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Discusses the relationship between dramatic identity and costume in early modern theater through analysis of Measure for Measure and Antony and Cleopatra.
Shows how early modern texts were contradictory in their claims about how to treat women and the status of women, which is why Shakespeare's play is complicated. Claims that Katharina "is not 'equal' in the modern sense, but she is also not oppressed in the Renaissance sense."
Attempts to prove Shakespeare would have sympathized with Marxist social perspectives. Argues that "the possession or the lack of material resources divides the humanity on the most effective lines" in King Lear. English summary, 79.
"Interrogates the miraculous phenomena in" Pericles, Cymbeline, and Winter's Tale. Argues that "Pericles orients its reader toward the miraculous as an inward experience, Cymbeline warns her against quick credulity and facile interpretation, and The Winter's Tale invites her to a posture that is both aesthetically and theologically open to the transformation wrought by the experience of miraculous phenomena."
Discusses Deaf actor Howie Seago's performance as Old Hamlet at the Oregon Shakespeare festival. Argues that Seago translates and transforms Shakespearean plays into physical movement, thereby creating a "kinetic textuality."
Examines Sarah Siddons's performances as Lady Macbeth, particularly when she was pregnant. Contends that Siddons utilized her pregnancy to collapse the boundary between the staged body and the physical body of the actress. Also emphasizes that visibly pregnant actresses offer additional interpretations and more conscious focus on embodiment.
Considers a performance of As You Like It where LeBeau's claim that Celia is taller than Rosalind is not an error, but evocative of the competition between the two women. Argues that "by accepting the different descriptions of Celia and Rosalind's heights, productions can delve further into the competitive nature of As You Like It by allowing its two lead female characters to partake of the competition as well."
Speculates how Shakespeare used a guaranteed cast size of twelve in Romeo and Juliet and Macbeth through use of doubling, explained or unexplained absences, and, specifically, having Banquo stand in as the last king in Macbeth 4.1. Concludes that while modern casts would be larger to accommodate all of the roles, the early modern troupe would be able to handle a large number of roles with just twelve actors.
Applies the Pattern Maximum Likelihood method to investigate Shakespeare's authorship of "Shall I Die?" drawing conclusions consistent with Bradley Efron and Ronald Thisted's models.
Introduces an assignment called a "staging paper" where students are asked to think like directors and designers by addressing how they would direct actors to perform a scene like the final lines of Measure for Measure or Katherina's final speech in Taming of the Shrew.