Books and Book Sections
Two Comedies by Catherine the Great, Empress of Russia. My English translations of two plays, including a critical introduction and illustrations. Russian Theatre Archive, Vol. 15. Gordon and Breach/Harwood Academic Publishers. 1998.
"Babblers and Dabblers: Language and Access to Power in Catherine the Great's Comedy A Prominent Nobleman's Entrance Hall." Invited chapter contribution to forthcoming essay anthology Catherine the Great (ed. Tatiana Artemieva).
"Masks of the Empress: Polyphony of Personae in Catherine the Great's Oh, These Times!" A Subtler Music: Essays on the Drama and Opera of Enlightenment Europe. Ed. Luis Gamez. Stanford: Paul Watkins Publishing, 1997. 65-85.
"Nikolai Nikolaevich Evreinov"; "Yuri Petrovich Lyubimov"; "Ruben Nikolaevich Simonov." Theatrical Directors: A Biographical Dictionary. Westport, CT: Greenwood Press, 1994: 125-126, 251-252, 369.
Articles in Refereed Journals
"Catherine the Great's Woeful Knight: A Slanted Parody" Theatre History Studies 2001 (forthcoming).
"Fools in the Mirror in Catherine the Great's Imianiny Gospozhi Vorchalkinoi."Canadian-American Slavic Studies 34.4 (2000): 409-426.
"From Fat Falstaff to Francophile Fop: Russian Nationalism in Catherine
the Great's Merry Wives." Comparative Drama 33.3 (1999):
"How Great Was Catherine? Checkpoints at the Border of Russian Theatre." Slavic and East European Journal 43.1(1999): 33-48.
"Catherine the Great's Operatic Splendor at Court:The Beginning of Oleg's Reign."Essays in Theatre 17.1 (1998): 33-52. Also published online and on CD-ROM by SIRS Mandarin, Inc.
"Masks of the Empress: Polyphony of Personae in Catherine the Great's Oh, These Times!. Comparative Drama 31.1 (Spring 1997): 65-85.
"The Monarch and the Mystic: Catherine the Great's Strategy of Audience Enlightenment in The Siberian Shaman." Slavic and East European Journal, 41.2 (Summer 1997): 224-242.
"An Inspector Calls: Director Mark Weil's Journey from Tashkent to Honolulu." Slavic and East European Performance. 15.2 (1995):53-58.
"Russian Dramatist Mikhail Kuzmin and the Sexual Ambiguity of the Commedia Mask." Modern Drama 37.4 (1994): 613-625.
"From Censorship to Openness, From Subsidies to Sponsors: Restructuring in the Recent Moscow Repertory." Theatre Perspectives International 1.2 (1994).
"Moscow Does Not Believe in Tears: The Return of Russia's Comic Heritage." On-Stage Studies 17 (1994): 1-21.
"When I Created, I Saw Before My Eyes Only Pushkin. (The Marriage) Moscow Theatre na Krasnoi Presne." On-Stage Studies (1993): 90-94.
"Plays-within-Realistic-Plays: Metadrama as a Critique of Drama in Pirandello and Chekhov" Theatre Studies #35 (1990): 39-49.
Review of The Seagull. Theatre Journal 42.3 (1990): 382-383. "Pressing Clothes/Snapping Beans/Reading Books: Maria Irene Fornes' Women's Work." Studies in American Drama, 1945--Present 4 (1989): 103-117.
"Vasilev and Pirandello's Six Characters : Mixing it Up." Slavic and East European Performance 9.2-3 (1989): 67-69.
"The American Dream: Fulfillment in John Guare's The House of Blue Leaves" Theatre Southwest 14.3 (1987): 19-22.
"Developing a Hypertext History of World Theatre." Report on the 1995-96 Instructional Development Projects. Co-authors James Brandon and Robert Petersen. October 1996: 1-11.
"Seen and Unseen Women of Moscow Theatre." Literary Studies East and West 12 (1996): 292-303.
"Using Structured Controversies." Teaching and Learning 6.1 (1992):2-3.
Syllabi for "THEA 412: World Theatre IV," "THEA 617: Russian and Soviet Theatre and Drama," and "THEA 494: New British and American Drama", published in Syllabus Exchange 1992: Theatre History and Introduction to Theatre, published by the Theatre History Focus Group of the Association for Theatre in Higher Education, 1992.
"Marilyn Monroe: Character Split and Multiplied" Theatre Insight 1.1 (1988):13-15.
"Egypt in Spring," Duende: the Journal of Advocacy and Criticism for the Arts in Austin 1.3 (1988): 28.
Review of A History of Russian Theatre, eds. Robert Leach and Victor Borovsky. Teatr.
Review of The Russian Theatre after Stalin by Anatoly Smeliansky. Essays in Theatre.
Review of The Recurrence of Fate by Spencer Golub. Modern Drama. 32.3 (1996): 375-377.
Review of Silence's Roar: The Life and Drama of Nikolai Erdman by John Freedman. Theatre Journal 47.2 (May 1995): 327-328.
Review of Aspects of Dramatic Communication: Action, Non-Action, Interaction: (A.P. Cechov, A. Blok, D. Charms) by Jenny Stelleman. Slavic and East European Journal 38.3 (Fall 1994): 510-511.
Review of The Theatre of Yesterday and Tomorrow: Commedia dell'Arte on the Modern Stage by James Fisher. Journal of Dramatic Theory and Criticism 8.2 (1994): 235-237.
Review of Vsevolod Meyerhold by Robert Leach. Essays in Theatre 12.1 (1993): 99-101.
Review of Modernism to Realism on the Soviet Stage and The Theater of Yuri Lyubimov. Journal of Dramatic Theory and Criticism 5.2 (1991): 217-221.
Review of Understanding Contemporary American Drama by William Herman. Theatre Studies #35 (1990): 79-80.
Review of Revolutionaries in the Theatre by Christine Kiebuzinska. Slavic Review 48.3 (1989): 532-533.
Work in Progress
Staged Politics in Russia: Catherine the Great's Plays. Book in progress.
last revised 9/24/02