“Choreographing Conjoinment: Side Show’s Fleshly Fixations and Disability Simulation." Studies in Musical Theatre, 13:1, pp. 67–78. doi: 10/1386/smt.13/1/67_1. Journal Article.
“Spider-man’s Designer Genes: Hyper-capacity and Transhumanism in a D.I.Y. World.” The Matter of Disability. Susan Antebi, David T. Mitchell, and Sharon L. Snyder, eds. Ann Arbor: University of Michigan Press, 2019, pp. 143–159. Book Chapter.
"Deafness: Screening Signs in d/Deaf Cinema." A Cultural History of Disability in the Modern Age. David T. Mitchell and Sharon L. Snyder, eds. New York: Bloomsbury Press, 2019. Book Chapter. Forthcoming.
“‘We Will Be Seen’: Queer Womanhood and the Politics of ‘Real’ in I (Heart) Alice (Heart) I.” Radical Contemporary Theatre Practices by Women in Ireland. Miriam Haughton and Maria Kurdi, eds. Dublin: Carysfort Press, 2015. 89-106. Book Chapter.
Manuscripts in Preparation
“Disability and the American Stage Musical.” Routledge Companion to Literature and Disability. Alice Hall, ed. London and New York: Routledge, 2019. Book Chapter.
“Casting Christopher: Theatricalizing the Border of Disability in Curious Incident” Teaching Critical Performance Theory in Today’s Theatre Studio, Classroom, and Community. Jeanmarie Higgins, ed. Book Chapter.
“Theatre & Disability by Petra Kuppers.” Journal of Literary and Cultural Disability Studies. David Bolt, Ed. Book Review.
Special Projects and Digital Scholarship
“Wagon.” Out of Sequence: The Sonnets Remixed. D. Gilson, Ed. Anderson, SC: Parlor Press, 2016.
“American Horror Story reveals the cruel optimism of science fiction” The Daily Dot. December 14, 2014. https://www.dailydot.com/via/ahs-coven-science-fiction-magic/
“Overtures and Incidentals: Lyric Avant-Gardism in the Broadway Musical.” Seminar: Disability and the Avant-Garde. American Comparative Literature Association (ACLA) Conference. Washington, DC. March 7-10.
"There Is No Future, There Is No Past”: Cripping Chronicity and the Death Drive in the AIDS Musical." Song, Stage and Screen XIII Conference. Los Angeles, CA. June 1.
“‘Cut them apart’: Conjoinment, Conservation, and Aesthetics in Side Show.” Panel: Pre-Existing Conditions: Transhistorical Approaches to Disability Conservation.” Northeast Modern Language Association (NeMLA). Pittsburgh, PA. April 13.
“‘And the beauty is…’: Cripping Aesthetics for Situated Knowledge in The Light in the Piazza.” Seminar: Disability Aesthetics—New Directions. American Comparative Literature Association (ACLA) Conference. Los Angeles, CA. March 29-April 1.
“‘Today for you, tomorrow for me’: Queer Contagion and Crip Chronicity in the AIDS Musical.” Panel: Performance and Theatre. Composing Disability: Crip Politics and the Crisis of Culture Conference. George Washington University (GWU). Washington, D.C. March 22.
“Unlimited (I’m Limited): Impairment, Disability, and Hyper-Capacity in Wicked.” Working Session: I’m the Witch, You’re the World: The Stage Witch as a Sign of the Shifting Paradigms of Embodiment. American Society of Theater Research (ASTR) Conference. Atlanta, GA. November 16-19.
"'Boy Falls From the Sky': Managing Disability, Actor Safety, and Spectacle." Panel: Beyond Casting and Characterization: New Deployments of Disability in Drama and Performance. Disability as Spectacle Conference. University of California, Los Angeles. April 14.
"'I Will Never Leave You': Fixating On The Hilton Sisters’ Flesh in Side Show." Panel: Deviance on Page and Stage. (Re)Collections: The 2017 EGSA Symposium. George Washington University, English Department. Washington, D.C. February 24.
“Re-theorizing Normate: How Hyper-capacity Shifts the Paradigm.” Special Session: Extraordinary Bodies At Twenty. Modern Language Association (MLA) Conference. Philadelphia, PA. January 7.
“Divergent Cripistemologies: Biosociological Assessments of Atypicality.” Media Ecologies. Composing Disability: Crip Ecologies Conference. George Washington University. Washington, D.C. April 8.
“‘And you shall Rise Above’: Genetic Meliorism in Spider-Man: Turn off the Dark.” Seminar: Performance and/as Exception. ACLA Conference. Boston, MA. March 19.
“Casting Christopher: On the Border of Disability in Broadway’s Curious Incident.” Crip/Queer Crossings. Border Crossings Symposium. George Washington University, English Department. Washington, D.C. February 12.
“Pathologizing Witchcraft: Supernatural Locations of Disability in American Horror Story: Coven.” Disability and Television. PCA-ACA Conference. New Orleans, LA. April 3.
“Towards a Cripped Literature: A Curious Incident of Complex Embodiment.” Symposium: Subverting Academia and Subversive Academics. University of Maryland CP, Theatre and Performance Studies Department. College Park, MD. March 7.
"What is a Cripped Literature?” Symposium: Twice Told Tales and Collected Stories. George Washington University, American Studies Department. Washington, D.C. February 20.
“Spider-Man’s Designer Genes: Visceral Memory, Mutation, and Transhumanism in a “DIY World.” Incorporation Aesthetics: Futures in the Flesh. Transvisceral: The 2015 EGSA Symposium. George Washington University, English Department. Washington, D.C. February 6.
“Damned to Eternity: Disabling Immortalities in American Horror Story: Coven.” Special Session: Pop Culture Crash Course. Mid-Atlantic Popular and American Culture Association (MAPACA) Conference. Baltimore, MD. November 8.
“Researching Period Styles For Production.” Researching For Production. Southeastern Theatre Conference (SETC). Louisville, KY. March 7.
Panels Organized and/or Moderated
“Disability and the Avant Garde” Seminar. ACLA. Washington, D.C. March 7-10.
“Disability Performances” Panel. Composing Disability: Crip Politics and the Crisis of Culture Conference. GWU. Washington, D.C. March 22.
“Media and Transformation” Panel, Moderator. Symposium on Global Chaucer and Shakespeare in the Digital World. Hosted by Digital Humanities Institute, George Washington University. Washington, DC. February 4.
“Disability and Television” Panel, Organizer and Moderator. Popular Culture Association/American Culture Association (PCA-ACA) Conference. New Orleans, LA. April 3.