Selected Publications

My research focuses on the development of the repertory or ‘stock’ system of playing: both the ways in which it conditioned the early modern theatre industry and its continued presence in theatre promotion and television writing. Discrete projects on the performance of race, collaborative economies, and climate illustrate how the repertory system mitigated financial risk while engendering innovation in the theatre — capitalizing on how the constitutive processes of reception and appropriation shape (early) modern habits of mind.

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with D. Fallow, ‘John Shakespeare’s Muckhill: Ecologies, Economies, and Biographies of Communal Waste in Stratford-upon-Avon, c. 1550–1600’, Shakespeare Quarterly (forthcoming, spring 2024)

“On pleasures past, and dangers to ensue”: Site-Specific Violence and the Post-Renovation Rose Repertory’, Special Issue on Props in Repertory, Shakespeare 19, no. 1 (2023-03-22): 1-15, doi: 10.1080/17450918.2023.2183090

with S. Ballou, ‘The #OthelloSyllabus: Twitter as Play’, Hybrid Pedagogy (2020-09-04), doi: 10.17613/a9qz-e498

Matisse in the Playhouse’, Shakespeare Studies 47 (2019-10-18): 127-33, doi: 10.17613/7n2f-j853

  • 2018 Next Generation Plenary selection, Shakespeare Association of America

Super Troupers; or, Supplemented Playing before 1594’, Shakespeare Studies 45 (2017-10-18): 77-86, doi: 10.17613/58yh-5x29

A Race to the Roof: Cosmetics and Contemporary Histories in the Elizabethan Playhouse, 1592–1596’, Shakespeare Bulletin 34, no. 45 (2016-06-22): 193-217, doi: 10.1353/shb.2016.0021

  • 2017 Palmer Prize for Best New Essay in Early Drama Archival Research, Medieval and Renaissance Drama Society / citation
  • 2016 Prize for Research in the Humanities, Illinois Humanities Research Institute / citation

The Chariot in 2 Tamburlaine, The Wounds of Civil War or Marius and Scilla, and The Reign of King Edward III’, Notes & Queries 63, no. 3 (2016-07-14): 393-96, doi: 10.1093/notesj/gjw145

A Tale of Two Shrews: Recovering the Repertory of the Lord Pembroke’s Players’, Journal of the Wooden O 14 (2015-08-01): 84-95, doi: 10.17613/b968-a398


‘Cham’s Beard and Tartar’s Bow: Staging Mongolia after the Elizabethan Repertory’, Reprints and Revivals of Renaissance Drama, eds. E. Price and H. Newman (under review)

‘Fistfights and Sacrifice: Troupe Dynamics, Transformation, and Shakespeare Offstage’, Slings & Arrows: Performing Shakespeare as Canada, eds. K. Wright and D. Moore (under review)

Alive in the (Early) Modern Repertory’, Early Modern Liveness: Mediating Presence in Text, on Stage and Screen, eds. D. Rosvally and D. Sherman, 111–44 (Bloomsbury, 2023-01-26), doi: 9781350318502.0013

Playing Companies and Repertories’, The Arden Handbook to Shakespeare and Early Modern Drama: Perspectives on Culture, Performance and Identity, eds. M. M. Dowd and T. Rutter, 109-27 (Bloomsbury, 2023-01-12), doi: 10.5040/

Claire Kens Well: Appropriation and Itinerant Performance in Outlander Onscreen’, Outlander’s Sassenachs: Essays on Gender, Race, Orientation, and the Other in the Novels and Television Series, ed. V. Frankel, 31-43 (McFarland & Company, 2016)


with L. Johnson and E. MacLeod, eds., Special Issue on Props and the Early Modern Repertory, Shakespeare 19, no. 1 (2023-04-01): 1-141, url:

with L. Johnson, eds., ‘Issues in Review: Playing in Repertory’, Early Theatre 25, no. 2 (2022-12-13)

ed., ‘Special Issue: Fight or Flyte - Pride and Masculinity in the Middle Ages’, International Journal of Undergraduate Research and Creative Activities 11, no. 3 (2019), doi: 10.7710/263


ed., W. Shakespeare, Troilus and Cressida, Arden Shakespeare 4, general eds. P. Holland, Z. Lesser, and T. Stern (Bloomsbury, under contract)



Romeo and Juliet (National Theatre 2021)’, Shakespeare Bulletin 40, no. 1 (2022-06-27): 148–52, doi: 10.1353/shb.2022.0008

A Midsummer Night’s Dream (Back Room Shakespeare Project 2020)’, Shakespeare Bulletin 38, no. 3 (2021-09-24): 511–15, doi: 10.1353/shb.2020.0040 / Watch

Everybody (Artists Repertory Theatre 2018)’, Shakespeare Bulletin 37, no. 3 (2020-07-07): 409–13, doi: 10.1353/shb.2019.0042

Romeo and Juliet (Oregon Shakespeare Festival 2018)’, Shakespeare Bulletin 37, no. 1 (2019-05-31): 141–45, doi: 10.1353/shb.2019.0013

