Shane Kinghorn is Senior Lecturer in Drama at Manchester School of Theatre, specializing in dramaturgy and verbatim theatre practices. He holds a PhD from Manchester Metropolitan University, an MA from Central School of Speech and Drama, and a BA from the University of Reading. Research examines verbatim methodologies in contemporary performance, particularly how theatre engages with post-truth narratives. His book chapter 'The Echo Chamber: Theater in a Post-Truth World' analyzes political discourse representation. Other publications explore playwright Tony Kushner and authenticity in tribunal theatre. Kinghorn's teaching integrates professional experience from London-based dramaturgy and directing work. He develops pedagogical approaches connecting theoretical frameworks with performance applications.
Dr. Philippa Burt is a Lecturer in Theatre and Performance at Goldsmiths, University of London. She holds a PhD in Drama and Theatre Arts from Goldsmiths, an MA in Performance and Culture from Goldsmiths, and a BA in Drama, Theatre and Performance Studies from University of Surrey, Roehampton. Her research specializes in: Twentieth-century British theatre history Evolution of directing practices Ensemble theatre models Sociological approaches to performance Intersections of visual art and theatre Performer-audience dynamics Her publications demonstrate sustained examination of historical directing methods, particularly through figures like Edward Gordon Craig and Harley Granville Barker. Thematic patterns include transnational theatre exchanges, political dimensions of ensemble work, and editorial practices in theatre scholarship. Awards include the Harry Ransom Research Fellowship in Humanities. She serves as Assistant Editor of New Theatre Quarterly and has organized international research colloquia including 'The Politics of Practice' and 'Culture in Crisis'.
Fred Curchack is a Professor of Art and Performance at The University of Texas at Dallas (1986–Present), within the Harry W. Bass Jr. School of Arts, Humanities, and Technology. He holds an M.A. (1972) and B.A. (1970) in Theatre Arts from Queens College, New York, and graduated from the High School of Performing Arts in NYC (1964). His work bridges traditional and experimental performance, emphasizing world theatre, multimedia integration, and interdisciplinary art. Research interests include global theatre traditions, ritual practices, and the intersection of performance with philosophy, psychology, and visual arts. His 78 original plays—spanning solo works and ensemble pieces—have been produced internationally, blending cultural critique, mythological retellings, and autobiographical narratives. Notable works include Gauguin’s Shadow , Stuff As Dreams Are Made On , and the Sexual Mythology trilogy, which have garnered awards such as the Guggenheim Fellowship, NEA grants, and critical acclaim from The New York Times and The Dallas Morning News . His plays frequently explore existential themes, cultural hybridity, and identity through innovative use of masks, puppetry, video, and set design. Awards include the Gold Medal at the International Festival of Solo Theatre (1990) and Critics’ Choice citations from major U.S. newspapers. He has represented the U.S. at festivals in Tunisia, Chile, and Yugoslavia, and his technical theatre work includes designing facilities for the United Nations International School (1974–1976) and pioneering modular stages. As an educator, Curchack mentors students in creative direction, with many alumni becoming artistic directors, actors, and teachers. His teaching philosophy emphasizes self-expression and interdisciplinary collaboration. Recent projects include Grandpa’s Home Videos (2010), a multimedia solo exploring identity through home videos, and adaptations like Monkey: The Quest to the West (2010), reimagining Chinese classical literature.
Scott T. Cummings is a Professor of Playwriting and Dramatic Literature in the Theatre Department at Boston College, where he served as Chair from 2010 to 2014. He holds an M.F.A. from Carnegie Mellon University and a D.F.A. from Yale School of Drama. His work includes directing student playwrights' original productions and major classical/modern works. He is an author/editor of four books on contemporary theatre, including the 2022 The Theatre of Les Waters . His research focuses on American playwrights, puppet theatre, and dramaturgy. He has received notable fellowships like the Travis Bogard Artist-in-Residence Fellowship (2017) and has contributed to publications like American Theatre and the Boston Globe . Education: M.F.A., Carnegie Mellon University; D.F.A., Yale School of Drama Courses Taught: Dramatic Structure, Playwriting, Contemporary American Theatre, Shakespeare on Stage His publications explore modern playwrights and directors, emphasizing interdisciplinary and avant-garde practices. Recent awards highlight his scholarly contributions to theatre history and creativity.
