Mark Bayer is Associate Professor and Chair in the Department of English at the University of Texas at San Antonio. He is the author of Theatre, Community, and Civic Engagement in Jacobean London (U of Iowa Press, 2011), a finalist for the George Freedley Memorial Award in 2012. He has also written extensively on the long-term cultural authority of Shakespeare’s plays.
Trevor Boffone is a Houston-based scholar, educator, writer, dramaturg, producer, and the founder of the 50 Playwrights Project. He is a member of the National Steering Committee for the Latinx Theatre Commons and the Café Onda Editorial Board. Trevor has a Ph.D. in Latin@ Theatre and Literature from the Department of Hispanic Studies at the University of Houston where he holds a Graduate Certificate in Women’s, Gender, & Sexuality Studies. Boffone researches the intersections of race, ethnicity, gender, sexuality, and community in Chican@ and Latin@ theater and performance. His first book project, Eastside Latinidad: Josefina López, Community, and Social Change in Los Angeles, examines the textual and performative strategies of contemporary Latin@ theatermakers based in Boyle Heights that use performance as a tool to expand notions of Latinidad and (re)build a community that reflects this diverse and fluid identity. He is co-editing (with Teresa Marrero and Chantal Rodriguez) an anthology of Latinx plays from the Los Angeles Theatre Center’s Encuentro 2014 (under contract with Northwestern University Press).
Giomara Bazaldua is the co-founder and director of Zombie Bazaar Panza Fusion. Bazaldua drew on her background dancing with the Guadalupe Dance Company and the Bedouin Dancers, as well as her experiences as a Tejana, to create Panza Fusion, a unique dance blend merging belly dance with cumbias, polkas, folklorico, flamenco theatrics, and fire. She and the mujeres of Zombie Bazaar use their art and love for community to tell stories of the past generations and create awareness of social issues.
Carla Della Gatta is Assistant Professor of Critical Studies – Theatre at the University of Southern California. She has published essays and reviews in numerous collected editions and peer-reviewed journals, with a forthcoming essay on hip-hop Shakespearean performance in Shakespeare Survey and an essay examining recent trends in Shakespearean scholarship in Shakespearean International Yearbook, both due out this year. She has worked as a dramaturg and a translator, and she served as a scholar for Chicago Shakespeare Theater, Victory Gardens Theater, and Shakespeare Center of Los Angeles. Professor Della Gatta received the J. Leeds Barroll Dissertation Prize in 2016 from the Shakespeare Association of America for her dissertation, “Shakespeare & Latinidad: The Staging of Intracultural Theatre”. She has received grants and fellowships from the American Society for Theatre Research and the New York Public Library.
Katherine Gillen is Assistant Professor of English at Texas A&M University-San Antonio. She is the author of Chaste Value: Economic Crisis, Female Chastity, and the Production of Social Difference on Shakespeare’s Stage (Edinburgh University Press, 2017) and has published in journals such as Studies in English Literature 1500-1900, Shakespeare Studies, and Cahiers Élisabéthains. Her recent work has focused on constructions of race in early modern drama and in Shakespeare adaptation; three essays on this subject are forthcoming, one on Thomsas Middleton’s The Revenger’s Tragedy, one on Shakespeare’s Cymbeline, and one on Josh Inocéncio’s Ofélio.
Laurie Ann Guerrero, Writer in Residence at Texas A&M University-San Antonio, was born and raised in the Southside of San Antonio and received the Academy of American Poets Prize, among others, from Smith College. Winner of the 2012 Andrés Montoya Poetry Prize, her first full-length collection, A Tongue in the Mouth of the Dying, was selected by Francisco X. Alarcón and released by University of Notre Dame Press in 2013. Guerrero’s chapbook, Babies under the Skin (Panhandler Publishing 2007), won the Panhandler Chapbook Award, chosen by Naomi Shihab Nye. Her latest collection, A Crown for Gumecindo, a collaboration with visual artist, Maceo Montoya was released by Aztlan Libre Press in the spring of 2015 and received the 2016 Helen C. Smith Award for poetry from the Texas Institute of Letters. In 2014, Guerrero and was appointed by former mayor, Julian Castro, Poet Laureate of the city of San Antonio, the seventh largest city in the nation. In May of 2015, Guerrero was appointed the 2016 Poet Laureate of the State of Texas by the 84th legislature of Texas.
Josh Inocéncio is a playwright and performer who focuses on queer and indigenous reclamations within Latina/o and Euro-American cultures. After graduating with his Bachelor’s at Texas A&M University–Corpus Christi in 2012, he pursued and completed his Master’s degree in Theatre Studies at The Florida State University. While writing and defending his Master’s thesis on cultural memory, Josh independently wrote, performed in, and produced his solo play Purple Eyes, which was directed by Ph.D. candidate Jeff Paden. Now that he’s returned to his native Houston, Josh is touring Purple Eyes tour across Texas to theatres, cultural centers, and universities. Alongside his artistic endeavors, Josh also taught introductory theatre courses to both majors and non-majors at Florida State and now offers writing workshops for college and high school students. Currently, Josh is a writer for OutSmart Magazine and a Teaching Artist for the Alley Theatre.
