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Notes on Contributors
Annalisa Brugnoli is an independent scholar from Italy. She holds an Honorary Fellowship (2011) and a PhD (2009) in North American Studies from the University of Venice. Dr. Brugnoli has lectured on American drama at international conferences in the United States, Europe, and Italy and published extensively on Eugene O'Neill and the American theatre. She is has been twice a recipient of the Fred Wilkins Travel Award and serves as the webmaster of the Eugene O'Neill Society. She is currently revising her dissertation for publication and working on a chapter on Marsha Norman for The Methuen Drama Guide to Contemporary Drama.
Patrick Chura is associate professor of English at the University of Akron, where he teaches courses in American literature. He is the author of two books—Vital Contact: Downclassing Journeys in American Literature from Melville to Richard Wright in 2005 and Thoreau the Land Surveyor in 2010—and has published articles on a variety of literary-historical topics. He is a former Peace Corps volunteer and Fulbright lecturer in the Republic of Lithuania, and has received research grants from the European Union, the Fulbright Foundation, and the University of Akron.
Robert Combs teaches American literature, focusing on drama and short fiction, at George Washington University in Washington, DC. He was fortunate to be able to study with Morse Peckham at the University of South Carolina in the late sixties and is happy to revisit Beyond the Tragic Vision (1962) for this article. [End Page 154]
John Curry teaches literature and business writing courses at the State University of New York College at Brockport. He has presented essays on O'Neill at numerous conferences, including the Third International Conference of the Eugene O'Neill Society in Boston in 1995 and at the MLA Convention in 2010. He lives in Brockport with his wife and two daughters.
Robert Einenkel majored in acting at the High School of Performing Arts from which he graduated with highest honors in acting. He took his BA at Queens College and later taught there. He obtained an MA from the University of Michigan under an acting fellowship with the APA and ACT theatre companies and an MFA in directing from the Yale School of Drama. He has acted and directed professionally at the Long Wharf Theatre, the New York Shakespeare Festival, and the Chelsea Theater Center among other venues. He has taught on the full-time faculty of the Theatre/Dance Department of Nassau Community College for over twenty-one years.
Kurt Eisen is professor of English and associate dean of arts and sciences at Tennessee Technological University, where he teaches courses in American literature and modern drama. He holds a PhD from Boston University with a dissertation on Eugene O'Neill, published in 1994 as The Inner Strength of Opposites: O'Neill's Novelistic Drama and the Melodramatic Imagination. His articles and reviews have appeared in The Cambridge Companion to Eugene O'Neill, Modern Drama, Comparative Drama, American Literature, Studies in the American Renaissance, South Central Review, among others, and in the Eugene O'Neill Review, of which he has been book review editor since 2004. He is president of the Eugene O'Neill Society.
Peter L. Hays is the Edward A. Dickson Professor Emeritus at the University of California. He taught American drama at UC Davis for thirty-eight years, sometimes taking students to O'Neill's house in Danville. He has published six books and over 100 journal articles and notes, including a recent book on Arthur Miller's Death of a Salesman.
George Hunka has written several plays and essays, as well as reviews, theory and feature stories about theatre for the Guardian (UK), Yale Theatre, New York Times, PAJ: A Journal of Performance and Art, New York Theater Review, Masthead (Australia), and other publications. In 2007 he was awarded an Albee Foundation Fellowship. His first book, Word Made [End Page 155] Flesh: Philosophy, Eros and Contemporary Tragic Drama, was published by EyeCorner Press in 2011.
Katie N. Johnson is associate professor of English at Miami University of Ohio, where she specializes in theater, film, interdisciplinary studies and gender studies. Her first book, Sisters in Sin: Brothel Drama in America (Cambridge University Press 2006), was supported by a NEH Summer Fellowship. Her work has appeared in Theatre Journal, Theatre Survey, and the Eugene O'Neill Review, among other publications. She is currently working on a new book called Razing the Great White Way: Mapping the Other Side of Broadway's Golden Era, which is supported by a Research Fellowship from the American Society for Theatre Research.
E. Andrew Lee is associate professor of English at Lee University in his hometown of Cleveland, Tennessee. He earned his BA in English (1990) from Lee University, followed by the MA in English from Wake Forest University (1991), and the PhD in English from the University of Tennessee, Knoxville (2003). His specialty areas include modernism and American drama. He is married with three children.
Eric Levin is associate professor of theatre at Southern Oregon University in Ashland. He is director of the Master of Theatre Studies program, which focuses on training drama teachers in theatre production and design. His interest in O'Neill began at the University of California Berkeley in Travis Bogard's senior thesis seminar. After earning his MAT in language arts and teaching for a time, Eric earned his PhD at the University of Oregon, where he completed his dissertation exploring postmodern elements in O'Neill's plays. He has taught at Dickinson State University and College of the Sequoias. His work has appeared in Journal of American Drama and Theatre, Theatre Research International, and Theatre Bay Area. He is an advocate of theatre education and arts integration in public schools.
Robert Simpson McLean, professor emeritus at the City University of New York, has written on Charles Dickens, John Ruskin, and nineteenth-century theater. He has written numerous play reviews on Ibsen and Shaw, and for the past eight years has written reviews for the Eugene O'Neill Review, for which he is performance review editor. He is currently researching O'Neill's political beliefs in his early plays. [End Page 156]
Yvonne Shafer has taught at universities in the United States, Germany, China, and was a Fulbright professor in Brussels. She has written ten books, including Performing O'Neill: Conversations with Actors and Directors. Her book Eugene O'Neill and American Society will be published in Spain as part of an American Studies series this year.
J. Chris Westgate is assistant professor in the Department of English and Comparative Literature at CSU Fullerton, where he teaches courses in contemporary and modern drama. His book Urban Drama: The Metropolis in Contemporary North American Plays was published by Palgrave Macmillan in June 2011. He has published several articles in the Eugene O'Neill Review. Other publications have appeared in Modern Drama, American Drama, Theatre Journal, Comparative Drama, and most recently Contemporary Theatre Review. He is currently working on a book that examines the intersections of slumming and theatrical realism in Progressive Era New York City. [End Page 157]
