Ph.D., English, University of Pennsylvania, 1996

B.A. cum laude, English, Bryn Mawr College, 1990


Digital Media Strategist, Folger Shakespeare Library (2013–15)

Undergraduate Program Director (2006–13) and Scholarly Outreach Coordinator (2011–13), Folger Shakespeare Library

Planning Grant Consultant, Division of Academic Programs, Folger Shakespeare Library, 2005–06

Adjunct Faculty, Department of English, Georgetown University, 2003–04

Interim Executive Director, Folger Institute, Folger Shakespeare Library, 2002–03

Adjunct Faculty, Department of English, George Mason University, 2001–02

Assistant Professorial Lecturer, Departments of English and of Theatre and Dance, The George Washington University, 2000–01

Postdoctoral Lecturer, Department of English, University of Pennsylvania, 1996–98



A Handbook for Studying Early Printed Books, 1450-1800. Wiley Blackwell. Under contract.

Textual Editor, The Taming of the Shrew, Norton Shakespeare, 3rd edition. New York: Norton, 2015.

Guest Editor, special issue of Shakespeare Quarterly on Shakespeare and Performance. Fall 2011.

Editor, New Directions for Renaissance Drama and Performance Studies. Basingstoke: Palgrave Macmillan, 2010. (Reviewed in Shakespeare Quarterly, Shakespeare Survey, Choice, New Theatre Quarterly, Theatre Research International, Theatre History Studies.)

Shakespeare and Feminist Performance: Ideology on Stage. Accents on Shakespeare. London: Routledge, 2001. (Reviewed in Shakespeare Quarterly, Shakespeare Survey, Theatre Journal, Renaissance Forum, New Theatre Quarterly; excerpted in Ewan Fernie, ed., Reconceiving the Renaissance.)


Performance in Digital Editions of Shakespeare.” The Oxford Handbook of Shakespeare and Performance, ed James C. Bulman. Oxford UP, forthcoming.

“Digital First Folios.” The Cambridge Companion to Shakespeare’s First Folio, ed Emma Smith. Cambridge UP, 2016. 170–184.

Othello and Theatrical Language.” Shakespeare’s World of Words, ed Paul Yachnin. Arden Shakespeare. London: Bloomsbury, 2015. 171–186.

Digital Scholarship and Digital Studies: The State of the Discipline.” Co-written with Matthew Kirschenbaum. Book History. 17 (2014): 406-458; DOI: 10.1353/bh.2014.0005.

“Bringing Undergraduates into the Archive.” Teaching in the Archives, eds Heidi Brayman Hackel and Ian Moulton. MLA Options for Teaching. New York: Modern Language Association, 2014. 15–21.

Where Material Book Culture Meets Digital Humanities.” Journal of Digital Humanities 1:3 (Summer 2012). <>

Building Community.” postmedieval FORUM: The States of Review. March 2012. <>

Audiences.” Shakespeare and the Making of Theatre, eds Bridget Escolme and Stuart Hampton-Reeves. London: Palgrave Macmillan, 2012. 165–89.

 “Multiplying Cordelia: Teaching the Norton King Lear.” Feminisms and Early Modern Texts: Essays for Phyllis Rackin, eds Rebecca Ann Bach and Gywnne Kennedy. Selinsgrove, PA: Susquehanna UP, 2010. 172–81.

“Arming Cordelia: Character and Performance.” Shakespeare and Character: Theory, History, Performance, and Theatrical Persons, eds Paul Yachnin and Jessica Slights. London: Palgrave Macmillan, 2009. 232–49.

“Firk and Foot: The Boy Actor in Henry V.” Shakespeare Bulletin 21:4 (Winter 2003): 19–27.

“Women’s Work and the Performance of Shakespeare at the RSC.” Shakespeare and Modern Theatre: The Performance of Modernity, eds Michael Bristol and Kathleen McLuskie with Christopher Holmes. London: Routledge, 2001. 93–116.

