and various aspects of contemporary British drama. With Miriam López Rodríguez, she is currently compiling a volume of essays to be titled “Woman on Trial: Gender Construction in Plays about Accused Women.”

Scott C. Martin is a professor of history and American Culture Studies at Bowling Green State University. His interests include nineteenth-century US history, cultural studies, and alcohol and drugs history. His most recent book is Devil of the Domestic Sphere: Temperance, Gender, and Middle-class Ideology, 1800–1860 (Northern Illinois University Press, 2008).

Jeffrey D. Mason is the author of Stone Tower: The Political Theater of Arthur Miller, as well as Melodrama and the Myth of America (which received an honorable mention for the Barnard Hewitt Award for Outstanding Research in Theatre History), and with J. Ellen Gainor, he co-edited Performing America: Cultural Nationalism in American Theatre. He has directed over fifty productions, including A View from the Bridge at the University of Oregon and Death of a Salesman, and he has played over thirty roles, including Danforth in The Crucible. He retired as dean of the College of Arts and Letters at California State University, Sacramento, and he previously held an appointment as professor of theatre arts at the University of Oregon.

Marvin McAllister is an assistant professor of English and African American studies at the University of South Carolina-Columbia. His most recent publication is Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance (University of North Carolina Press, 2011). His previous monograph is White People Do Not Know how to Behave at Entertainments Designed for Ladies and Gentlemen of Colour: William Brown's African and American Theater (University of North Carolina Press, 2003).

Sarah Meer is a senior lecturer in English at the University of Cambridge, and a fellow of Selwyn College. She is the author of Uncle Tom Mania: Slavery, Minstrelsy, and Transatlantic Culture in the 1850s, as well as articles, among other things, on the Ethiopian Serenaders and on Dion Boucicault. She also co-edited Transatlantic Stowe: Harriet Beecher Stowe and European Culture.

(p. xv) Mark Mullen is an assistant professor of writing in the University Writing Program at the George Washington University in Washington, DC. He has served as director of First-Year Writing and is a member of GW’s Academy of Distinguished Teachers. His work on US antebellum melodrama has appeared in Nineteenth Century Theatre and New England Theatre Journal among others. His recent work focuses on the connections between creative learning in videogames and the writing classroom and has been published in Eludamos: Journal of Computer Game Culture, Computers and Composition Online, and The Journal of Gaming and Virtual Worlds. His essay on the challenges of teaching the game review genre, “On Second Thought…” has just been published in the collection Rhetoric/Composition/Play Through Videogames; the article “Students’ Rights and the Ethics of Celebration” is forthcoming in Writing Program Administration.

Brenda Murphy is Board of Trustees distinguished professor of English, emeritus at the University of Connecticut. Among her eighteen books on American theater and drama are: The Provincetown Players and the Culture of Modernity (2005), O’Neill: Long Day’s Journey Into Night (2001), Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television (1999), The Cambridge Companion to American Women Playwrights (1999), and most recently, Understanding David Mamet (2011). The Theatre of Tennessee Williams will be published by Methuen in 2013.

Heather S. Nathans is professor and chair of the Department of Drama and Dance at Tufts University. She is the editor for the University of Iowa Press’s series, Studies in Theatre History and Culture. Her publications include: Early American Theatre from the Revolution to Thomas Jefferson; Slavery and Sentiment on the American Stage, 1787–1861; Shakespearean Educations: Power, Citizenship, and Performance (co-editor and contributing author), and the forthcoming Hideous Characters and Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage. Nathans has held over twenty-five research fellowships, including ones from the John Simon Guggenheim Foundation, the Folger Shakespeare Library with the NEH, the American Jewish Archives, and the Mellon Foundation. She is the president of the American Society for Theatre Research.

Kathy A. Perkins is a professor of dramatic art at the University of North Carolina at Chapel Hill. She is the editor/co-editor of several anthologies focusing on women from Africa and the Diaspora including Selected Plays: Alice Childress, Black Female Playwrights: An Anthology of Plays Before 1950, and African Women Playwrights and Strange Fruit: Plays on Lynching by American Women. She has also published several articles on African American theatre history.

