My theatre scholarship is influenced by my experiences in the US and UK theatre industries in various production roles, the desire I have to contribute positively to sociopolitical change through theatre, and the realities of the politics, working conditions, and economies of these theatre industries that can limit and shape how and when change can occur. My experience in various digital humanities projects during my undergraduate studies introduced me to major DH methodologies as well as critical frameworks for evaluating these methods.

I am currently developing a monograph based on my dissertation research, critically examining London-based Shakespeare theatre productions from 2010 to 2020 framed as ‘radical’. My writing stems from the question: what does it mean for Shakespeare theatre companies to do ‘radical’ work? What do major companies define as ‘radical’ and how do they reinforce this idea? My research has spanned the political economy of Shakespeare theatre production in London, with focus in digital technologies onstage, the growing relationship between tech and theatre industries, and institutional responses to gender inequality on the contemporary Shakespeare stage.

Beyond my doctoral research, I am interested in labor rights and politics in contemporary theatre, the relationship between theatre and the digital economy, using digital technologies as dramaturgical and pedagogical tools, archival practices and ethics. My research is always growing and changing as I continue my studies.

Ongoing and Envisioned Projects:

• Practice-based research, developing pedagogical strategies for teaching and using motion-capture in the theatre studies classroom
• A podcast on Spiderman: Turn Off the Dark which explores themes including: using the production as an entry-point for critically evaluating Broadway as a workplace, the tension between pursuing success in the name of ‘art’ at the risk and expense of theatre workers’ safety, how critical reception shaped the production’s reputation
• The politics of casting, diversity and ‘inclusivity’ contemporary Shakespeare performance