PUBLICATIONS

Review of The Complete & Condensed Stage Directions of Eugene O’Neill, Volume One: Early Plays/Lost Plays. Eugene O’Neill Review (Penn State University Press), Vol. 33, No. 1, 2012.

“Savage Beauty: Alexander McQueen at the Metropolitan Museum of Art.” Contemporary Theatre Review, 21:4, 2011.

Word Made Flesh: Philosophy, Eros and Contemporary Tragic Drama, EyeCorner Press, March 2011.

“Eros/Sex, Death/Murder: Sensuality, homicide and culture in Musil, Brecht and the Neue Sachlichkeit.” Chapter in Eroticism and Death in Theatre and Performance, edited by Karoline Gritzner, University of Hertfordshire Press, 2010.

“Howard Barker in New York.” Contemporary Theatre Review, 20:4, 2010.

“Access to the Body: The Theatre of Revelation in Beckett, Foreman, and Barker.” Hyperion, The Nietzsche Circle, 2010.

“The Booking of the Play.” Theater (Yale University), May 2010.

Review of Marc Robinson’s The American Play: 1787-2000. PAJ: A Journal of Performance and Art 95, May 2010, 32:2, 2010.

“Notes on eros and performance in contemporary American drama.” Contemporary Theatre Review, 20:2, 2010.

“A Life in the Theatre: Kate Valk & Nahuel Perez Piscayart.” Mentor Protégé, The Rolex Mentor and Protégé Arts Initiative, December 2009.

“One from Column A, Two from Column B: Richard Foreman on the Writing Process”, PAJ: A Journal of Performance and Art 90, 30:3, September 2008. Introduction to portfolio section.

“Angels in the American Theater: Patrons, Patronage, and Philanthropy,” Theater (Yale University), 38:2, 2008. Book review.

“Charting the Postdramatic,” PAJ: A Journal of Performance and Art 89, 30:2, May 2008. Book review.

“Churchill Toppled by Top Girls Vox Pops,” The Guardian (UK), May 15, 2008. Essay.

“Should Theatres Listen to Consultants?” The Guardian (UK), May 1, 2008. Essay.

“Tristan und Isolde: A Romance of Beckett and Wagner,” The Guardian (UK), April 1, 2008. Essay.

“Flying the Flag for American Theatre,” The Guardian (UK), January 16, 2008. Essay in response to Neil Labute.

“The Influence of Anxiety,” New York Theatre Review 2007, New York: Black Wave Press, 2007. Introduction.

“Why America Has No National Theatre,” The Guardian (UK), December 17, 2007. Essay.

“What Will Come of the Brecht Revival?”, The Guardian (UK), December 3, 2007. Essay.

“Do-It-Yourself Theatre,” The Guardian (UK), December 10, 2007. Essay on theatre minima.

“There’s More to Theatre than Broadway,”, The Guardian (UK), November 27, 2007. Essay.

“I Envy You Brits Your Drama Critics,” The Guardian (UK), November 22, 2007. Essay on Michael Billington’s State of the Nation.

“Mainstream Theatre Is Too Intellectualized,” The Guardian (UK), November 20, 2007. Essay.

“Why Are Some Playwrights Far More Popular Overseas?” The Guardian (UK), November 13, 2007. Essay.

“Playwrights Writing: Procedure and Polemic,” PAJ: A Journal of Performance and Art 87, 29:3, September 2007. Book reviews of Howard Barker’s Death, The One and the Art of Theatre and Mac Wellman’s Q’s Q.

“The New Season: 2 Lears, 1 Singular Sensation,” New York Times, September 10, 2006. Preview of 2006-2007 theatre season.

“Going South,” Time Out New York, November 2-6, 2006. Preview of Buenos Aires in Translation festival in New York.

The Brooklyn Rail theatre section, November 2006. Guest editor.

“A Sermon on Corporations, Neighborhoods and Loss,” New York Times, August 22, 2006. Theatre review.

“Still Waiting in a Beckett Wasteland, Revisited and Revamped,” New York Times, June 30, 2006. Theatre review.

“A Revival’s Up-to-Date Take on Religion and the Wealthy,” New York Times, June 27, 2006. Theatre review.

“Shaw, Kabuki, Eva Peron: The Usual Mix,” New York Times, June 25, 2006. Feature article on Theatre of the Two-Headed Calf.

“A Therapist and Her Patient, Both with a Touch of Mania,” New York Times, June 24, 2006. Theatre review.

“Love in the City: Short, Sweet and Simple,” New York Times, June 20, 2006. Theatre review.

