Attention/Devotion, a work inspired by Mary Oliver’s assertion that “attention, after all, is the beginning of devotion.” Lighting by Hannah Mackey. Music selections from Julianna Barwick, Missy Mazzoli, and Meredith Monk. University at Buffalo ChoreoLab, spring 2019.
Special Issue of The Journal of American Drama and Theatre on “The Embodied Arts,” co-edited with Lezlie Cross. Vol. 31, No. 3.
“New Women and Girls of Today in Motion: The ‘Strenuous Clasping’ of Tango Teas.” Performing the Progressive Era: Immigration, Urbanism, and Nationalism on Stage, 1890-1920, eds. Max Schulman and J. Chris Westgate. Iowa City: University of Iowa Press, 2019. 122-140.
“Allergies, Allegiances, and Authenticity: Bill T. Jones’s Choreography for Broadway.” Studies in Musical Theatre, Vol. 13, No. 1, Spring 2019. 23-36.
“Normalizing Disruption: Advocating for Reproductive Health in Academia.” With Adanma Onyedike Barton, Meredith Conti, and Kristi Good. Theatre Topics. Vol. 29, No. 1, March 2019. 59-70.
“Communities of Gesture: Empathy and Embodiment in Bill T. Jones/Arnie Zane Dance Company’s 100 Migrations.” The Routledge Companion to Theatre, Performance, and Cognitive Science, eds. Rick Kemp and Bruce McConachie. London: Routledge, 2018. 135-143.
Visitors in Paradise, a work inspired by The Gorgeous Nothings, a cache of poem fragments by Emily Dickinson written on scraps of envelopes. Lighting by Alexander Farley. Music selections from Recomposed by Max Richter: Vivaldi, The Four Seasons. Photography by Jim Bush. University at Buffalo Zodiaque Dance Ensemble, spring 2016.
“Sound in Motion: Bill T. Jones Repurposes John Cage.” Critical Stages. Issue 16, December 2017. Online.
“Counterfactual Moving in Bill T. Jones’s Last Supper at Uncle Tom’s Cabin/The Promised Land.” Theatre Survey. Vol. 56, No. 2, May 2015. 166-186.
“History is Distance: Metaphor, Meaning, and Performance in Serenade/The Proposition.” The Journal of American Drama and Theatre. Vol. 26, No. 3, Winter 2014.
“Queens ‘Campin” Onstage: Performing Queerness in Mae West’s ‘Gay Plays.'” Theatre Journal. Vol. 64, No. 4, December 2012. 513-532. Awarded the American Society for Theatre Research Gerald Kahan Scholar’s Prize.
“Embodying the Undiscussable: Documentary Methodology in Bill T. Jones’s Still/Here and the Culture Wars.” Studies in Musical Theatre. Vol. 5, No. 3, Winter 2011. 297-304.
“Hamilton‘s America: An Unfinished Symphony with a Stutter (Beat).” American Quarterly Vol. 68, No. 4, December 2016. 1045-1059.
“Dance Dramaturgy in Theory and Practice.” Theatre Journal. Vol. 69, No. 1, March 2017. 103-114.
Review: The Oxford Handbook of Dance and Theatre, ed. Nadine George-Graves. The Journal of Dramatic Theory and Criticism, Fall 2017. 140-142.
Review: Dance on Its Own Terms: Histories and Methodologies, ed. Melanie Bales and Karen Eliot. Theatre Journal. Vol. 67, No. 3, October 2015. 586-587.
Review: Choreographing Empathy: Kinesthesia in Performance, Susan Leigh Foster. Theatre Journal. Vol. 56, No. 3, October 2013. 442-444.
Review: Hiking the Horizontal: Field Notes from a Choreographer, Liz Lerman. Theatre Survey. Vol. 54, No. 3, September 2013. 460-462.