Books and Sections of Books:
Plays of Georgia Douglas Johnson: From the “New Negro”
Renaissance to the Civil Rights Movement. University
of Illinois Press, February,
Fruit: Plays on Lynching by American Women. An Anthology of plays with
critical commentary co-edited with Kathy Perkins. Bloomington:
American Women Playwrights of the Harlem Renaissance
and ‘New Negro’ Era," The Cambridge
Companion to American Women Playwrights Ed. Brenda Murphy New
University Press, 1999.
Ideology and Dramatic Convention in Progressive Era Plays, 1890- 1920.”
Performing Feminisms: Feminist Critical Theory and Theatre ed. Sue
Ellen Case, Johns Hopkins
University Press, 1990. 283-293.
Morris: Actress, Director, Drama Professor, 1895-1970,” in Notable
Women in American Theatre, eds.
Alice Robinson, Vera Mowry Roberts
and Millie Barringer, New
Greenwood Press, 1989, pp.673-76.
Female Characters in the Pulitzer Prize Plays, 1918 - 1949” in Women in American
Theatre, eds. Helen Kirch Chinoy
and Linda Walsh Jenkins (New York: Crown Publishers 1981), pp. 243-251.
Paperback edition published by Theatre Communications Group, 1987.
Articles and Reviews in Refereed
“Art, Activism, and Uncompromising Attitude: Georgia
Johnson’s Lynching Plays” African
American Review. Spring/Summer
and Aesthetics, Race and Gender: Georgia Douglas Johnson’s Lynching
Dramas as Black Feminist Cultural Performance,” Text and Performance
Quarterly, Vol. 20, No.3 (Summer 2000), 251-267.
Race, Rape, and Lynching: The Red Record of American Literature”
(Invited Book Review) African American Review, Vol.34, No.2 (Summer,
Yet They Paused’ and ‘A Bill to be Passed’: Newly Recovered Lynching
Dramas by Georgia Douglas Johnson.” African American Review, Vol. 33, No.3 (Fall 1999), 519-522.
“Racial Violence and Representation: Performance
Strategies in Lynching
Dramas of the 1920s.” African American Review
Vol.33, No.4 (Winter, 1999), 655-671. (reprint on
SIRS Renaissance databases, including online and CD-ROM.)
“Charlotte Canning’s Feminist Theatres in the U.S A.:
Staging Women’s Experience” (Invited Book Review) Theatre
Survey, Vol.38, No.2 (Fall 1997), 173-176.
“Lynching, American Theatre, and the Preservation of
a Tradition,” The Journal of American Drama and Theatre Vol. 9,
No.1 (Winter, 1997, 54-65.
“The Anti-Lynch Play: Race, Gender, and Social
Protest in American Drama”, African American Review, Vol. 26,
No.2 Summer,1992), 329-339.
“The Anti-Lynch Play: Toward an Interracial Feminist
Dialogue in Theatre,” The Journal of American Drama and Theatre,
Vol. 2, No.3 (Fall, 1990), 59-69.
“Gender Ideology and Dramatic Convention in
Progressive Era Plays, 1890-1920”, Theatre Journal, March 1989,
“Women and Theatre Program: Reactions and
Reflections,” Women and Performance: A Journal of Feminist Theory
Vol. 4, No. 2, 1989, 14-19.
“Subverting the Demon Angel Dichotomy: Innovation
and Feminist Intervention In Twentieth Century Drama,” Text and
Performance Quarterly January, 1989, 53-64.
“Feminist Perspectives in American Plays and
Dramatic Criticism,” The Pennsylvania
Speech Communication Annual Vol. XLIV, 1988, 59-67.
“Robert Wilson's Invitation to Insanity” The
Cue, Winter 1986, Vol. 64, No. 1, 25-28.
“The Compatibility of Traditional Dramatic Form and
a Feminist Perspective,” Theatre Annual, Vol. XXXX, 1985,
“Nubs: An Original Drama by Lisa Goldberg,”
(Performance Review) Women and Performance: A Journal of Feminist
Theory Vol. 2, No. 2, 1985, 80-82. (Theatre Review)
“Adapting the Basic Speech Communication Course for
Engineering and Engineering Majors,” (Co author with, Arthur Marsicano, Professor of Engineering) The Journal of Technical
Writing and Communication Vol.14, No.2, 1984, 133-142.
“Why Marry?: The New
Woman of 1918,” Theatre Journal, Vol.34, No.2 (May, 1982)