Current Plays

Camouflage (Athena Theatre, NYC, production, Flush Ink Productions, Ontario, Maison des Etudiants Canadiens, Paris, The Wilbury Theatre Group, Boston Theater Marathon, production), Loyalty (The Theatre Project, NJ, production), Fallen Wings (10-minute version British Theatre Challenge winner, production, full-length version Bechdel Group, NYC, New Play Development Reading Series), Protocol (Boston Theater Marathon, MA, production, Pend Oreille Players, WA, Camino Real Playhouse, CA, staged reading, shortlisted for Vermont Repertory Theatre), It’s Not About the Crullers  (Theatre Breaking Through Barriers, NYC, staged reading, Stage Left Theater, WA, staged reading), The Code (The Road Theatre Company, CA, staged reading, Fizzy Sherbet, London, shortlist), Blood Pact (Benchmark Theatre, CO, staged reading), Portraits (Athena Theatre, NYC, staged reading)

Camouflage, Athena Theatre, Veronique Ory        (photo credit: Nestor Correa)


A Legacy of Violence: Women, Mental Illness, and Performance (Routledge, under contract)


Smith&Kraus Monologue Book

Monologue from Camouflage in The Best Women’s Monologues of 2019 (Smith & Kraus)

Best Ten-Minute Plays 2018

Protocol in The Best Ten-Minute Plays of 2018 (Smith & Kraus)



Undressed for Success: Beauty Contestants and Exotic Dancers as Merchants of Morality  (Palgrave Macmillan: http://www.palgrave.com/us/book/9781403969934)


coquette-book-cover“The Masked Coquette: A Paradigm for the  Eighteenth-Century Stage” in Refiguring the Coquette, Bucknell UP http://www.bucknell.edu/script/upress/book.asp?id=349

chronicity-cover“Passing Strange: Illness, Shame, and Performance” (Chronicity Enquiries: Making Sense of Chronic Illness, Inter-Disciplinary Press, Oxford)

FF 30_1 Cover.indd“Naked Politics: Erie, PA vs. Kandyland Club” (lead article in the National Women’s Studies Association Journal, Volume 14, number 2)

“Misogyny and Dependence: The Concentric Paradoxes of Strindberg’s ‘Flight toward the Rose Chamber’ in To Damascus, Part 1,” (featured article in Nordic Theatre Studies, Volume 13)