Title page for Scriabin’s "Promethée" (1912)
Title page for Scriabin’s "Promethée" (1912)
Philosopher & playwright, Jean-Paul Sartre (1968)
Philosopher & playwright, Jean-Paul Sartre (1968)
"Yiimimangaliso" starring Pauline Malefane (2009)
"Yiimimangaliso" starring Pauline Malefane (2009)

Current Research

My dissertation project, “Staging Mysteries: Transnational Medievalist Performance in the Twentieth Century”, centers on twentieth-century approaches to medievalist performance, tracing how adapted forms of the medieval mystery cycle tradition function across different times and global contexts. While scholars such as Claire Sponsler and Jill Stevenson have investigated medievalist performance in the context of North and South America, there is an absence of scholarship on broader global iterations of mystery cycles. My work addresses this absence by examining how mystery cycles have been adapted within different transnational moments of social, political, and cultural crisis in an attempt to redirect the spiritually didactic aims of medieval performance towards socially transformative ends. Ultimately, this project explores how modern medievalist performances appropriate the spiritually didactic impetus of medieval theatre to function as an historical imaginary for the transformative potential of performance.

This project investigates three twentieth-century adaptations of the medieval mystery cycle tradition during times of social and political crisis: Alexander Scriabin’s unfinished multi-genre performance, Mysterium (c. 1910); Jean Paul Sartre’s first play, Bariona (1940); and a South African production of the Chester Mystery Cycle, Yiimimangaliso (2000). Invoking medievalist modes of apocalyptic performance, the Mysterium sought to enact a distinctly medieval imaginary of spiritual unity epitomized by the Russian religious value of sobornost’ that would be later secularized by the Soviet regime. In analyzing its Russian Symbolist aesthetics, I suggest that the Mysterium was designed phenomenologically to enact social transformation on the eve of the Soviet revolution through what I term "affective atmosphere.” My second case study approaches Jean-Paul Sartre's relatively unknown play Bariona as an overt adaptation of the medieval French nativity play tradition produced during his imprisonment by the Nazis. Drawing on the fraught political history between secular and ecclesiastical authority in the French state, I situate Bariona within the longstanding tradition of French medievalist performance as a contested political site within the national consciousness. By analyzing its carceral creation and controversial legacy, I explore how Bariona restages the medieval nativity play for the purpose of reifying the French nation in the face of the political and existential threat of German occupation. My final case study, Yiimimangaliso, presents an indigenous South African adaptation of the Middle English Chester Mystery Cycle as form of post-colonial syncretic theatre. Staged only five years after the dissolution of apartheid, Yiimiangaliso's disparate domestic and international reception demonstrates how the "unmodern" is exoticized and consumed in both medieval and racialized forms while enacting a new embodiment of nationhood in the wake of apartheid.

Though stemming from vastly different genealogies, these performances converge on their invocation of the medieval mystery as a performed imaginary of cultural and national unity during times of national transition. By tracing their respective generation and reception, I proffer through these case studies the lens of "medievalist performance" as a theatrical modality that illuminates how the notion of the "medieval" circulates transnationally, challenging binaries of the modern and premodern, sacred and secular, to enact social transformation within the global afterlives of the medieval.

Research Interests

  • French and Russian theatre history
  • Gender and Theatre
  • Global Anglophone Theatre
  • Medieval Drama
  • South African literature & performance
  • Cognitive theory


  • “Learning to Learn: Didactic Efficacy and Cognitive Dissonance in the Chester Cycle,” Exemplariaunder review
  • "Negotiating Key Terms" in The Methuen Drama Handbook of Gender and Theatre, Roberta Mock and Sean Metzger, (London: Methuen & Co. 2022) - forthcoming
  • "The Apocalypse Will Be Staged: Transformational Efficacy and Affective Atmosphere in Scriabin's Mysterium," Journal of Dramatic Theory and Criticism 35, No. 2 (Fall 2020) – in press
  • "Interview with South African director, Mark Dornford-May", Theatre Journal 72, 4 (Dec. 2020) – in press
  • “Performing Psychologies: Imagination, Creativity, and Dramas of the Mind. Edited by Nicola Shaughnessy and Philip Barnard (review)” Theatre Journal 71, No. 3, (Dec. 2019) - PDF
  • “Dry Land by Ruby Rae Spiegel (review)”, Theatre Journal 70, No. 3, (Sept 2018) - PDF
  • “Review: David Scott Kastan’s A Will to Believe: Shakespeare and Religion”, Performance, Religion, and Spirituality 1, No. 2, (Spring 2018). - PDF