Eric Van Tielen serves as an Assistant Professor of Musical Theatre in the Department of Theatre and Dance at Wayne State University, marking the first time the department has had a faculty member in this role. Prior to his academic position, he pursued a professional acting career primarily in New York City and taught at the American Musical and Dramatic Academy in Voice Production, Speech, and Musical Theatre departments. BFA in Acting, Utah State University (2003) MFA in Acting, Indiana University (2007), concurrent training in classical voice Eric specializes in Acting for Musical Theatre , Song Styling and Interpretation , and Audition Technique , informed by his extensive Broadway experience and dual expertise as a performer and educator. His background includes founding a private acting/singing studio in NYC catering to aspiring and established artists. Broadway/Touring Credits Les Miserables Fiddler on the Roof A Tale of Two Cities Prince of Broadway (directed by Hal Prince) Regional Credits Utah Shakespeare Festival Cincinnati Playhouse in the Park Indiana Repertory Co Pioneer Theatre Co Berkshire Theatre Festival Music Theatre Wichita Eric also has international performance experience, including touring as a soloist with the Tokyo Philharmonic in Disney on Classic.
Vessela Warner, PhD is a Professor of Theatre History at the University of Alabama at Birmingham (UAB). Her research and teaching focus on interdisciplinary approaches to theatre history, dramatic literature, and dramaturgy, with a particular emphasis on South Slavic drama, post-communist theatre, and postcolonial/performance theories. Education: BFA, National Academy for Theater and Film Arts in Bulgaria, Directing M.A., Sofia University, Slavic Literature and Linguistics PhD, University of Washington, Theatre History and Dramatic Theory Warner has co-edited Staging Postcommunism: Alternative Theatre in Eastern and Central Europe after 1989 (University of Iowa Press, 2020) and contributed chapters to volumes such as Decolonial Perspectives and Dramaturgy in Global Perspectives (Bloomsbury Press, 2025), Routledge Companion to Contemporary European Theatre and Performance (2024), and Contemporary Balkan Cinema (Edinburgh University Press, 2020). Her work appears in journals including Slavic and East European Journal , New England Theatre Journal , and TheatreForum . She has served as President and Vice President of the Bulgarian Studies Association for seven years and worked as a dramaturg for the Alliance Theatre (Atlanta, GA) and Overground Physical Theatre Company (New York City).
Dr. Peter Ukpokodu is the Roy A. Roberts Distinguished Professor of African-American Studies at the University of Kansas, with a courtesy appointment in Theatre and Film. He earned degrees from the Universities of Ibadan and Kansas. His research explores African and African diaspora theatre, religion, and cultural practices, including traditional religious thought and socio-political dimensions in Nigerian theatre. He has extensive teaching experience at the University of Benin and Bida College of Technology. Education: University of Ibadan University of Kansas Research interests include African film, African-American theatre, and cultural analysis of traditional religious systems. His work examines how theatrical performances reflect socio-political dynamics in Africa and its diaspora. He has directed plays such as Sizwe Bansi is Dead and Oedipus Rex , and his publications span journals including Journal of Dramatic Theory and Criticism and South African Theatre Journal . He is currently completing a book on the history of African theatre. Scientific Awards: Roy A. Roberts Distinguished Professor Advising and grants details are not explicitly provided in the text. His professional activities include acting in television productions like Traditions and maintaining affiliations with multiple academic units. Labs/Teams: No specific lab or team affiliations mentioned.
