bulletin board
2021-22
Even though Covid shut down so many avenues for work for theatre artists over these past two years, I count myself fortunate to have carried on producing - both on the page and the stage - throughout the pandemic, while only losing six weeks of in-person teaching.
After performing in Othello and Twelfth Night for the American Shakespeare Company's 2020 summer/fall season, the following year I was offered the particularly rewarding experience of being hired by alums. In the summer of 2021, I directed a five-handed production of Romeo and Juliet for Starling Shakespeare Company, founded by recent graduates Jessie Lillis and Heron Kennedy, as part of their successful inaugural season at Mackinac Island in Michigan.
In early Spring 2022, I was hired by the University of Virginia to direct a contemporary play by Mj Kaufman, How To Live On Earth, which follows the lives of four disaffected applicants for a one-way mission to Mars. Affecting, witty, and poignant, the drama considers whether our instinct to find new frontiers is really a flight from our own existential reality and obligations on Earth.
This summer, I return to Prague Shakespeare Company after a four-year hiatus to direct my favorite Shakespeare play, Henry IV, Part 1, with Irwin Appel helming as Falstaff. I then head to Cincinnati Shakespeare in late summer to play Kent in King Lear, my first four-times Shakespeare and my first experience with this wonderful company. May the fourth be with us.
On the page, my essay, "'This is the strangers' case': Accenting Shakespeare's ESL Characters," was featured in Shakespeare and Accentism, edited by Adele Lee, and published by Routledge. This collection explores the consequences of accentism - an under-researched issue that intersects with racism and classism - in the Shakespeare industry across languages and cultures, past and present.
Later this year, my chapter, "'O villain, villain, smiling, damned villain': Hamlet and the Rhetoric of Repetition," will appear in Building Embodiment: a collection of exercises to illuminate poetic text," edited by Karen Kopryanski and Baron Kelly, again published by Routledge. Both of these essays underscore my continued efforts to write on subjects that turn my practice into theory.
After performing in Othello and Twelfth Night for the American Shakespeare Company's 2020 summer/fall season, the following year I was offered the particularly rewarding experience of being hired by alums. In the summer of 2021, I directed a five-handed production of Romeo and Juliet for Starling Shakespeare Company, founded by recent graduates Jessie Lillis and Heron Kennedy, as part of their successful inaugural season at Mackinac Island in Michigan.
In early Spring 2022, I was hired by the University of Virginia to direct a contemporary play by Mj Kaufman, How To Live On Earth, which follows the lives of four disaffected applicants for a one-way mission to Mars. Affecting, witty, and poignant, the drama considers whether our instinct to find new frontiers is really a flight from our own existential reality and obligations on Earth.
This summer, I return to Prague Shakespeare Company after a four-year hiatus to direct my favorite Shakespeare play, Henry IV, Part 1, with Irwin Appel helming as Falstaff. I then head to Cincinnati Shakespeare in late summer to play Kent in King Lear, my first four-times Shakespeare and my first experience with this wonderful company. May the fourth be with us.
On the page, my essay, "'This is the strangers' case': Accenting Shakespeare's ESL Characters," was featured in Shakespeare and Accentism, edited by Adele Lee, and published by Routledge. This collection explores the consequences of accentism - an under-researched issue that intersects with racism and classism - in the Shakespeare industry across languages and cultures, past and present.
Later this year, my chapter, "'O villain, villain, smiling, damned villain': Hamlet and the Rhetoric of Repetition," will appear in Building Embodiment: a collection of exercises to illuminate poetic text," edited by Karen Kopryanski and Baron Kelly, again published by Routledge. Both of these essays underscore my continued efforts to write on subjects that turn my practice into theory.