“Notes on Sharing the Cake: Women in Today’s British Theatre.” The Routledge Reader in Gender and Performance, ed. Lizbeth Goodman with Jane de Gay. London: Routledge, 1998. 108–112.

“Performing Shakespeare: Voice Training and the Feminist Actor.” New Theatre Quarterly 47 (August 1996): 249–58. (See also issues 48 and 49 for correspondence regarding this article.)

Book and Theatre Reviews, and Interviews:

Rev. Leslie Howsam, ed., The Cambridge Companion to the History of the Book (Cambridge UP, 2015). The Times Literary Supplement. In brief. February 12, 2016. 27.

“Two Hamlets: Wooster Group and Synetic Theatre,” Shakespeare Quarterly (Fall 2008): 323–29.

Rev. Barbara Hodgdon and W. B. Worthen, eds., A Companion to Shakespeare and Performance (Blackwell, 2005). Shakespeare Bulletin 25:2 (2007): 111–115.

Interview with Andrew Long, American Players of Shakespeare, ed. Michael Shurgot. U Delaware P, 2007. 87–100.

Interview with Kate Eastwood Norris, American Players of Shakespeare, ed. Michael Shurgot. U Delaware P, 2007. 101–117.

Rev. shkspr prjct, Catalyst Theatre. Shakespeare Bulletin 24:1 (2006): 118–21.

Rev. Lukas Erne and Margaret Jane Kidnie, eds., Textual Performances: The Modern Reproduction of Shakespeare’s Drama (Cambridge UP, 2004); Robert Shaughnessy, Shakespeare Effect: A History of Twentieth-Century Performance (Palgrave 2003); and Tiffany Stern, Making Shakespeare: From Stage to Page (Routledge, 2004). Performance Research 10:3 (December 2005): 109–13.

Rev. Elizabeth Schafer, ed., The Taming of the Shrew, Shakespeare in Production (Cambridge UP, 2002). Shakespeare Bulletin 22:3 (Fall 2004): 125–28.


Invited speaker:

“Experiencing Digital Shakespeare.” Keynote. Hawkeye Shakespeare: Teaching Shakespeare in Iowa. University of Iowa. September 2016.

Looking for a Radically Open Digital Landscape.” Plenary speaker. RBMS: “Opening Doors to Collaboration, Outreach, and Diversity.” Coral Gables, FL. June 2016. DOI: 10.17613/M6SP52

When is a Source Not a Source?” Stanford Primary Source Symposium: “The Phenomenology of the Source.” Stanford University. November 2015. DOI: 10.17613/M6PG6F

“Living in a Digital Age: The Humanities and Technology.” Roundtable Participant. Democracy and the Humanities Symposium. Loyola University. September 2015.

How to Destroy Special Collections with Social Media in 3 Easy Steps: A Guide for Researchers and Librarians.” Rare Book School, University of Virginia, July 29, 2015.

“Ideas of experimenting.” Discussant for Plenary “Special Collections Libraries as Liberal Arts Laboratories.” Rare Books & Manuscripts Section (RBMS) preconference, Oakland, CA, June 2015. [a last-minute emergency prevented me from attending]

Disembodying the Past to Preserve It.” Digital Preservation 2013, NDIIPP/NSA meeting, Washington DC, July 2013.

“Digital Tools/Early Modern Books” and “Undergraduates in Special Collections: Beyond Show-and-Tell.” Penn State, February 2013.

“Material Texts and the Challenges of Digitization.” GW Digital Humanities Symposium, George Washington University, January 2013.

“Where Material Culture Meets Digital Humanities.” Geographies of Desire, University of Maryland, April 2012.

“Open Peer Review and Scholarly Publishing.” Mary Baldwin College, October 2011.

“Undergraduates in Special Collections” and “Open Peer Review.” History of Science colloquium, University of Oklahoma, October 2011.

