books

Reclaiming Time: Dramaturgical Strategies in Black Expressive Culture (monograph; in progress)

The Expressive Art of Tarell Alvin McCraney (co-edited with Sharrell D. Luckett and David Roman; under contract)

Articles, Essays, and Book Chapters

"The Defamiliarizing Dramaturgy of Robert O'Hara." The Routledge Companion to Contemporary African American Theatre and Performance, edited by Renee A. Craft, Thomas F. DeFrantz, Kathy A. Perkins, and Sandra L. Richards. New York, NY: Routledge. (forthcoming). 

"Jefferson Pinder and the Art of Black Endruance." PAJ: A Journal of Performance Art, 118 (2018).

“Astigmatisms”; “‘The Night Everything Happened’ Gloss”; and, “Touching Touches and Gloss” (reprinted in Theatre Journal). Imagined Theaters: Writing for a Theoretical Stage, edited by Daniel Sack. New York, NY: Routledge. 

“Touching Touches and Gloss,” in “A Constellation of Imagined Theaters: Theater and Technology,” edited by Daniel Sack. Theatre Journal, 68.3 (September 2016).

Gem of the Ocean’s Fugitive Movements.” August Wilson’s Pittsburgh Cycle: Critical Perspectives on the Plays, edited by Sandra G. Shannon. Jefferson, NC: McFarland & Company, Inc.

“Bearing Witness: Intersections of Art and Protest.” PAJ: A Journal of Performance and Art, 109 (2015).

“Shadows, Acts, and Radical Presence. Theater, 44.3 (Fall 2014).

Performance and book reviews

Performance Review of Les Blancs by Lorraine Hansberry, Directed by Yael Farber (National Theater, London, 31 May 2016). Theatre Journal, 68.4 (December 2016).

Review of Coloring Whiteness: Acts of Critique in Black Performance by Faedra Chatard Carpenter (The University of Michigan Press, 2014). Journal of Dramatic Theory and Criticism 30.2 (Spring 2016).

Performance Review of Head of Passes by Tarell Alvin McCraney, Directed by Tina Landau (Steppenwolf Theater Company, 3 May 2013). Theatre Journal, 66.2 (May 2014).

Review of Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance by James F. Wilson (The University of Michigan Press, 2010). Theatre Journal, 64.4 (December 2012).

Review of The Scene of Harlem Cabaret: Race, Sexuality, Performance by Shane Vogel (The University of Chicago Press, 2009). Callaloo, 35.3 (Summer 2012).

Performance Review of Bootycandy by Robert O’Hara, Directed by Robert O’Hara (Woolly Mammoth Theater Company, 1 July 2011). Theatre Journal, 64.2 (May 2012).

Performance Review of Fences by August Wilson, Directed by Kenny Leon (Cort Theater, 18 April 2010). Theatre Journal, 63.1 (March 2011).

public and other writing

“Review of MoMA PS1’s Now Dig This!Art and Black Los Angeles, 1960-1980,” The Huffington Post

“LaToya Ruby Frazier’s Still Hauntings (Review),” The Huffington Post 

“When the American Promise Strains the Bonds of Friendship (Review),” popmatters.com

“Rethinking Questions of Politics, Culture and Identity: John Akomfrah’s The Stuart Hall Project (Review)” a Special to NewBlackMan (in Exile)

"I Ain't Never Left Baltimore: Meditations on Love and Charm City," a Special to NewBlackMan (in Exile)

“In Mourning,” The Feminist Wire

“Voting as a Radical Act” with Darnell Moore, The Feminist Wire, Forum on Voting

The Wiz, Then and Now,” Oxford University Press blog