Steven Adler (MFA, Pennsylvania State University) is Professor of Theatre and Provost of Earl Warren College at the University of California, San Diego. He has stage managed the Broadway productions of Dance a Little Closer, Camelot with Richard Harris, and the Tony Award-winning Big River, as well as numerous national tours and productions at leading Off-Broadway theatres, including Manhattan Theater Club, CSC, and the original Forbidden Broadway. At La Jolla Playhouse, he worked frequently with directors Des McAnuff and Michael Greif, and served as production stage manager for the musicals 80 Days and Elmer Gantry, as well as Macbeth, Dogeaters, Sweet Bird of Youth, Wintertime, the original cast of the Tectonic Theater Project’s groundbreaking production of The Laramie Project, and the Oregon Shakespeare Festival/Berkeley Rep co-production of David Edgar’s Continental Divide. He was awarded a Japan Fellowship by the Asian Cultural Council and a UC Pacific Rim Fellowship to research management styles at Japanese theatre companies. He is the author of two books, Rough Magic: Making Theatre at the Royal Shakespeare Company and On Broadway: Art and Commerce on the Great White Way, both published by Southern Illinois University Press. He teaches classes in American musical theatre, the history of directing, the films of Woody Allen, stage management, and acting, and has directed frequently at UCSD. He is currently working on a book about innovative musicals.
Virginia Anderson is an Assistant Professor of Theatre at Cal Poly, San Luis Obispo, where she teaches courses in a variety of aspects of theatre history and directs each year for the main stage. She received her PhD from the Department of Drama and Dance at Tufts with a dissertation entitled “Beyond Angels: The AIDS Epidemic and the Broadway Theatre.” Her interest in musical theatre history was enhanced by her work as a production assistant for The Kennedy Center’s Sondheim Celebration in 2002.
Geoffrey Block, Distinguished Professor of Music History at the University of Puget Sound, is the author of Ives: “Concord” Sonata, Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim and Lloyd Webber (OUP), and Richard Rodgers and editor of The Richard Rodgers Reader (OUP). He is also the General Editor of Yale Broadway Masters and the Series Editor of Broadway Legacies (OUP).
Chase A. Bringardner is an Assistant Professor in the Department of Theatre at Auburn University who specializes in the study of popular entertainments such as medicine shows and musical theatre, regional identity construction, and intersections of race, gender, and class in popular performance forms. He graduated from the University of Texas at Austin in 2007 with a PhD with a dissertation entitled “Popular Entertainments and Constructions of Southern Identity: How Burlesques, Medicine Shows, and Musical Theatre Made Meaning and Money in the South, 1854–1980.” He is working on a book that details the socio-cultural history of the Fabulous Fox Theatre in Atlanta and both its complicated relationship with the city and its role in larger narratives of regional and national theatrical/performance histories. In addition to his scholarly endeavors, he also directs, acts, and dramaturgs within and outside of the university. He is also an active member of the Association of Theatre in Higher Education (ATHE) (where he has served as both conference planner and focus group representative) and the American Society of Theatre Research (ASTR). He is originally from Atlanta, Georgia and attended Davidson College in Davidson, North Carolina as an undergrad.
Jennifer Chapman is an Assistant Professor of Theatre at the University of Wisconsin-Eau Claire where she directs the Theatre Education program, and teaches classes in history and literature. Jennifer holds a PhD in Theatre Research with an emphasis in Theatre for Youth from the University of Wisconsin-Madison. Her research and publication focus is about heteronormative expectations in high school theatre in the U.S.
John Clum (PhD, Princeton) is Professor of Theater Studies and English at Duke University. He is the author of a number of books including Still Acting Gay: Male Homosexuality in Modern DramaSomething for the Boys: Musical Theater and Gay Culture (2000), and “He’s All Man”: Learning Masculinity, Gayness, and Love from American Movies (2002), and essays on twentieth- and twenty-first century playwrights including Tennessee Williams, Edward Albee, Sam Shepard, and Larry Kramer. He has also edited two major anthologies of contemporary drama. Professor Clum’s own plays have been produced in theaters around America and seven of his plays have been published. He has also directed over sixty professional and university theatrical and operatic productions. He has twice won Duke’s Distinguished Teaching Award.
