2012 Ph.D. Theatre Studies, Florida State University
2008 M.A. Theatre Studies, Florida State University
2003 B.A. Theatre Arts, California State Polytechnic University, Pomona

Academic Appointments

2015-present Assistant Professor, University of Central Florida
2014-2015 Visiting Lecturer, Dartmouth College
2013-2014       Visiting Assistant Professor, Florida State University
2012-2013       Visiting Lecturer, Dartmouth College
2006-2012      John Degen Teaching Fellow, Florida State University

Awards and Nominations

  • NEH Summer Institute: Diverse Philosophical Approaches to Sexual Violence

    A two-week National Endowment for the Humanities Summer Institute for twenty faculty studying sexual violence. The institute was held at Elon University in North Carolina in 2017. Application to the institute was competitive and acceptance carried a monetary award.

  • Academic Leadership Award

    Award presented to a single student in each College at Florida State University; the award is based on academic performance, university service, and other contributions both in and out of the classroom.

  • Certificate of Recognition for Advocacy in the Arts

    Award presented by the Florida Higher Education Arts Network as a part of the Florida Culture Alliance’s Arts & Culture Day.

  • Transformation through Teaching nomination, FSU Spiritual Life Project

    Honors faculty members who have had an intellectual, inspirational, and integrative impact on the lives of their students. Nominations submitted by students.

  • Theory & Criticism Award for Excellence in Graduate Scholarship

    Awarded to “The Erotics of Male/Male Rape?” by the Theory & Criticism Focus Group for the best graduate-student paper utilizing theory or criticism presented at the Association for Theatre in Higher Education conference in Chicago 2011.


  • ATHE – LGBTQ Focus Group

    My home at the Association for Theatre in Higher Education. I served as an at-large board member for 2008-2009, as the treasurer from 2010-2013 and 2015-present, and as the focus group representative for 2016-2017. My work with this Focus Group has also involved preconference-planning as well as our most recent name-change, which added the Q.

  • ASTR Program Conference Committee

    Serving on the American Society for Theatre Research Program Conference Committee for the 2018 conference in San Diego organized by Chase Bringardner,  Christin Essen, and Kirsten Pullen. The conference theme is Arousal: Theatre, Performance, Embodiment.

  • Song, Stage and Screen Program Committee

    Serving on the Program Committee for Song, Stage and Screen XIII. The 2018 conference will be held at UCLA’s new Center for Musical Humanities under the direction of Raymond Knapp, Holley Replogle-Wong, and Jessica Sternfeld. The conference theme is The Musical and Its Others, Then and Now.

  • ASTR Collaborative Research Award Committee

    Serving on the American Society for Theatre Research Awards Committee for the Collaborative Research Award.

  • ATHE Subcommittee on Diversity

    This subcommittee was developed and headed by the president of the Association for Theatre in Higher Education, Patricia Ybarra. The group was tasked with tackling the issue of diversity within university and college theatre departments.

  • ASTR Task Force for Working Conditions

    This task force was formed at the pleasure of the president of the American Society for Theatre Research. The group investigates labor in the university system as well as ways in which national organizations such as ASTR can work to assist those working in these systems.

Interviews and Other Citations

  • An Artist Celebration: the Impact of Joe Orton

    For Samuel French’s Breaking Character Magazine. This is a roundtable interview about the continuing importance of the playwright Joe Orton. David Kimple interviewed producers David Dreyfoos and Annie Keefe, performer Kate Reynolds, and me.

  • UCF Professor is Smithsonian Bound

    For NSM Today, a UCF student publication, I was given the opportunity to discuss Wanda Raimundi-Ortiz’s work, linking her piece Pieta to performances in which mothers grieve for their children onstage throughout theatre history. The piece was written by Desiree Montilla.

  • Performative Reviews and Phantom Audiences

    For volume 1, issue 1 of PARtake: the Journal of Performance as Research, Lynn Deboeck makes an argument about the way that reviewers performatively (?) construct phantom audiences in their reviews. Her chief object of study in the article is the performance reviews section of Theatre Journal 68.1, edited by Daniel Sack, in which I have a piece on Matthew Aucoin’s opera Crossing. The author discusses my piece extensively (pp. 4-6).