Playwrights on Television: Conversations with Dramatists (forthcoming, Routledge)

Drop Dead: Performance in Crisis, 1970s New York (Northwestern University Press, 2016)


“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, Spring 2019).

“‘Thinking of What New York Could Be’: Mary Overlie and SoHo in the 1970s,” in On the Horizontal: Mary Overlie and the Viewpoints, ed. Tony Perucci (under contract, University of Michigan Press).

“The Wooster Group and the Disintegration of Jill Johnston,” in Expansive Reflections: Returning to the Feminisms of the 1970s, eds. Shilyh Warren and Kimberly Lamm (in progress).


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).

“Subject to Punishment: Julie Bovasso’s Angelo’s Wedding and the Politics of the Unproduced,” Theatre Survey 58.2 (May 2017): 141-161.

“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).

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

“Advice to Applicants: Labor, Value, and MFA Program Design,” in PAJ 103 (January 2013): 32-42 (Invited article).

“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.

“’Let Our Freak Flags Fly’: Shrek the Musical and the Branding of Diversity,” co-authored article, in Theatre Journal (May 2010): 151-172.


“Collective Fears: Performing Artists for Nuclear Disarmament and Mabou Mines’ Dead End Kids,” invited contribution for Walker Museum magazine (in progress).

“Hidden Vacancies: Theatre and Real Estate,” Contemporary Theatre Review 27.2 (2017), invited contribution for the online “Interventions.”

“Beyond Ghetto Arts: Vinnette Carroll’s Urban Arts Corp,” Gotham: A Blog for Scholars of New York City History (October 2016).

“Does a TKTS Booth on the Upper West Side Really Broaden Access to Broadway?,” opinion article for City Limits, online urban policy magazine (August 2016).

“The New Brooklyn: Girls vs. Ebbets Field?,” commentary for New Geography, online urban studies magazine (April 2014).

Contributor, Cac.ophony: Conversations in Communication Across the Curriculum, Bernard L. Schwartz Communication Institute, Baruch College (2008-2013).


Book review of The Sixties, Center Stage: Mainstream and Popular Performances in a Turbulent Decade edited by James M. Harding and Cindy Rosenthal. Modern Drama 61:2 (2018): 246-249.

Book review of The Theatrical Public Sphere by Christopher Balme. Theatre Survey 57.1 (2016): 144-146.

Book review of Urban Bush Women: Twenty Years of African American Dance by Nadine George-Graves. Theatre Survey 53.1 (2012): 159-161.

Performance review of “The Pirandello Festival at the Player’s Club,” PSA, the Pirandello Society annual journal XXV (2012).

Book review of Performance and Activism: Grassroots Discourse After the Los Angeles Rebellion of 1992 by Kamran Afary. Theatre Journal 63.4 (2011): 666-667.


Queens College, City University of New York

Assistant Professor, English (present)

California State University, Northridge

Assistant Professor, Theater

Stanford University

Lecturer, Program in Writing & Rhetoric / Immersion in Arts: Living in Culture

Baruch College, City University of New York          

Part-time Lecturer, Department of Communication Studies

Kingsborough Community College



Ph.D., Theatre and Performance, The Graduate Center, City University of New York (CUNY). 

M.F.A., Dramatic Writing, Tisch School of the Arts, New York University.

B.A., Theatre and Women’s Studies, Dartmouth College, magna cum laude.