Todd Decker is Assistant Professor of Music at Washington University in St. Louis, where he also teaches in the Film and Media and American Culture Studies programs. His book Music Makes Me: Fred Astaire and Jazz will be published by University of California Press in 2011. His current project is titled Show Boat: Race and the Making and Remaking of an American Musical for the Broadway Legacies series at Oxford University Press.
Zachary A. Dorsey is a Visiting Assistant Professor at St. Lawrence University, teaching in the Performance and Communication Arts department as well as the Gender and Sexuality Studies program. He earned his PhD in Theatre History and Criticism from the University of Texas at Austin. In addition to teaching at the University level, he is also a dramaturg and fight choreographer, and has collaborated on professional productions for Jump-Start Performance Co. in San Antonio, and the State Theatre, Austin Shakespeare Festival, and the University of Texas Performing Arts Center in Austin. He studies and publishes on contemporary American drama, musical theatre and dance, GLBTQ performance, and violence studies.
Michelle Dvoskin received her PhD from the Performance as Public Practice program at the University of Texas at Austin. Her current research focuses on how musicals can create and communicate queer (counter-normative) histories. Other interests include reception practices, television musicals, directing, and queer and feminist theory in performance.
Liza Gennaro choreographed the critically acclaimed Broadway revival of The Most Happy Fella and the Broadway revival of Once Upon a Mattress starring Sarah Jessica Parker. She has choreographed extensively in regional theaters across the country, including The Guthrie, The Old Globe, Hartford Stage, Actor’s Theater of Louisville, and The Goodspeed Opera House, and she collaborated with Stephen Flaherty and Frank Galati on their chamber musical Loving, Repeating: A Musical of Gertrude Stein for the About Face Theater in Chicago. She choreographed the 30th Anniversary tour of Annie and Roundabout Theater Company’s Tin Pan Alley Rag (2010 Outer Critics Circle Nomination, Outstanding New Off-Broadway Musical). In addition to her choreographic career Liza teaches at Barnard College and holds a master’s degree in Dance Studies from New York University. She has conducted several interviews with influential musical theatre dancers and choreographers for the oral history division of the New York Public Library for the Performing Arts at Lincoln Center Library, and her essay “‘Broken Dolls’: Representations of Dancing Women in the Broadway Musical” can be read in the online Journal Bodies of Work, http://www.bodiesofwork.info/Bob%20Fosse.html.
Barbara Wallace Grossman, Professor of Drama at Tufts University, is a theater historian and director. She is the author of Funny Woman: The Life and Times of Fanny Brice (Indiana University Press) and A Spectacle of Suffering: Clara Morris on the American Stage (Southern Illinois University Press). A Presidential appointee to the National Council on the Arts (1994-1999) and the United States Holocaust Memorial Council (2000-2005), she currently serves as Vice Chair of the Massachusetts Cultural Council and co-chairs the American Repertory Theater’s Board of Advisors. An honors graduate of Smith College, she received an M.F.A. in directing from Boston University’s College of Fine Arts and a PhD in drama from Tufts.
Raymond Knapp is Professor of Musicology at UCLA. His five books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with UCLA alumni Steven Baur and Jacqueline Warwick). He has published in most of the major journals in musicology and in several book collections on these and a wide range of additional topics, including Beethoven, Wagner, Brahms, Tchaikovsky, nationalism, musical allusion, music and identity, and film music. His current projects include a book that considers Haydn and American popular music in the context of German Idealism. At UCLA, he has chaired the Undergraduate Council, General Education Governance, and the steering committee to prepare for UCLA’s reaccreditation (co-chair), and he currently serves as Chair of the Faculty of the College of Letters and Science.
Paul R. Laird is Professor of Musicology at the University of Kansas, where he teaches classes in music history and directs the Instrumental Collegium Musicum. His research interests include musical theater, the music of Leonard Bernstein, and the Spanish and Latin American villancico. He is co-editor (with William A. Everett) of both editions of The Cambridge Companion to the Musical (2002, 2008), and his books include Leonard Bernstein: A Guide to Research (Routledge, 2002), The Chichester Psalms of Leonard Bernstein (Pendragon, 2010), and Wicked: A Musical Biography (Scarecrow, 2011), among others.