“Tracing Theatrical Language.” Language Incorporated: Shakespeare’s World of Words. The Shakespeare and Performance Research Team, McGill University. Montreal, November 2011.

“Discrete Parts: The Relationship of Text and Performance in Editions of Shakespeare.” SCAENA: Shakespeare and his Contemporaries: Performance and Adaptation. Cambridge, UK, July 2008.

“Textualizing Performance and Theatricalizing Books in Shakespeare Editions.” The McGill Shakespeare and Performance Research Team. Montreal, March 2008.

“Minding the Gap between Theatre and EngLit.” Honors Symposium. The George Washington University, March 2001.

“Interpreting Audience Interpretations: The Case of Gale Edwards’ Taming of the Shrew.” Shakespeare and Performance Research Group colloquium. McGill University, December 1998.

“Arming Cordelia.” Contestation and Renewal in Early Modern Studies: A Conference in Honor of Phyllis Rackin. University of Pennsylvania, March 2002.

Seminar, workshop, or panel organizer:

“Material Texts and Digital Embodiments.” Shakespeare Association of America. Atlanta, April 2017.

“Folger Digital Agendas III: Roundtable: Digital Futures.” Renaissance Society of America. Boston, April 2016.

“Scales of Time and Shakespeare.” Modern Language Association. Austin, Texas, January 2016.

“Fragments and Mediation in Digital Performance.” Modern Language Association. Vancouver, January 2015.

“Alt-Ac Work and Gender: It’s Not Plan B.” Modern Language Association. Chicago, January 2014.

“Open Peer Review in Practice.” THATCamp CHNM 2012. George Mason University, June 2012.

“What is the Opposite of Big Data?” Co-led with Suzanne Fischer. THATCamp CHNM 2012. George Mason University, June 2012.

“Non-Shakespearean Drama and Performance.” Co-director with Pascale Aebischer. Shakespeare Association of America. Boston, April 2012.

“Old Books and New Tools.” Modern Language Association. Seattle, January 2012.

 “Print journals in a digital world.” THATCamp Publishing, Baltimore, October 2011.

“Digital humanities, archives, and undergraduate research.” Co-led with Tonya Howe. THATCamp CHNM, George Mason University, June 2011.

“Teaching Print Culture: a roundtable discussion.” Rethinking Early Modern Print Culture. Centre for Reformation and Renaissance Studies. Toronto, October 2010.

“Editing in Action.” Renaissance Drama in Action. Toronto, November 2006.

“Editing for Performance.” Co-director with Margaret Jane Kidnie. Shakespeare Association of America. New Orleans, April 2004.

“The State of Performance Criticism: Where Are We Today and Where Are We Headed.” Shakespeare Association of America. Miami, April 2001.

“Rethinking Performance Criticism.” Modern Language Association, Washington, D.C., December 2000.

“Editing Performance Decisions / Performing Editorial Decisions.” Shakespeare Association of America. Cleveland, Ohio, March 1998.


Respondent for “Digital Embodiment.” Modern Language Association. Philadelphia, January 2017.

“Fragmenting Shakespeare.” Modern Language Association. Vancouver, January 2015.

Panelist for “Reach Them and They Will Come: New Approaches for the Archival Educator.” Archives * Records 2014 (Society of American Archivists), Washington DC, August 2014.

“The Page in Codices and Digital Formats.” Modern Language Association. Chicago, January 2014.

“Fragmentation.” The Seventh Blackfriars Conference. Staunton, Virginia, October 2013.

“Multivalent Print, or, Learning to Love Ambiguity in Three Easy Lessons.” Modern Language Association. Boston, January 2013.

“Make Your Own Luck.” Modern Language Association. Boston, January 2013.

“The Pitfalls of Performance Space.” The Fifth Blackfriars Conference. Staunton, Virginia, October 2009.

“Staging Women Warriors.” The Third Blackfriars Conference. Staunton, Virginia, October 2005.

