PUBLICATIONS

Current Curriculum Vitae as PDF

Visit Visualizing Broadway to see my Digital Humanities research.

Books

• Copyright and the Value of Performance, 1770–1911
  A monograph about how the commodification of performance during the development of Anglo-American performance rights law shaped thinking about performance and value. Cambridge University Press, 2018.
• Hear or read an interview about the book on the Theatre History Podcast with Michael Lueger, hosted by HowlRound.
• Listen to an interview on Ipse Dixit, a podcast about legal scholarship, hosted by Prof. Brian L. Frye.
• Read reviews by Prof. John Shanahan in Modern Drama, by Prof. Meredith McGill in PublicBooks, and by Dr. Eleanor Massie in New Theatre Quarterly.

Forthcoming

• “Defining Repertory.” A Response to William Weber and François Velde. In Early Modern Theater Practices and the Digital Archive, eds. Sylvaine Guyot and Jeffrey S. Ravel, under review with MIT Press.
• “Realism.” In Ibsen in Context, eds. Narve Fulsås and Tore Rem, under review with Cambridge UP.
• “Database and Performance.” In Digital Humanities for Theatre and Performance Studies, ed. Nic Leonhardt, forthcoming from Routledge.

In Progress

• Five, Six, Seven, Eight: Broadway by the Numbers
  A quantitative history of Broadway in the twentieth century. Chapters include a longitudinal study of cast sizes, comparative readings of contemporaneous plays and musicals, and sociological analyses of Broadway’s artistic network.

Articles and Book Chapters

• “On Bow and Exit Music.” Journal of American Drama and Theater 30, no. 1 (Fall 2017).
• “Knowledge Transmission: Media and Memory.” In A Cultural History of Theatre, Vol. 5. General Editors: Christopher Balme and Tracy C. Davis. Volume Editor: Peter W. Marx. London: Bloomsbury Press, 2017.
• “Average Broadway.” Theatre Journal 61, no. 4 (December 2016): 529–53.
• “The Salve of Duty: Global Theater at American Borders, 1875–1900.” Journal of Global Theatre History 1, no. 1 (2016): 20–33.
• “New Directions in Law and Narrative.” Co-Authored with Robin Wharton. Law, Culture and the Humanities 15, no. 2 (2019): 294--304. (Published online June 5, 2016.)
• “Polyvocally Perverse; or, the Disintegrating Pleasures of Singing Along.” Studies in Musical Theatre 6, no. 1 (2012): 89–98.
• "Performative Performances: A History and Theory of the ‘Copyright Performance.’ Theatre Journal 64, no. 2 (2012): 161–77.
• “On Piano Performance—Technology and Technique.” Contemporary Theatre Review 21, no. 3 (2011): 261–75.
• "‘Underneath the Ground’: Jud and the Community in Oklahoma!" Studies in Musical Theatre 2, no. 2 (2008): 163–74.

Reviews

• Review of Music for the Melodramatic Theatre in Nineteenth-Century London & New York by Michael V. Pisani. Modern Drama 28, no. 2 (2015): 270–2.
• Review of Weavers of Dreams, Unite!: Actors’ Unionism in Early Twentieth-Century America by Sean P. Holmes. Theatre Survey 56, no 1 (2015): 105–7.
• Review of Showtime: A History of the Broadway Musical Theater by Larry Stempel and South Pacific: Paradise Rewritten by Jim Lovensheimer." TDR: The Drama Review 57, no. 1 (2013): 190–3.
• “On Material Music Histories” (review essay). Musicology Australia 34, no. 2 (2012): 307–15.
• Review of West Side Story, directed by Arthur Laurents. Theatre Journal 61, no. 3 (2009): 479–81.

Other

• Hamilton: Who Tells Your Story? With Hannah Farber. Review of Historians on Hamilton for Public Books, 2019.
• “The Prince of Broadway’s Social Network.” Special Feature for Playbill.com, 2017.
• “The Acoustic Academy.” Hearing Modernity’s "Soundblog" at Harvard, 2013.
• “A Different Good Friday Accord.” Houghton Library Blog, 2011.