I hold a joint appointment at the rank of Professor in the English Department and the School for the Contemporary Arts at SFU. I am also an Associate Member of the Department of Gender, Sexuality, and Women’s Studies, and in January 2015 I became Director of SFU’s new Institute for Performance Studies.

Although trained as a literary critic, the primary focus of my teaching and research now lies in the interdisciplinary field of performance studies, with cognate interests in theatre studies, dance studies, film studies, and queer theory and gender studies. My most recent book-length publications include:
World Stages, Local Audiences: Essays on Performance, Place, and Politics (Manchester University Press, 2010); the co-edited volume Women and Comedy: History, Theory, Practice (Fairleigh Dickinson University Press, 2014); a co-edited special issue of the journal PUBLIC on Mega-Event Cities: Art/Audiences/Aftermaths (#53, Spring 2016); and two co-edited volumes for Playwrights Canada Press—Q2Q: Queer Canadian Theatre and Performance, New Essays on Canadian Theatre, vol. 8. (2018) and Queer Canadian Performance Texts (2018).

An active viewer and supporter of arts and culture in Vancouver, I spent six years as a board member (two of them as President) of the
PuSh International Performing Arts Festival. I also blog regularly about performance in the city and beyond at performanceplacepolitics.blogspot.com.

Since 2010, I have also begun writing original work for the stage. So far my efforts have included:
The Objecthood of Chairs, a multi-disciplinary dance-theatre piece on which I collaborated with colleagues from Contemporary Arts (SFU Woodward’s, 2010); Counting to Infinity, a monologue that received a staged reading as part of Solo Collective Theatre’s 2012 Emerging Playwrights’ Competition in April 2012; Positive I.D., a ten-minute play about racial profiling that premiered in Toronto as part of the InspiraTO Festival in June 2012; and Long Division, a seven-character, two-act play about the mathematics of human connection that received its world premiere in November 2016 in a Pi Theatre production directed by Richard Wolfe at the Gateway Theatre, and then remounted in April 2017 at the Annex Theatre in Vancouver.

EDUCATION
  • Ph.D. in English Literature, University of British Columbia, 1997
  • M.A. in English Literature, University of British Columbia, 1993
  • B.A. (Honours) in English and History, University of Toronto, 1990
RESEARCH AND TEACHING INTERESTS
  • Performance studies, theatre studies, and dance studies
  • Film studies
  • Queer theory and gender studies
  • Comparative Canadian literary and cultural studies
For a list of some of my publications in these areas, or to view a description of my current research projects, please follow the links above. For an idea of what I sometimes get up to in pursuit and/or defense of that research, click on the thumbnails to the left.

PAST AND ONGOING GRADUATE SUPERVISIONS
  • Traumas of the flesh in the works of Harold Pinter
  • Performing on the Fringe Theatre circuit
  • Female masculinity in The Killing of Sister George
  • Violent vernaculars in Glengarry Glen Ross
  • The trouble with Jimmy Stewart in Alfred Hitchcock’s Rope
  • Mimicry, masquerade, and abjection in plays by David Henry Hwang and Amiri Baraka
  • Magic and melancholy in queer fantasy fiction
  • Practices of embodiment in the stand-up comedy of Margaret Cho
  • Reproductive anxieties in North American literature and film
  • Modern disability narratives
  • Christo and Jeanne-Claude's "The Gates": Site-specific performance in NYC post-9/11
  • Gendered practices of self: an autoethnographic project and performance
  • Site-specific dance, urban spaces, and performance publics
  • Theories of adaptation and performance
  • Gender, sport and affect
  • The cultural politics of dance reconstruction and dance archives
  • Dance and virtual reality
  • "Mirror staging the seeing place": a choreographic investigation
  • The performance of home and domestic space in Vancouver
  • The discourse of "straight-acting" on Grindr
  • Dance and notions of "kinaesthetic strike"