Inventing the Origin of Theatre History: The Modern Uses of Juba II's 'teatriké historia'

Dance in Handel's London Operas

In considering Handel's imaginative response to a range of contemporary theatrical dance styles and practices, this study demonstrates that dance was far from peripheral to the genre of opera seria. The importance of London as a leading centre for dance innovation, and the interaction between various theatrical genres regarding the use of dance, is also established.

Writing the History of the British Stage, 1660-1900

A monograph on British theatre historiography from its emergence in the Restoration to its foundation as an academic discipline in the early 20th century.

Transformative Aesthetics: Between Remembrance and Reconciliation in Contemporary Northern Irish Theatre

This article explores the ways in which two recent plays by the Tinderbox Theatre Company in Belfast – Jimmy McAleavey's The Sign of the Whale and David Ireland's Everything Between Us – engage with current political debates in Northern Ireland about how to deal with the ‘legacy of the past’. Both plays dramatise the uneasy tension between the demands for remembrance and reconciliation. I suggest that they give rise to a ‘transformative aesthetics’ that proposes an un-remembering of the past to make way for a transformative re-remembering for the future. This process, however, does not imply an easy resolution or transcendence of the antagonisms, debates, and traumatic memories. Instead, it suggests an intense and complicated engagement that sits in vexed opposition to the restorative conception of reconciliation and both a politics and a political context of ameliorative forgetting that dominates the Northern Irish Peace Process.

The Advent of Modern Irish Drama and the Abjection of Peasant Popular Culture: Folklore, Fairs and Faction Fighting

This paper is part of a larger project in which the author is interested in recovering popular performative traditions and practices that have been occluded by the modernist project of the Irish Revival. This erasure has been compounded by subsequent historiographical paradigms that have reinforced the revivalist narrative of theatre history and excluded indigenous forms, traditions and practices (mumming, rhymers, strawboys) along with the wider performative culture of patterns, wakes, fairs, faction fights etc. This essay subjects to scrutiny what the author sees as a disjuncture between the riotous reality of peasant popular culture and its representation in Revivalist dramas to argue that Irish Theatre Studies needs to develop alternative historiographies of performance and to methodologically engage with theoretical models extant in Performance Studies.

John Rich as Opera Patron

This article traces the sustained support that theatre manager John Rich offered to operatic endeavours in 18th-century London. Rich effectively entered the contemporary discourse regarding the valid definition of opera through the kinds of works he supported, and also through the prefatory comments to two works staged at his theatre.

Commemorating Shakespeare in Performance: Betterton and Irving

An essay on a central question in performance historiography: whether excellence in acting is defined as imitation of great predecessor or a departure from the work of predecessors.

Shakespeare in Performance, 1700 to the Present

A long essay (20,000) on the history of Shakespeare in performance worldwide, from 1700 to the present. The essay forms part of the critical introduction to the Bankside Shakespeare, successor to the Riverside Shakespeare, the world's best-selling single-volume edition of the plays of Shakespeare. I am also a Contributing Editor to this volume.

Victorian Theatrical Burlesques

The first critical edition of Victorian theatrical burlesques, with an extensive critical and historical overview of the genre.