I joined UWS as a Lecturer in Performance in September 2021 from Queen Mary University of London where I worked as a Lecture in Drama, Theatre and Performance Studies (2020-21) and a Teaching Fellow in Drama (2019-20).

Between 2017-19 I was a postdoctoral Research Fellow on the Arts and Humanities Research Council-funded project, Harold Pinter: Histories and Legacies, based at the University of Birmingham, where I also worked as a Teaching Fellow (2016-17).

In July 2022 I became a member of the Young Academy of Scotland.

I am an also Associate of People’s Palace Projects (PPP), an arts and social justice charity and research centre working across the UK and Latin America. As part of this role, I contiue to collaborate with PPP, most recently as a Fascilitator and Project Evaluator on Creative Climate Connections (please see Current Research Activities for more information). 

I undertook my BA Hons in English and Drama, MA in Theatre and Performance, and PhD - entitled Past and Present Plays: New Work at the Royal Shakespeare Company and Shakespeare’s Globe - in the School of English and Drama at Queen Mary. 

My research is centrally concerned with the relationships between contemporary playwriting and text-based performance, the institutional contexts in which this work is developed, and the role these works and practices play in the UK’s theatre and performance ecology specifically, and how they circulate internationally.

This work is underpinned by broader expertise in theatre history, historiography, and archival research methodologies which I use to look beyond the established narratives and accepted histories of the subjects of my research to better understand their cultural and political function(s) in the present and in different global contexts.

My work on contemporary theatre and performance in the UK explores a range of areas from infrastructural concerns such as new play development and repertory practices at contemporary Shakespearean institutions, the Royal Court and the #MeToo movement, and the work of specific writers like Dennis Kelly and Harold Pinter. Collectively, this work might be best characterised by a persistent interest in interrogating and reappraising figures, institutions, and practices that could be considered canonical or ‘mainstays’ of UK theatre and performance.

While much of my immediate work to date has focused on British and European practitioners and institutions, I have growing expertise in international, online research collaborations. As part of my work with People’s Palace Projects (PPP), I contributed to the development and delivery of a successful bid to the Arts and Humanities Research Council’s (AHRC) Engaging Young People in Climate Change Research fund. The resulting project, Creative Climate Connections, built on ongoing research collaborations between PPP, the Tulukai Indigenous Association of the Wauja (AIT), and Dirty Protest Theatre (Wales). 

As the Project Evaluator, I worked as part of a team of international researchers and artist-activists to deliver 6 online creative workshops between September-November 2021 that brought together young people from South Wales and young indigenous people from the Upper Xingu Territory in the Amazon basin, Brazil to generate a collective, multimedia artistic response that captures their responses the climate crisis in drastically different lived environments.

The first iteration of this work and our early findings were shared as a hybrid live/online presentation during the Xingu Indigenous Occupation at the Landing Hub, Glasgow during COP26.

In both my practical and seminar-based teaching, I aim to encourage students to explore the histories and cultures of theatre and theatre-going alongside its contemporary applications and political significance, and how these have changed over time. Currently, I teach Practice: Devising (Level 8), Performance Contexts: Production Aesthetics (Level 7) and Creative Festival (Level 9). 

I have previously taught modules on Verbatim and Documentary performance, Performing Shakespeare, Spectatorship and Performance Histories, Naturalism, Modern Drama (1900-1970), Performing Playtexts, Politics of Performance, and Theory and Criticism, as well as undergraduate dissertation supervision.

I would welcome enquiries from prospective postgraduate candidates interested in any areas of my research, including: contemporary playwriting and text-based performance; post-war British playwrights; the UK performance ecology (including studies of specific theatrical institutions and regional theatre(s)); contemporary Shakespeare in performance; feminist theatre and performance practices.