about me

I am an associate professor of Restoration and eighteenth-century British literature at Simon Fraser University. My research and teaching interests include theatre and performance studies, comedy, women writers, and print culture.

My first book, Prologues and Epilogues of Restoration Theater: Gender and Comedy, Performance and Print, was published by Delaware in 2013, and came out in paperback in 2015. Accompanying over ninety per cent of all performed and printed plays between 1660 and 1714, prologues and epilogues–customized comic verses that promoted the play–evolved into essential theatrical elements, and they both contributed to and reflected a performer’s success. Once dismissed by scholars as formulaic, prologues and epilogues should be included in scholars’ analyses of Restoration and eighteenth-century plays in order for us to understand how Restoration audiences consumed plays.

I have published several Restoration and eighteenth-century theatre articles on subjects such as the play (possibly by Shakespeare) Double Falsehood; actresses Anne Bracegirdle and Anne Oldfield; the theatrical practice of ending tragedies with bawdy epilogues; “mad songs”; The London Merchant and theatre audiences; Margaret Cavendish’s comic prologues and epilogues; and the plays and theatrical compositions of Anne Finch. I am also editing The Broadview Anthology of Restoration and Early Eighteenth-Century British Theatre, 2nd edition. With four colleagues from the SFU English department I have edited Women and Comedy: History, Theory, Practice (Fairleigh Dickinson, 2014; paperback 2016). With scholars from McGill’s Interacting with Print consortium, I have written Interacting with Print: Elements of Reading in the Era of Print Saturation (Chicago, 2018).

My second book project examines low comedy on the Restoration and eighteenth-century British stage. Alongside the witty repartee of Restoration comedy and moral lessons of eighteenth-century theatre, low comedy was thriving. This book expands our knowledge of theatre range and audience taste by concentrating on low comedy, from popular character types, to comic interruptions of tragedy, to sexual violence within comedies, to animal acts. The archival work for this book has been supported by fellowships from the Clark Library, the Huntington Library, the Harry Ransom Center, and the Social Science and Humanities Research Council of Canada.

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