Wesley Longacre is an Instructor of Theatre at Colorado State University (CSU), affiliated with the School of Music, Theatre, and Dance and the College of Liberal Arts. He teaches courses in acting, directing, and text analysis, and directs productions annually in CSU's theatre season. Previously, he held similar roles at the University of Colorado and CSU’s Honors Program. Longacre earned a Ph.D. in Theatre from the University of Colorado-Boulder (2017), with a dissertation titled The Politics of Thornton Wilder’s Drama . He also holds an M.A. in English Literature from Wake Forest University (Richter Scholar) and a B.A. in Journalism and Political Science from Baylor University. His research focuses on American drama, particularly Thornton Wilder, and he actively contributes to The Thornton Wilder Journal as a bibliographer. He has directed notable productions like Our Town , Rabbit Hole , and The Normal Heart , and served as dramaturg for the Colorado Shakespeare Festival. Longacre previously edited PARtake: The Journal of Performance as Research . Though no specific grants or awards are listed, his scholarly and practical contributions to theatre education and performance are central to his profile.
Debbie Swann is a Senior Lecturer of Theatre at Colorado State University (CSU), affiliated with the School of Music, Theatre, and Dance within the College of Liberal Arts. She holds a B.A. in Theatre and English from Kansas State University and an M.A. in Theatre from Texas State University, with additional training at England’s Shakespeare Center, Academy of Dramatic Art, and Royal Shakespeare Company. Her teaching focuses on Shakespearean studies and Introduction to Theatre, complemented by her textbook The Art of Entertainment: An Introduction to Theatre , adopted by CSU. She has directed notable productions at CSU, including How I Learned to Drive , and collaborated with Kaiser Permanente on the touring production The Amazing Food Detective . Active in the Fort Collins theatre community, Swann directs and performs with OpenStage Theatre and Company, earning an OpenStage OPUS Award for Spring Awakening and a Henry nomination for Don’t Dress for Dinner . Her directing credits span classical works like Rosencrantz and Guildenstern Are Dead and Tartuffe , alongside contemporary pieces such as Godspell and Avenue Q . Swann’s expertise bridges academic instruction and professional theatre practice, emphasizing collaborative education and community engagement through performance.
Scott Horstein is Professor and Director of the Theatre Studies Program at Sonoma State University. He teaches dramaturgy, playwriting, theater history, and dramatic literature, with foci on race, gender, identity, and ensemble creation. He directs new play festivals including Power Lines and Super Mega Molten Hot Lava. As SSU Arts Dramaturg, he created the Arts Integration Program reaching 10,000+ students. His professional dramaturgy includes work with Denver Center, Oregon Shakespeare Festival, Berkeley Rep, and collaboration with Arthur Miller on Resurrection Blues . He holds an MFA in Dramaturgy from UCSD and is active in Literary Managers and Dramaturgs of the Americas.
Laura Bond is a Professor of Drama and Interdisciplinary Studies at the University of North Carolina Asheville. She specializes in somatic practices for emotion regulation, physical expression, and wellness in the performing arts. Her work integrates interdisciplinary methodologies and has earned her prestigious awards like the Ruth Paddison Distinguished Professorship (2022) and Distinguished Service Award (2015). She holds an MFA in Acting/Directing from Syracuse University (1991) and a BFA in Related Arts from Kutztown University of Pennsylvania (1986). Her research focuses on the Emotional Body® method, a somatic approach to emotion regulation developed over 20 years of practice. This method has been applied in diverse fields such as actor training, therapy, and public speaking, supported by grants like the SSHRC Insight Development Grant ($63,500, 2018–2019). She also teaches Feldenkrais® and Estill Voice Training® methods, emphasizing holistic development. Bond has authored influential books like The Emotional Body and TEAM For Actors , and contributed educational guides for Penguin Press. Her academic leadership includes chairing the Drama department (2011–2014), directing the Arts & Ideas program (2007–2020), and co-founding the Arts Management & Entrepreneurship program (2017).