Jim Lovensheimer is Assistant Professor of Musicology at the Blair School of Music, Vanderbilt University since 2002. He studied musical theater performance at the University of Cincinnati College-Conservatory of Music, after which he worked in the professional theater. He graduated summa cum laude from the University of Tennessee, Knoxville, and holds a PhD in Music from The Ohio Sate University. He is the author of South Pacific: Paradise Rewritten (Oxford University Press, 2010), which launches Oxford’s new Broadway Legacies series, and he has also been asked to contribute a critical biography of Oscar Hammerstein 2nd for that series. He has written journal articles, book chapters, encyclopedia entries, and conference papers on such topics as Stephen Sondheim, constructs of masculinity in cold war era musicals, and the relation between disco and gay culture of the 1970s. At Vanderbilt, Jim was awarded the Ellen Gregg Ingalls Award for Excellence in Classroom Teaching at the Spring 2008 Faculty Assembly, and he received the 2008 Chancellor’s Cup, one of Vanderbilt’s most prestigious faculty awards.
Mitchell Morris is Associate Professor of Musicology at UCLA. He specializes in music at the fin-de-siècle, Russian and Soviet music, 20th century American music, opera, rock and soul, and gay/lesbian studies. He has published essays on gay men and opera, disco and progressive rock, musical ethics, and contemporary music in journals such as repercussions and American Music as well as in collections such as Beyond Structural Hearing?, Musicology and Difference, En travesti, Audible Traces, and Musicological Identities: Essays in Honor of Susan McClary. His book The Persistence of Sentiment: Essays on Pop Music in the 70s will appear soon from University of California Press, and he is at work on a project entitled Echo of Wilderness: Music, Nature, and Nation in the United States, 1880–1945.
George Reddick is a freelance writer based in New York City. His articles and interviews have appeared in The Sondheim Review and at TalkinBroadway.com. His article on The Best Plays Theatre Yearbook was featured by ArtsJournal. His blog on theatre news and history appears at ObsessedWithBroadway.com.
Holley Replogle-Wong received her Ph.D in musicology from University of California, Los Angeles in 2009, where she wrote a dissertation on American cultural hierarchies in operetta and the megamusical. In 2007, she was awarded the UCLA Distinguished Teaching Assistant Award, which came with a UCLA Dissertation Year Fellowship. After finishing her degree, she taught at UCLA for the 2009-2010 academic year. Holley is a 2010–2012 ACLS New Faculty Fellow, currently teaching courses on musical theater and film music at UC Berkeley. Her research interests include topics in musical theater, voice, fandom, 19th- and 20th-century American cultural hierarchies, classical crossover, and film and video game music. She has music-directed musical theater productions at UCLA and for primary and secondary schools, sung with various vocal ensembles and for the occasional film soundtrack, and has performed in musical theater productions in the Los Angeles area.
Thomas L. Riis has been at the University of Colorado at Boulder as the Joseph and Rebecca Negler Endowed Professor of Music since 2002 and as Director of the American Music Research Center since 1992. His publications devoted to musical theater include the first complete edition of Will Marion Cook’s 1902 musical comedy, In Dahomey, and Just Before Jazz: Black Musical Theater in New York, 1890 to 1915, which received an ASCAP-Deems Taylor Award in 1995. His most recent book is entitled Frank Loesser (Yale University Press, 2008). He served as a senior scholar, with a Fulbright Fellowship, at the University of Lüneburg, Germany, in 2005–6.
David Sanjek is Professor of Music and the Director of the Popular Music Research Centre at the University of Salford in the U.K. From 1991 to 2007, he was the Director of Archives for Broadcast Music Inc. (BMI), the performance rights agency. Currently, he is completing for publication Always On My Mind: Music, Memory and Money (Duke University Press), a special issue of Popular Music & Society on copyright in sound recordings, and a collection of essays drawn from a recent conference on music documentaries.
David Savran is a specialist in twentieth and twenty-first century U.S. theatre, popular culture, musical theatre, and social theory. He is the author of eight books, most recently, Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class, the winner of the Joe A. Callaway Prize for the Best Book on Drama or Theatre published in 2008–09. He has served as a judge for the Obie Awards and the Lucille Lortel Awards and is the editor of the Journal of American Drama and Theatre. He is Distinguished Professor of Theatre and holds the Vera Mowry Roberts Chair in American Theatre at the Graduate Center of the City University of New York.
Susan Smith is Senior Lecturer in Film Studies at the University of Sunderland, England. She is the author of Voices in Film, The Musical: Race, Gender and Performance and Hitchcock: Suspense, Humour and Tone. She has recently completed a book on Elizabeth Taylor (supported by funding from the Arts and Humanities Research Council) as part of a new Film Stars series that she is co-editing for the British Film Institute.
