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2022-23
This year has been busy on stage, on the page, and also in the office.
In late summer of 2022, I headed to Cincinnati Shakespeare Company to play Kent in King Lear, my first "fourth" Shakespeare play (two Kents, two Kings). The weekly commute was long but the rewards were rich, and I discovered the delights of a vibrant city. After enjoying a Covid-delayed honeymoon in Venice, Italy, in the new year, my colleague Doreen Bechtol and I rehearsed Henry VI, Part 1 with our first year graduate students, which, we discovered is as much satire on war as history play.
This summer's theatre began early, with a brief and breezy run of The Collected Works of William Shakespeare (Abridged) [Revised] (Again) at the American Shakespeare Center, directed by our three-person company. Immediately following this run, I return to Prague Shakespeare Company to direct Henry V, thereby completing the second history cycle with the company. I will also perform Fluellen in the show, although I'm not sure being Welsh will help me figure out Shakespeare's odd phonemic transcription for the character.
On the page, my chapter, "'O villain, villain, smiling, damned villain': Hamlet and the Rhetoric of Repetition," was published in Building Embodiment: a collection of exercises to illuminate poetic text," edited by Karen Kopryanski and Baron Kelly, published by Routledge. This work continues my efforts to write on subjects that turn my practice into theory.
My piece honoring a former mentor, “From Texas Hill Country to Virginia’s Shenandoah Valley: The Living Legacy of James Loehlin’s Approach to Studying Shakespeare Through Performance,” was published in The Hare Online Journal of Untimely Reviews in January, 2023.
At the beginning of the 2022 academic year, I became the co-director of our Shakespeare and Performance graduate program at Mary Baldwin University, and at the end of the academic year I was promoted to full Professor, both events ensuring that I will spend more time writing emails than I would probably like, but which give me the chance to shape some of the future developments within our thriving program and theatre community.
In late summer of 2022, I headed to Cincinnati Shakespeare Company to play Kent in King Lear, my first "fourth" Shakespeare play (two Kents, two Kings). The weekly commute was long but the rewards were rich, and I discovered the delights of a vibrant city. After enjoying a Covid-delayed honeymoon in Venice, Italy, in the new year, my colleague Doreen Bechtol and I rehearsed Henry VI, Part 1 with our first year graduate students, which, we discovered is as much satire on war as history play.
This summer's theatre began early, with a brief and breezy run of The Collected Works of William Shakespeare (Abridged) [Revised] (Again) at the American Shakespeare Center, directed by our three-person company. Immediately following this run, I return to Prague Shakespeare Company to direct Henry V, thereby completing the second history cycle with the company. I will also perform Fluellen in the show, although I'm not sure being Welsh will help me figure out Shakespeare's odd phonemic transcription for the character.
On the page, my chapter, "'O villain, villain, smiling, damned villain': Hamlet and the Rhetoric of Repetition," was published in Building Embodiment: a collection of exercises to illuminate poetic text," edited by Karen Kopryanski and Baron Kelly, published by Routledge. This work continues my efforts to write on subjects that turn my practice into theory.
My piece honoring a former mentor, “From Texas Hill Country to Virginia’s Shenandoah Valley: The Living Legacy of James Loehlin’s Approach to Studying Shakespeare Through Performance,” was published in The Hare Online Journal of Untimely Reviews in January, 2023.
At the beginning of the 2022 academic year, I became the co-director of our Shakespeare and Performance graduate program at Mary Baldwin University, and at the end of the academic year I was promoted to full Professor, both events ensuring that I will spend more time writing emails than I would probably like, but which give me the chance to shape some of the future developments within our thriving program and theatre community.