“Dognapping Causes Acute Sibling Strife,” New York Times, June 10, 2006. Theatre review.

“Stuck in a Talky Adolescence, Whether He Wants It or Not,” New York Times, May 31, 2006. Theatre review.

“Looking for Love (for Dad),” New York Times, April 19, 2006. Theatre review.

“A ‘Godot’ for the West Bank,” New York Times, April 18, 2006. Theatre review.

“Two Playwrights in Works of Their Own Making,” New York Times, April 17, 2006. Theatre review.

“Android Superheroics with a Neanderthal Twist,” New York Times, April 15, 2006. Theatre review.

“Final words,” Time Out New York, April 6-12, 2006. Review of Samuel Beckett: The Grove Collected Works.

“From Brecht’s Angry Side, Scenes from Hitler’s Germany,” New York Times, April 6, 2006. Theatre review.

“Ancient Greeks, Serving Cocktails with No Twist,” New York Times, March 29, 2006. Theatre review.

“Satirical Revue with Sledgehammer’s Touch,” New York Times, March 23, 2006. Theatre review.

“The Meaning of Life, or the Joys and Challenges of Life with Chopsticks,” New York Times, March 20, 2006. Theatre review.

“Recapturing an Old Fountain of Euphoria,” New York Times, March 14, 2006. Theatre review.

“54 Years Together, but Now Facing the Challenge of Alzheimer’s Disease,” New York Times, March 3, 2006. Theatre review.

“The Picaresque Adventures of La Mancha Man and Sancho Panza,” New York Times, March 2, 2006. Theatre review.

Bridal Suite. The Book of Estrogenius 2006, New York: Manhattan Theatre Source, 2006. Play.

“Preparing a Theater: Presumptions of an Erotic Tragedy,” Masthead (Australia), 2006. Essay.

In Private, Masthead (Australia), 2006. Play.

PLAYS

What She Knew, Manhattan Theatre Source, New York, 2010. Directed by the author. 60 minutes. Workshop co-production with International Culture Lab in February 2010.

States of Exception, Manhattan Theatre Source, New York, 2007. Directed by the author. 40 minutes.

Bridal Suite, Manhattan Theatre Source, New York, 2006. 10 minutes.

In Public, Manhattan Theatre Source, New York, 2006. 75 minutes. Review by Robert Simonson in Time Out New York; review by Rob Kendt written for The New York Times.

In Private, Manhattan Theatre Source, New York, 2005. 10 minutes.

Sustaining, Manhattan Theatre Source, New York, 2004. 50 minutes.

And All the Ships at Sea, Manhattan Theatre Source, New York, 2004. 10 minutes.

Light at Midnight, 2004. 2 hours, 15 minutes.

Stupid, The Red Room at The KGB Bar, New York, 2000. Directed by the author. 75 minutes.

Neurotica, Theatre Center Philadelphia, Philadelphia, 1985. Directed by the author. 60 minutes.

The Adding Machine, Theatre Center Philadelphia, Philadelphia, 1985. Adaptation of play by Elmer Rice. 2 hours.

AWARDS, FELLOWSHIPS AND HONORS

Edward F. Albee Foundation Fellowship, 2007.

The Dramatist, journal of The Dramatists’ Guild, “50 to Watch,” 2007.

PANELS AND PRESENTATIONS

The Martin E. Segal Theatre Center at the CUNY Graduate Center, New York, “Howard Barker at the Segal Center,” May 10, 2010. Curator and co-presenter.

Association for Theatre in Higher Education (ATHE), New York, “Risking Criticism/Criticizing Risk,” August 2009. Discussion panelist.

University of Aberystwyth, Wales, “Howard Barker’s Art of the Theatre,” July 10-12, 2009. Paper presentation.

The Martin E. Segal Theatre Center at the CUNY Graduate Center, New York, “The New Theatre,” September 27, 2008. Discussion moderator.

Ontological-Hysteric Theatre, New York, April 2008. Post-performance discussion with Richard Foreman.

New York City Summer Play Festival at Playwrights Horizons, New York, “Blogging the Show: Theatre, the Media, and Blogs,” March 26, 2007. Discussion panelist.

The Martin E. Segal Theatre Center at the CUNY Graduate Center, New York, “Theatre and Blogging,” November 15, 2006. Discussion moderator. Recording available at archive.org.

The Martin E. Segal Theatre Center at the CUNY Graduate Center, New York, Prelude 06 Festival, “Criticism and Blogging in NYC,” September 30, 2006. Discussion panelist.

EDUCATION

BA degree in Languages and Literature, Bard College, Annandale-on-Hudson, NY, 1983.