Jessica Sternfeld (PhD musicology, Princeton University) specializes in musical theater, including Broadway history, opera, and especially the musicals of the last forty years. Her book The Megamusical (2006) explores the internal workings and cultural standing of blockbuster musicals of the 1980s. She has served, with Elizabeth Wollman, as a guest editor of an issue of the journal Studies in Musical Theatre, and has published chapters and articles on subjects including musicals and the society of 1950s America, the many incarnations of Rent, musical films and revivals (which is a chapter in the second edition of the Cambridge Companion to the Musical), and the economics of the musical in the twenty-first century. She teaches music history as an Assistant Professor in the Conservatory of Music at Chapman University in Orange County, California.
Robynn J. Stilwell is Associate Professor at Georgetown University, and holds an MA from the University of California, Berkeley, and a PhD from the University of Michigan, Ann Arbor. Her research interests center primarily on the meaning of music as cultural work, whether it is the way that “abstract” musical forms articulate identities and narratives, or the iconic workings of artists, pieces, and styles. This work includes the interaction of music and movement, in such media as film, video, television, dance, and sport. Publications include work on Beethoven and cinematic violence, musical form and drama in Jane Austen, psychoanalytic film theory and its implications for music and for female subjects, the boundaries between sound and music in the cinematic soundscape, whiteness and rockabilly, French film musicals, television sitcoms, and exoticism and sound design in The X-Files. Current primary projects are a book on the role of the voice in the cinematic underscore, particularly in recent films that focus on the self-discovery of girls and young women; and an examination of “intermediality”, or the modality of musical presentation on television, drawn from its precedents in film, theatre, radio, and concert performance.
Dominic Symonds holds a PhD from London University. His research focuses on post-structuralist approaches to the musical. He is joint editor of Studies in Musical Theatre (Intellect) and founded the international conference Song, Stage and Screen. He is also co-convener of the music theatre working group of the International Federation for Theatre Research. He co-edited Vol. 19.1 of Contemporary Theatre Review and is currently co-editing Music/theatre: experience, performance, and emergences. He has chapters published in Brecht, Broadway and United States Theatre (Cambridge Scholars Publishing) and a forthcoming chapter in The Oxford Handbook of Sondheim Studies (OUP). His current research interests include the early work of Rodgers & Hart, and post-structuralist approaches to Broadway song.
Stacy Wolf is Associate Professor in the Program in Theater and Director of the Princeton Atelier in the Lewis Center for the Arts at Princeton University. She is the author of A Problem Like Maria: Gender and Sexuality in the American Musical (University of Michigan Press, 2002) and Changed for Good: A Feminist History of the Broadway Musical (Oxford, forthcoming).
Tamsen Wolff is a director, dramaturg, and Associate Professor of drama in the Department of English at Princeton University. She specializes in modern and contemporary drama, performance studies, women’s studies, directing, voice, and dramaturgy. She serves on the advisory committee of the Center for Arts and Cultural Policy Studies and has directed a research project for the Center that examines the conditions for the production of new plays by new playwrights in America. She has directed numerous new plays, including Jane Anderson’s Night Call and Smart Choices for The New Century at McCarter Theatre in Princeton, NJ. She is also an Associate Teacher of Fitzmaurice Voicework. Tamsen received her Ph.D. in Theatre and English from Columbia University in 2002. Her book, Mendel’s Theatre: Heredity, Eugenics, and Early Twentieth-Century American Drama, was published by Palgrave Macmillan in the Theatre and Performance History series in 2009.
Elizabeth L. Wollman is Assistant Professor of Music at Baruch College, City University of New York. She is an ethnomusicologist who has published articles on the relationship between gender stereotypes and rock radio programming, the socioeconomic development of the Broadway musical in the 1980s and 1990s, the reception of rock musicals, and the Off-Broadway “adult” musical in 1970s New York City. Her research and teaching interests include American popular and vernacular musics, the mass media, the musical theater, gender studies, aesthetics, and the postwar cultural history of New York City. She is author of the book The Theater Will Rock: A History of the Rock Musical, From Hair to Hedwig (University of Michigan Press, 2006). Her next book, Hard Times: The Adult Musical in 1970s New York, will be published by Oxford University Press in 2012.