Marci R. McMahon is associate professor in the Literatures and Cultural Studies Department at the University of Texas Rio Grande Valley. Her research and teaching interests focus on U.S. Latina/o literature, cultural studies, theater and performance, sound studies, and gender and sexuality studies. She is the author of Domestic Negotiations: Gender, Nation, and Self-Fashioning in US Mexicana and Chicana Literature and Art (Rutgers University Press, 2013). Her essay “Self-Fashioning through Glamour and Punk in East Los Angeles: Patssi Valdez in Asco’s Instant Mural and A La Mode” was recently reprinted in The Chicano Studies Reader: An Anthology of Aztlán, 3rd Edition (2016). Her publications appear in the journals Aztlán: A Journal of Chicano Studies; Chicana/Latina Studies: The Journal of MALCS; Frontiers: A Journal of Women’s Studies; and the Journal of Equity & Excellence in Education. Her essay “Lydia Mendoza “Reina de la música Tejana”: Self Stylizing Mexicanidad through China Poblana in the US-Mexico Borderlands” is forthcoming in meXicana Fashions: Self-Adornment, Identity Constructions, and Political Self-Presentations, Editors Norma Cantú and Aida Hurtado. Her current book project Listening to Latinidad: Sonic Cultural Citizenship in US Latina/o/x Theater and Performance explores key moments when citizenship has been redefined by US Latina/o/xs and has been in crisis, arguing that citizenship is performed through sound, with listening as central to performances of citizenship.
Cathryn Merla-Watson is assistant professor in the Literatures and Cultural Studies Department at the University of Texas-Río Grande Valley. She is also affiliate faculty in the Gender and Women’s Studies and Mexican American Studies programs. She holds a master’s degree in English Literature from the University of Texas-San Antonio and a doctoral degree in American Studies with concentrations in Human Geography and Feminist and Critical Sexuality Studies from the University of Minnesota, Twin Cities. Dr. Merla-Watson currently researches Latinx speculative aesthetics and is working on a monograph examining the ways in which a broad range of queer Latinx performances reimagine the gothic genre in relationship to affective politics and social justice. Dr. Merla-Watson has also published on Latinx political theory and philosophy, Chicana poetry, as well as on race and digital technology. In addition, she has worked over the past decade with several digital humanities projects with the Esperanza Peace & Justice Center in San Antonio, Texas, including an ongoing oral history and digitization/archival projects.
Kelly Hilliard Roush is in her second season as Executive Director of The Classic Theatre. Roush has worked regionally as a professional artist, educator and administrator for over twenty-five years. She has worked in both corporate and non-profit management, serving as Production Coordinator for Fox Sports Net, Lead Agency Director of First Congregational Community Services (FCCS), and as a producer at Cold Comfort Summer Theatre. As an actor, she has worked in numerous theatres regionally. In addition to performing and directing, she has worked as a producer, writer, collaborator and educator. Most recently, she served as Assistant Professor of Theatre at Aurora University.
Adrianna M. Santos is Assistant Professor at Texas A&M University-San Antonio where she teaches classes on Latinx and Chicanx literature, borderlands theory, women of color literary criticism, and decolonial methodologies. Dr. Santos also acts as the advisor for the A&M-SA Mexican American Student Association for which she won a Jaguar Award for Student Organization Champion of the year and recently directed a student production of The Panza Monologues. Recently accepted into the Nat’l Women’s Studies Association Women of Color Leadership Project, she has published and spoken on issues of equity for women, immigrants, and marginalized communities, including a chapter in El Mundo Zurdo and a review of The Panza Monologues, Virginia Grise and Irma Mayorga’s theatrical homage to the Tejanas of San Antonio in Aztlán: A Journal of Chicano Studies. Her chapter “Performing the Panza” is forthcoming in the MLA Options for Teaching Series, Teaching Mexicana and Chicana Writers of the Twentieth Century. She also promotes anti-violence advocacy and community service, having volunteered at various organizations, and women’s and children’s centers like the Santa Barbara Rape Crisis Center, Martinez St. Women’s Center, and Child Advocates of San Antonio. Beyond Survival: Chicana Poetics and Trauma Studies in the Literary Borderlands, her book-length study of literature and performance as transformative tools of healing and social justice, is currently in development.
Kathryn Vomero Santos is Assistant Professor of English and a co-coordinator of the Women’s, Gender, and Sexuality Studies Program at Texas A&M University–Corpus Christi. Her research focuses on literary histories of translation, migration, and cross-cultural exchange. She has published in Philological Quarterly, Shakespeare Quarterly’s new digital space, and in a collection entitled Shakespeare and Immigration (edited by Ruben Espinosa and David Ruiter, Ashgate, 2014). Santos is the director of the Hispanic Shakespeare Project, a digital scholarly edition of Shakespeare’s Spanish intertexts, and she co-edited Arthur Golding’s A Moral Fabletalk and Other Renaissance Fable Translations with Liza Blake for the MHRA Tudor & Stuart Translations Series (2017). She is currently writing a book on early modern interpreters and the theatricality of translation in the drama of Shakespeare and his contemporaries. She will be joining the Department of English at Trinity University in Fall 2018.
Roxanne Schroeder-Arce is a scholar, artist and pedagogue. She is associate professor and teaches theatre education in the Department of Theatre & Dance at the University of Texas at Austin and an affiliate in the Lozano Long Institute of Latin American Studies, the Department of Mexican American & Latina/o Studies and the Center for Women and Gender Studies. She is a Public Voices Fellow with the OpEd Project. Roxanne’s research interests include culturally responsive theatre education and Latino/a theatre for and with youth. She has published articles in journals such as Youth Theatre Journal, International Journal for Education and the Arts, Theatre Topics and Gestos. Roxanne’s bilingual plays Señora Tortuga, Legend of the Poinsettia, Sangre de un Ángel and Mariachi Girl are published by Dramatic Publishing and have been produced by various theatres and schools throughout the U.S. Roxanne also taught high school in Texas for several years and served as Artistic Director of Teatro Humanidad in Austin. As well as her playwriting, she is also a director and performer.