“Writing Performance in Shakespearean Editorial Practices.” Association of Theatre in Higher Education. Chicago, August 1997.

“Speculations on a New Acting Methodology.” Shakespeare Association of America. Chicago, March 1995.

“Acting Shakespeare’s Female Characters, Or, Struggling to Make Sense of Shakespeare.” International Congress on Medieval Studies. Kalamazoo, Michigan, May 1994.

“Struggling to Make Sense of Shakespeare: Toward a Feminist Acting Methodology.” Northeast Modern Language Association. Pittsburgh, Pennsylvania, April 1994.

“‘Brothel Houses of Bauderie’: The Fear of Female Desire in Renaissance Attacks and Defenses of the Theater.” Group for Early Modern Culture Studies. Norman, Oklahoma, October 1993.

Seminar or workshop participant:

“Digital Resources for the Early Modern Book Trade.” Respondent. Shakespeare Association of America. St Louis, April 2014.

THATCamp CHNM. Center for History and New Media, George Mason University, June 2013.

THATCamp CHNM. Center for History and New Media, George Mason University, June 2012.

THATCamp Publishing. Baltimore, October 2011.

THATCamp CHNM. Center for History and New Media, George Mason University, June 2011.

“Using Shakespeare Quartos Archive to teach copy-specific book history.” Shakespeare Association of America. Bellevue, Washington, April 2011.

“Shakespeare and Emotional Realism on the Modern Stage.” Respondent. Shakespeare Association of America. Chicago, April 2010.

“Questions about studying Shakespeare and performance, or, I do SOVRDTP.” Shakespeare Association of America. Washington DC, April 2009.

“Enter from the Margins: A Study in Glossing Performance.” Shakespeare Association of America. Dallas, March 2008.

“The Art of Performance Criticism.” Respondent. Shakespeare Association of America. San Diego, April 2007.

“Shakespeare and Cross-Racial Casting: Adrian Lester’s Rosalind.” Shakespeare Association of America. Philadelphia, April 2006.

“Performance Concerns in Editing Non-Shakespearean Drama.” Shakespeare Association of America. Bermuda, April 2005.

“Firk and Foot: The Boy Actor in Henry V.” Shakespeare Association of America. Victoria, British Columbia, April 2003.

“Multiplying Cordelia: Teaching the Norton King Lear to Undergraduates.” Shakespeare Association of America. Minneapolis, March 2002.

“Teaching Shakespeare on Film qua Film.” Shakespeare Association of America. Montreal, April 2000.

“Staging Female Character.” Shakespeare Association of America. San Francisco, April 1999.

“Looking for Feminism at the Royal Shakespeare Company.” American Society for Theatre Research. San Antonio, November 1997.

“Interpreting Shrew / Shrewing Interpretation.” Shakespeare Association of America. Washington, D.C., March 1997.

“British Voice Training and the Feminist Actor.” Shakespeare Association of America. Albuquerque, April 1994.


History of the Book:

Books and Early Modern Culture: an advanced undergraduate level seminar drawing on book history and early modern rare materials taught at the Folger Shakespeare Library to students primarily from The George Washington University and Georgetown University (fall and spring semesters from Fall 2007 through Spring 2013, Spring 2014)


Introductory level courses organized by genre; Georgetown (Fall 2003), George Mason University (Spring 2002, Fall 2001), and the University of Pennsylvania (Fall 1997, Fall 1996)

The Gender of Shakespeare: an advanced level seminar on Shakespeare and gender and cultural studies; McGill University (Spring 1999)

Advanced Topics in Shakespeare: Performance Criticism: University of Pennsylvania (Spring 1997, Spring 1998)

Early modern drama and literature:

Studying Renaissance Drama and Performance: a graduate level seminar on theories and practices of performance as explored through Renaissance plays; GW (Spring 2010)

Renaissance Drama and Performance Criticism: an undergraduate advanced level seminar; Georgetown (Spring 2004)

