Theatre in New York: The Producing Impulse
Arts Professor Elizabeth Bradley is an educator, theatrical producer, festival curator, presenter, and international cultural consultant. She was recruited in 2008 to the Tisch School of the Arts, New York University as Chair of Drama after heading the School of Drama at Carnegie Mellon University. For a decade, Bradley was CEO of the Hummingbird Centre (now Sony Centre) for the Performing Arts in Toronto, the largest in Canada. Her theatrical producing credits include Tony-nominated Broadway productions, Edinburgh Festival premieres and extensive tours to major houses such as the Kennedy Center, and New York's City Center. She is a recipient of the Queen's Jubilee Gold Medal for outstanding contribution to the arts in Canada.
Medieval Theatre; Museums, Fairs, Sideshows
Robert Davis is an Instructor in the Tisch Drama Department. His dissertation, “Performance and Spectatorship in United States International Expositions, 1876-1893” looks at audience behavior at world’s fairs, sections of which have been published in The World’s Fair Reader (2014) and Classics in the Modern World: A Democratic Turn? (2013). He has also published in The Oxford Handbook of Greek Drama in the Americas (2015), Comparative Drama (2011), and The Journal of American Drama and Theatre (2011, with Amanda Wrigley). Currently, he is under contract to write a game for Choice of Games about managing a theatre in nineteenth-century New York.
Comedy and Performance; Directing Practicum
Fritz Ertl is a director and educator. He has produced or directed world premieres of plays by Steven Drukman, Erik Ehn, and Paula Vogel, and has worked at theatres such as Berkshire Theatre Festival, BACA Downtown, Here, and Incubator Arts Project. At NYU Fritz has directed Pentecost, by David Edgar, The Pains of Youth, by Ferdinand Brukner, and Mad Forest, by Caryl Churchill, among others. In recent years, he has been working on a series of new plays exploring the catastrophic consequences of globalization: Youth in Asia: A Techno Fantasia (aka the resistance project), written by Steven Drukman; Foxhollow (aka the animal project), by Steven Drukman; There Was and There Wasn't: An Old Iraqi Folktale (aka the queeraq project), written by Daniel Glen; and Carla and Lewis (aka the ecocide project), by Shonni Enelow. Fritz has been teaching at NYU since 1990 and is the former Managing Director of the Drama Department at Tisch. He spent the 2005-06 academic year in Dublin, where he was the program director of the Tisch Dublin Acting Conservatory. At PHTS he is the head of curriculum, and teaches directing.
Disaster Plays: Representing Catastrophe on the Modern Stage
Jason Fitzgerald is a theatre scholar, professor, critic, and dramaturg who has taught at Yale University, Columbia University, and Purchase College. His research focuses on avant-garde theatre of the U.S. 1960s and its relationship the politics of the New Left and the philosophies of the counterculture. More broadly, he is interested in the fate of collective human endeavor, the utopian promise of a word like “humanity,” in a world riven by economic individualism and neoliberal austerity and threatened by hunger, displacement, and climate degradation on a mass scale. What does the theatre offer in this age of humanist crisis? His current book project addresses this question by revealing the importance of a radical, intersubjective concept of the human to performance work around the pivotal year of 1968. Jason earned his PhD in Theatre from Columbia University in 2017 and also holds an MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama. His original research as well as his book and performance reviews have been published in Modern Drama, Theatre Journal, Theatre Survey, PAJ, Public Books, Politics/Letters, and Theater. He has served as theatre critic for Backstage, The Village Voice, Slant, and The New Haven Independent, and he spent four years as the new play dramaturg for The Playwrights Realm’s Writing Fellows Group.
Realism and Naturalism
Joe E. Jeffreys has taught Theatre Studies in the Tisch Drama Department for fifteen years and is published widely in encyclopedias, book anthologies, academic journals and the popular press. A specialist in LGBTQ performance, he maintains an extensive video archive of drag performance that is screened internationally.
African-American Drama: The Harlem Renaissance
Stefanie A. Jones, PhD ("SAJ," they/them) is an adjunct faculty member at Tisch Drama, and an adjunct assistant professor at Brooklyn College, City University of New York. They have expertise in African American Theatre, Musical Theatre, Cultural and American Studies, and racism and anti-racism. They are currently working on their first book, Performing the Political Economy: Liberal Antiracisms, the Broadway Class, and Racial Capitalism at the Turn of the Millennium. SAJ is also a co-editor of Lateral: Journal of the Cultural Studies Association, which publishes politically-engaged cultural studies scholarship, including work in theatre and performance studies, in a fully digital, open-access platform.
Devised Theatre: Monologues & Their Discontents
Areas: Renaissance; gender theory. Formerly Assistant Professor at Wellesley, and Visiting Assistant Professor at Brown and at NYU's Department of Performance Studies. She has delivered papers at the Modern Language Association, the Shakespeare Association of America, the Renaissance Society of America, and the Fifth World Shakespeare Conference in Tokyo. She is author of Men in Women's Clothing: Anti-theatricality and Effemminization from 1579 to 1642.
Theatre & Therapy
Stephanie Omens, LCAT, MA-RDT, CCLS is a licensed creative arts therapist in New York State, registered drama therapist and certified child life specialist, currently working at the Hackensack University Medical Center, with chronically ill hospitalized, bereaved and prematurely born infants and children.
Shakespeare in Film, Theatre of Latin America
John is Associate Director of CONNECT, a theatre-based communication training program at the Cooper Union. He has taught at Vassar College and New School University, served on the literary and outreach staff of the Denver Center Theatre Company, and worked as an arts editor, critic, and director.
Kalle Westerling is a Ph.D. Candidate in Theatre and a Futures Initiative Graduate Fellow at the Graduate Center, CUNY, and Co-Director of HASTAC Scholars, a vibrant student network within The Humanities, Arts, Science, and Technology Alliance and Collaboratory (HASTAC). Currently, he is completing his dissertation on the history and aesthetics of male-identified bodies in 20th-century burlesque and 21st-century boylesque, “The Roots and Routes of Boylesque: Queering Male Striptease and Burlesque in New York City from 1930s Golden Age Burlesque to the New York Boylesque Festival in the 2010s.”
His monograph, La Dolce Vita (Normal 2006) treats the history of the Swedish drag company After Dark. He regularly delivers scholarly papers at the annual conferences for the American Society for Theatre Researchers (ASTR) and the Association for Theatre in Higher Education (ATHE). Recently, his performance-related theatre work has included an English translation and dramaturgy of August Strindberg’s The Pelican for the Voyage Theatre Company’s 2016 production in New York City. In 2017, he will also dramaturge Parts Unknown—their reading series of newly written drama.
Kalle has taught courses at New York University, Baruch College, Hunter College, and Stockholm University, and has guest lectured at Yale University, Carleton University, and Stockholm Academy of Dramatic Arts.