Pericles Wet (Portland Shakespeare Project 2017)’, Shakespeare Bulletin 36, no. 3 (2018-10-31): 555–58, doi: 10.1353/shb.2018.0055

Romeo and Juliet / Layla and Majnun (Bag & Baggage 2017)’, Shakespeare Bulletin 36, no. 2 (2018-07-18): 340–45, doi: 10.1353/shb.2018.0030

The Taming of the Shrew (Original Practice Shakespeare Festival 2016)’, Scene: Journal of the Internet Shakespeare Editions 2 (2017): 66–72, doi: 10.18357/scene02201718373

Malvolio’s Revenge; or, Disabusing the Audience’, Shakespeare 400 Chicago: Reflections on a City’s Celebration of Shakespeare, 166–68 (Chicago Shakespeare Theatre, 2017)

The Hollow Crown’s Richard III: The Affective Failure of Direct Address’, In the Glassy Margents, ed. T. J. Moretti (2018-01-02)

The Hollow Crown’s 2 Henry VI: Perspective and Personal Sovereignty’, In the Glassy Margents, ed. T. J. Moretti (2017-02-03)

The Hollow Crown’s 1 Henry VI: Crosscuts, Casting, and Factional Conflict’, In the Glassy Margents, ed. T. J. Moretti (2017-01-17)

The Portland Actors Ensemble: Love’s Labour’s Lost’, In the Glassy Margents, ed. T. J. Moretti (2016-10-27)

“Spirited with wine”: Portland Actors Ensemble’s Summer Season’, The Shakespeare Newsletter 66, no. 1 (2016): 38–40

Julius Caesar (Back Room Shakespeare Project 2014)’, Shakespeare Bulletin 32, no. 4 (2014-12-05): 756–60, doi: 10.1353/shb.2014.0058

Mankind (Illinois Program in Medieval Studies 2013)’, Shakespeare Bulletin 31, no. 3 (2013-09-11): 558–62, doi: 10.1353/shb.2013.0054

Othello and Twelfth Night (Shakespeare Project of Chicago 2012)’, Shakespeare Bulletin 31, no. 2 (2013-06-06): 286–92, doi: 10.1353/shb.2013.0020

The Comedy of Errors (Court Theatre 2010)’, Shakespeare Bulletin 29, no. 1 (2011-04-06): 60–64, doi: 10.1353/shb.2011.0004


What is a Playhouse? England at Play, 1520–1620 by C. Davies (Routledge 2022)’, Shakespeare Bulletin 40, no. 4 (2023-03-23): 757–78, url:

Rethinking Theatrical Documents in Shakespeare’s England edited by T. Stern (Bloomsbury 2020) & Loss and the Literary Culture of Shakespeare’s Time edited by R. Knutson, D. McInnis, and M. Steggle (Palgrave 2020)’, Early Theatre 24, no. 1 (2021-06-30): 173–79, doi: 10.12745/et.24.1.4764

Shakespeare’s Lost Playhouse: Eleven Days at Newington Butts by L. Johnson (Routledge 2017)’, Shakespeare 14, no. 2 (2018-04-09): 197–98, doi: 10.1080/17450918.2018.1447988

Shattering Hamlet’s Mirror: Theatre and Reality by M. Carlson (U of Michigan P 2016)’, Journal of Dramatic Theory and Criticism 32, no. 1 (2018-01-13): 144–46, doi: 10.1353/dtc.2017.0033

Shakespeare’s Stage Traffic: Imitation, Borrowing, and Competition in Renaissance Theatre by J. Clare (Cambridge UP 2014)’, Journal of Dramatic Theory and Criticism 30, no. 2 (2016-05-14): 143–45, doi: 10.1353/dtc.2016.0012


with A. Morris and H. McNamee, ‘Census of Medieval and Renaissance performance since January 2022’, Research on Medieval and Renaissance Drama 60 (in preparation)

with K. A. Thomas, ‘Census of Medieval and Renaissance performance since January 2021’, Research on Medieval and Renaissance Drama 58 (2021-12-31): 79-106

The Sun Tavern (The Sonne)’, in The Map of Early Modern London, ed. J. Jenstad (2020-07-12)

with H. Vincent, ‘A Semi-Diplomatic Transcription of Selections from the John Ward Diaries, vol. 10 (1663–1665)’, The Collation: Research and Exploration at the Folger Shakespeare Library blog, ed. H. Wolfe (2020-03-19)


In 2021, Daniel Pollack-Pelzner and I co-led a ‘Writing for Popular Media’ workshop at the annual meeting of the Shakespeare Association of America, hoping to give faculty space to develop pieces that showcase their research in popular venues. Overtime these pieces are finding homes, including

Making the Covert Public’, Humanities for All blog, eds. M. May-Curry and Y. Oliver, National Humanities Alliance (2021-06-15)

Genre and the Elizabethan Troupe’, Before Shakespeare: The Beginnings of London Commercial Theatre 1565–1595 blog, eds. C. Davies, A. Kesson, and L. Munro (2017-05-11)

Updated 2023-04-04