Katie Davis is a tenured Professor of Theatre Arts and Coordinator of the Theatre Arts Program at the University of Science and Arts of Oklahoma (USAO). She also serves as Executive Director of the Davis-Waldorf Performing Arts Series. Her roles include teaching courses such as Theatre History, Dramatic Literature, Acting, Directing, and Production Design, while overseeing department productions as Producing Director. Davis holds an M.F.A. in Theatre Arts: Directing from the University of Mississippi, an M.A. in Theatre Arts from the University of Texas at El Paso, and a B.A. in Theatre Arts from Juniata College. Her research focuses on Creativity, New Play Development, Postmodernism, Interdisciplinary Studies, and Theatre for Social Change. She has presented at conferences including the Association for Theatre in Higher Education (ATHE) and the Mid-America Theatre Conference, addressing topics like interdisciplinarity in theatre programs and post-9/11 representations in Arab-American plays. Davis is a panelist and presenter at events such as the Festival of Arts and Ideas and the Oklahoma Speech Theatre Communication Association. Awards: 2019 USAO Regent's Award for Teaching, 2023 Regent's Faculty Service Award, and recognition for Excellence in New Play Development. Community Engagement: Judges high school one-act competitions and collaborates with secondary schools via workshops. Professional Experience: Former Artistic Director of Corinth Theatre-Arts and roles at organizations like People’s Light and Theatre Company.
Sean Robert Ramey is Associate Teaching Professor at the University of New England with professional membership in the Actor's Equity Association. His pedagogical focus spans acting techniques, directing, theater history, dramatic literature, interpersonal communications, and public speaking. He brings extensive regional theater performance experience to academic instruction. Research and teaching interests center on: Practical theater arts pedagogy Historical theater traditions Performance communication dynamics
Courtney Elkin Mohler is an Associate Professor of Theatre at Boston College, Morrissey College of Arts and Sciences. She previously served as Associate Professor and Associate Dean at Butler University and Assistant Professor at Santa Clara University. Education: PhD in Critical Studies in Theater, UCLA BA in Theater, UCLA Her research focuses on new works pushing aesthetic and political boundaries to create a more equitable world, with special emphasis on supporting Native American playwrights. She specializes in Native American theatre and performance, contemporary women playwrights, and the intersection of theatre and social justice. Her publications cover Indigenous theatre practices, contemporary women playwrights, casting diversity, and decolonial approaches to theatre pedagogy. Her work consistently explores representation, cultural identity, and social equity in performance arts. Awards: Butler University Outstanding Professor of the Year for Research (2019) She regularly directs and dramaturgs for Native Voices at the Autry theatre company and serves on their National Play Reading Panel. She has directed over forty productions including works by Sarah DeLappe and Larissa Fast Horse.
Susan Thompson is a Lecturer in Theatre at Boston College's Morrissey College of Arts and Sciences. She holds a B.A. from Boston University and a Ph.D. in Theatre History from Tufts University. Her research focuses on Ensemble Theater, Mask, Clown, and Dream Work, emphasizing collaborative performance practices rooted in Jacques Lecoq’s pedagogy. Thompson has performed and directed internationally, including with Frederik Vanmelle's company in Mexico City and as a core member of Pilgrim Theatre Research and Performance Collaborative since 1990. Her academic contributions span plays and scholarly works. Notable awards include the Professor Kalman A. Burnim Prize for Scholarly Excellence in Drama (2002), the Tufts Graduate School Student Award for Undergraduate Education (2001), and the Graduate Symposium Award (2000). She is also a member of Phi Beta Kappa. Thompson’s performances highlight interdisciplinary and cross-cultural collaboration, with venues ranging from La MaMa (New York) to Yuyachkani (Peru) and the Boston Center for the Arts. Her research bridges theoretical inquiry and practical performance, particularly exploring Lecoq’s influence on American ensembles and the intersection of theatre with social issues like birth work in rural Mexico.