Marc Robinson is a professor of theater studies, English, and American Studies at Yale University and professor adjunct of dramaturgy and dramatic criticism at the Yale School of Drama. He is also chair of the Yale College Theater Studies program. His books include: The American Play: 1787–2000 (Yale University Press, 2009) and The Other (p. xvi) American Drama (Cambridge University Press, 1994). In addition, he is the editor of three books: The Myopia and Other Plays by David Greenspan (Critical Performances series, University of Michigan Press, 2012), The Theater of Maria Irene Fornes (Johns Hopkins University Press, 1999), and Altogether Elsewhere: Writers on Exile (Faber and Faber, 1994). For his work, he has been awarded the 2009 George Jean Nathan Award and the 2010 George Freedley Special Jury Prize (both for The American Play), the 1999 ATHE Outstanding Essay Prize, and the 2004 Betty Jean Jones Award for outstanding teaching of American drama.

Jon D. Rossini is an associate professor in the Department of Theatre and Dance at UC Davis. He is the author of Contemporary Latina/o Theater: Wrighting Ethnicity (Southern Illinois University Press, 2008). His recent publications include “Teatro Visión and the Limits of Chicano Politics in Neoliberal Space” in Neoliberalism and Global Theatres: Performance Permutations (Palgrave Macmillan, 2012), “Teatro” in the Routledge Companion to Latino/a Literature (2013) and “Siting Geography: Octavio Solis, Family Borders, and the Real Local” in Performance, Politics and Activism (Palgrave Macmillan, 2013).

Jordan Schildcrout is an assistant professor of theatre and performance at Purchase College, State University of New York. His articles on LGBT theatre and representation include “Queer Justice: The Retrials of Leopold and Loeb on Stage and Screen” (Journal of American Culture), “The Closet is a Deathtrap: Bisexuality, Duplicity, and the Dangers of the Closet in the Postmodern Thriller” (Theatre Journal), and “The Performance of Non-Conformity on The Muppet Show—or, How Kermit Made Me Queer” (Journal of Popular Culture).

Jason Shaffer is an associate professor of English at the United States Naval Academy. He is the author of Performing Patriotism: National Identity in the Colonial and Revolutionary American Theater (University of Pennsylvania Press, 2007). His recent work on early American theater history has also appeared in Intertextuality in American Drama (McFarland Press, 2013), edited by Drew Eisenhauer and Brenda Murphy, and The Oxford Handbook to Early American Literature (Oxford University Press, 2008), edited by Kevein J. Hayes.

Theodore Shank is a distinguished professor of theatre, emeritus, at the University of California, San Diego. He is the founding editor of TheatreForum, an international journal of innovative performance. Previously, he was founding chair of theatre at the University of California, Davis. His most recent of eight books is Beyond the Boundaries: American Alternative Theatre (University of Michigan Press, 2002).

Julia A. Walker is an associate professor of English and drama at Washington University in St. Louis. She received her PhD from Duke University in 1995, and taught at the College of William & Mary and the University of Illinois at Urbana-Champaign before assuming a joint appointment in the English and Performing Arts Departments at Washington University in St. Louis in 2008. Walker is the author of Expressionism and (p. xvii) Modernism in the American Theatre (Cambridge University Press, 2005), and is currently working on a book manuscript entitled Modernity & Performance: Enacting Change on the Modern Stage. She has published articles in several academic journals and edited collections, and is currently serving as book review editor for Theatre Journal.

Stephen Watt is Provost Professor of English and adjunct professor of theatre and drama at Indiana University Bloomington. His most recent books include Beckett and Contemporary Irish Writing (Cambridge University Press, 2009), winner of the Robert Rhodes Prize from the American Conference for Irish Studies, and a new printing of When They Weren’t Doing Shakespeare: Essays on Nineteenth-Century British and American Theatre (University of Georgia Press, 2011).

S. E. Wilmer is a professor of drama and former head of the School of Drama, Film and Music at Trinity College Dublin. He is the author of Theatre, Society and the Nation: Staging American Identities (Cambridge University Press, 2002) and (with Pirkko Koski) The Dynamic World of Finnish Theatre (Like Press, 2006). Books that he has edited or co-edited recently include (with Audrone Zukauskaite): Interrogating Antigone in Postmodern Philosophy and Criticism (Oxford University Press, 2010), Native American Performance and Representation (Arizona University Press, 2009) (with Anna McMullan), Reflections on Beckett (University of Michigan Press, 2009), and National Theatres in a Changing Europe (Palgrave Macmillan, 2008). He has also served as a visiting professor at Stanford University and at the University of California at Berkeley.

Barry B. Witham is professor emeritus and former executive director of the School of Drama at the University of Washington. He is the author of The Federal Theatre Project: A Case Study (Cambridge, 2003) and most recently A Sustainable Theatre: Jasper Deeter at Hedgerow (Palgrave Macmillan, 2013).

(p. xviii)