Summer Drama Intensives and Courses Faculty

Topics in Performance Studies: 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.

Directing Practicum; Theatre Genres: Comedy and Performance

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.

Realism and Naturalism: European Origins

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.

Topics in Performance Studies: Theatre & Popular Culture Before Rock'n'Roll

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.

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.

Studies in Shakespeare: On Film 

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.

Topics in Musical Theatre: Performance in Context

Phoebe Rumsey is a PhD Candidate in Theatre at The Graduate Center, CUNY. She holds an MA in Performance Studies from New York University, an MA in Theatre from University of Nevada, Las Vegas (UNLV), and a BFA in Dance from Simon Fraser University. Her research interests include: dance, musical theatre, embodiment and nostalgia. She has presented papers at Performance Studies International (PSi) in Australia and Germany, the International Federation of Theatre Research Conference (IFTR), where she received a New Scholars Award in 2017 in Sao Paulo, Brazil. She is a member of the musical theatre and dance working group at Association for Theatre and Higher Education (ATHE), and has presented at American Society for Theatre Research (ASTR). Recent publications include: “The New Choreography of Rodgers and Hammerstein’s Allegro” in Studies in Musical Theatre and a review for PAJ: A Journal for Performing Arts. She has choreographed numerous musicals and original works and currently teaches Body Movement and Theatre History as part of the Department of Theatre and Speech at The City College of New York (CCNY) and is a Writing Fellow at Borough of Manhattan Community College (BMCC). Her extensive performance career has allowed for much travel across the US, Canada, and Japan.

Topics in Peformance Studies: American Burlesque

Dr. Sally received her PhD from the Performance Studies Department at New York University and her MA in Gender Studies and Feminist Theory from The New School. Her primary areas of research interest include American popular culture, gender, and performance. Her work has been published by Routledge Press and in peer-reviewed journals including the Journal of American Drama and TheatreJournal of Popular CultureSenses & SocietyNew York History, and others. Currently on sabbatical, she is completing a book-length academic monograph for Lexington Press tentatively titled Neo-Burlesque as a New Sexual Revolution: Performances of Gender, Excess, and Desire.

Studies in Shakespeare: Shakespeare & Company

Christina M. Squitieri is a PhD Candidate in English Literature at New York University focusing on early modern drama. Her dissertation, “Theatrical Transformation and the Limitation of Identity on the Early Modern English Stage,” challenges the assumption that theatre presents identity creation by arguing that early modern plays present the way theatricality—analyzed through costume, speech, and gesture—is able to impose a recognizable identity onto a character that is difficult to remove at the end of the play, limiting their identity in the process. Her research also proposes a deeper early modern interest in identity’s malleability than has been previously considered, as well as who—and what—was able to shape identity beyond the playhouse. Her other research interests include global Shakespeares, particularly within the Arab world, classical literature and its early modern influences, the senses, law and literature, and female power and agency in the early modern period, particularly within the history play. She is the recipient of the 2015 Sixteenth Century Society and Conference's Carl S. Meyer Prize for the best paper presentation by a graduate student or a scholar who has received their PhD in the last five years; an article version of the paper for which she received the award is forthcoming in the journal Shakespeare. She has also presented her research at MLA, SAA, RSA, and NeMLA, and has organized sessions at MLA 2017, NeMLA 2017, RSA 2018, and co-organized a session at RSA 2019. Other than teaching at Gallatin, she has taught in the English and Core Curriculum departments at the College of Arts and Science at NYU, in the Drama department of NYU’s Tisch School of the Arts, and in the Humanities and Social Science department at The Cooper Union.