Introduction to Early Modern Theatre: an introductory level course on non-Shakespeare Renaissance drama; Georgetown (Fall 2003)

Major British Writers 1350-1660: an introductory level course required for English major; Penn (Fall 1996, Spring 1997, Fall 1997, Spring 1998)

Drama and theatre history:

Play Analysis: an introductory course required of Theatre majors focused on reading drama; GW (Fall 2000)

Introduction to Western Drama: an introductory course required for Theatre Arts majors covering dramatic literature and theatre history; Penn (Spring 1997, Spring 1998)


What is Evidence?: a writing course focused on analyzing and marshalling evidence; GW (Spring 2001)

Utopian Fantasies: a writing course using the trope of utopias and dystopias in various media from the Renaissance through the twentieth century; GW (Fall 2000) and Penn (Fall 1992)

Autobiographies: a writing course in which students read and wrote about autobiographies from the eighteenth century through the twentieth; Penn (Summer 1994)

Shakespeare in our World: a writing course structured around Shakespeare’s plays in performance and in adaptation; Penn (Spring 1993, Spring 1992)

Contemporary American Fiction: a writing course taught as part of a graduate seminar on pedagogy; Penn (Fall 1991)


Susan Snyder Memorial Fellow, Folger Shakespeare Library, Spring 2004

Postdoctoral Research Fellow, Shakespeare in Performance Research Group, McGill University, 1998-99


Committee member, Executive Committee, Shakespeare Division, Modern Language Association, 2014–

Committee member, New Variorum Shakespeare Committee, Modern Language Association, 2012–16

Committee member, SHARP Futures Committee, Society for the History of Authorship, Reading, and Publishing, 2012–13

Committee member, Program Planning Committee, Shakespeare Association of America, 2012–13

Seminar member, “Introduction to the Principles of Bibliographical Description,” Rare Book School, Charlottesville, VA, Summer 2012

Member, Board of Trustees, Green Acres School, 2011– ; Secretary, 2013–14; Vice-President 2014–16

Seminar member, “Making Paradise Lost,” Folger Institute, Spring 2011

External Examiner, Senior Honors thesis, Swarthmore College, Spring 2011

Editor and lead writer, The Collation: a gathering of scholarship from the Folger Shakespeare Library <>, 2011–2015

Associate Editor, Shakespeare Quarterly, 2009–2014

Member, Board of Trustees, Takoma Park Cooperative Nursery School, 2009–2012

Creator and writer, Wynken de Worde: Books, Early Modern Culture, Post-Modern Readings <>; winner of the Cliopatria Award for Best New Blog 2008; Summer 2008–

Co-President, Board of Directors, Takoma Park Cooperative Nursery School, 2007–2009

Seminar member, “Early Modern English Paleography,” Folger Institute, Fall 2007

Seminar member, “Teaching the History of the Book,” Rare Book School, Charlottesville, VA, Summer 2007

Seminar member, “Remembering Theatre,” Folger Institute, Spring 2006

Performance Editor, Shakespeare Quarterly, 2003–2009

Guest speaker, The Shakespeare Theatre, Spring 2003

Seminar member, “The Theory and Practice of Scholarly Editing,” Folger Institute, Fall 2001

Faculty advisor for University and Department programs, University of Pennsylvania, 1996–98

Intensive Shakespearean Acting course member, Central School of Speech and Drama, London, 1995

Assistant to the Director of the Penn-in-London Program, 1994–95

President, Graduate English Association, 1993–94

Dramaturg, The Duchess of Malfi, Penn Theatre Arts, Spring 1993

Manuscript reviewer for PMLA, Shakespeare Quarterly, Theatre Journal, Shakespeare Bulletin, Blackwell-Wiley Press, Boydell & Brewer, Northwestern University Press


The Bibliographical Society; International Shakespeare Conference; Modern Language Association; Renaissance Society of America; The Society for the History of Authorship, Reading and Publishing; Shakespeare Society of America