Contributors
- Contributors
Aly Renee Amidei is the assistant professor of costume design at the University of North Carolina, Charlotte. She has also worked as a designer and playwright in Chicago for the last sixteen years, where she is an ensemble member of both Strawdog Theatre Company and Lifeline Theatre and a founding member and former artistic director of the horror theatre company WildClaw. Her costume and makeup designs have been seen at Michigan Shakespeare Festival, Irish Theater of Chicago, Buffalo Theater Ensemble, Stage Left, Artistic Home, House Theater of Chicago, Piven Workshop, Pittsburgh Irish and Classical Theatre, and Vitalist Theater. Her creative research focus concerns the role of the "designer as dramaturg." She practices this research by designing new works or reenvisioning extant texts through the concept of "world-building" and a design process that mirrors common dramaturgy protocols: analysis, research, problem solving, practical application, and reflection. Aly received her BA in Theatre from Knox College, an MFA in Costume Design from Carnegie Mellon University, and a Certificate in Fashion Design from the College of Dupage.
Gregory S. Carr is an instructor of speech and theatre at Harris-Stowe State University. He is an accomplished director and playwright. Two of his plays, Johnnie Taylor Is Gone and A Colored Funeral, have been given productions at the historic Karamu House in Cleveland. His essay "Top Brass: Theatricality, Themes, and Theology in James Weldon Johnson's God's Trombones" appeared in Theatre Symposium 21: Ritual, Religion and Theatre. Gregory's play Tinderbox received a staged reading at the East St. Louis 1917 Centennial Commission and Cultural Initiative Academic Conference. His essay "The Miracle on 23rd: Examining the Vitality of the St. Louis Black Repertory as One of the Premier Black Theatres of the 21st Century" appears in the Routledge Companion to Af ri can Ameri can Theatre.
Andrew Gibb, volume associate editor, is the area head of history, theory, and criticism in the School of Theatre and Dance at Texas Tech University. He has published work in Theatre Symposium, Theatre History Studies, the Latin Ameri can Theatre Review, and the Texas Theatre on Chicano Literature.
Kyla Kazuschyk has created costumes for the Santa Fe Opera, the Washing ton National Opera, the Florida Grand Opera, the Colorado Shakespeare Festival, and the Texas Shakespeare Festival. Professional design credits include The Book Club Play and Disgraced, both for Louisiana's Swine Palace Theatre, and Savage/Love, a work of physical theatre performed at the 2016 Edinburgh Fringe Festival. She currently teaches, manages the costume shop, and designs costumes at Louisiana State University. Kyla enjoys creating costumes for competitive dance troupes as well as uniforms for the dance teams of the National Basketball Association's Orlando Magic and Detroit Pistons.
Leah Lowe is an associate professor in Departments of Theatre and Ameri can Studies at Vanderbilt University. Her artistic background is in directing. She directs plays at Vanderbilt and around Nashville. Her scholarly interests are focused on Ameri can theatre audiences of the late nineteenth century. She earned her MFA in directing from the University of Minnesota and her PhD from Florida State University.
Michele Majer, keynote speaker, is an assistant professor at Bard Graduate Center, specializing in the history of clothing and textiles from the eighteenth through the twentieth century. She is also a research associate at the Cora Ginsburg Gallery in New York, dealing in antique clothing and textiles. She is the editor of and a contributor to Staging Fashion, 1880–1920: Jane Hading, Lily Elsie, Billie Burke (2012), and she has contributed articles, reviews, and essays to publications such as The Age of Napoleon: Costume from Revolution and Empire; Romance and Chivalry: History and Literature Reflected in Nineteenth-Century French Painting; Studies in the Decorative Arts; Design and Culture, as well as the annual Cora Ginsburg catalogue. She has also lectured widely and presented conference papers in the United States and the United Kingdom.
Sarah McCarroll, volume editor, is an associate professor of theatre at Georgia South ern University, where she is also the resident costume designer and costume shop manager for the Theatre and Performance program. Sarah's research interests include period dress and movement, the his tori cal body, and British theatre...
