Katie Johnson

Katie JohnsonProfessor of English

 

380 Bachelor Hall
Oxford Campus
513-529-7520
johnso33@MiamiOH.edu

Education

  • PhD in Drama History, Theory, and Criticism, University of Washington 1996
  • MA in German Languages and Literatures, University of Massachusetts, Amherst 1990
  • BA in German and Peace Studies, St. Olaf College 1985

Teaching Interests

  • Drama and performance studies
  • Gender and sexuality studies
  • Film theory
  • Travel and literature

Research Interests

  • American and transnational theatre and performance
  • Feminist film theory
  • Eugene O’Neill
  • Performance criticism

Selected Publications

Books

  • Sex for Sale: Six Progressive-Era Brothel Dramas, University of Iowa Press, 2015.
  • Sisters in Sin: Brothel Drama in America, 1900-1920. Cambridge: Cambridge University Press, American Drama Series, 2006. Paperback issued in 2009.

Digital Archive and Humanities Project

  • "Prostitution & Brothel Drama in the Progressive Era." A Digital Humanities project that archives and investigates theatre, cinema, sexuality, and Progressive-Era prostitution. http://brotheldrama.lib.miamioh.edu/

Essays and Book Chapters (selected)

  •  “Showing the Show: Strobridge Posters and Late Nineteenth-Century Melodrama.” In Showing Off, Showing Up.  Eds. Laurie Frederik Meer, Catherine Schuler, & Kim Marra.  Forthcoming by University of Michigan Press.  
  • “Brutus Jones Remains: the Case of Jules Bledsoe.” Eugene O’Neill Review36.1 (2015): 1– 28.
  • “ ‘Anna Christie’ at the Donmar Warehouse.” Review Essay.  Eugene O’Neill Review 33. 1 (2012): 126 – 140.
  • “Before Katrina: Performative Downpours in Rain & The Deluge (1922).” Modern Drama 52.3 (Fall 2009): 351 – 368.
  • “From Camille to Lulu Belle: Constructing the Black Prostitute in the American Brothel Drama.” Querying Difference in Theatre History.  Ed. Ann Haugo and Scott Magelssen. Cambridge: Cambridge Scholars Publishing, 2007: 94 – 105.
  • “The Salvation Lass, Her Harlot Friend, and Slum Realism in Edward Sheldon’s Salvation Nell (1908).” Theatre History Studies 26.1 (2006): 88 –107. 
  • “ ‘Anna Christie’: A Repentant Courtesan, Made Respectable.” Eugene O’Neill Review 26 (2004): 87 – 104. 
  • “Rachel Crothers’ Ourselves: Feminist Dramaturgy in the Brothel Drama.”Journal of American Drama & Theatre 15.3 (Fall 2003): 101—121.
  • Damaged Goods: Sex Hysteria & the Prostitute Fatale.” Theatre Survey 44 (2003): 43 – 67
  • Zaza: That Obtruding Harlot of the Stage.” Theatre Journal 54 (May 2002): 223 – 43.  Winner of the Gerald Kahan Scholar Award
  • “Command Performances: Staging Native Americans at Tillicum Village.” Co-written with Tamara Underiner. In Selling the Indian: Commercialism and the Appropriation of American Indian Cultures, ed. Carter Jones Meyer and Diana Royer. Tucson: University of Arizona Press, 2001.
  • “Televising the Panopticon:  The Myth of ‘Reality-Based’ TV.”  American Drama 8.2 (1999): 1 – 26.  Finalist for the “Best of American Drama Essays.”
  • “Censoring Sapho: Regulating the Fallen Woman and Prostitute on the New York Stage.” ATQ: 19th-Century American Literature & Culture 10.3 (1996): 167 ­–186.

Theatre Reviews

  • “Transnational O’Neill” (Foreword). Eugene O’Neill Review 36.2 (2015): 229 - 231.
  • Anna Christie in Paris.” Eugene O’Neill Review 36.2 (Fall 2015): 235 - 238.
  • “Foreword, Performance Reviews.” Eugene O’Neill Review 36.1 (2015): 93 -94. (with Chris Westgate).
  • Strange Interlude at London’s National Theatre.” Eugene O’Neill Review 35.1 (2014): 113 – 117.
  • Long Day’s Journey Into Night at London Apollo.” Eugene O’Neill Review 34.1 (2013): 122 - 25.
  • Hairy Ape at London’s Southwark Playhouse.” Eugene O’Neill Review 34.1 (2013): 126 – 30.
  • The Physicists at London’s Donmar Warehouse.”  Theatre Journal 65.1 (2013): 107– 109.
  • “When Strange is Good: A Neo-Futurist Strange Interlude.” Eugene O’Neill Review31 (2009): 114 -121.

Grants and Awards

  • Professor of the Year Nominee, Council for the Advancement and Support of Education, 2012
  • Wardlaw Research Fellowship, The Texas Collection, Baylor University, 2012
  • Phillip Knox Teaching Award, Miami University, 2011
  • Research Fellowship, American Society for Theatre Research, 2011
  • College of Arts & Science Distinguished Educator Award, Miami University (2009–2010)
  • Teaching Excellence Award, Miami University Center for the Enhancement for Teaching (2010)
  • Nominee, Miami Alumni Effective Teacher (2007 & 2008)
  • Nominee, Outstanding Professor, by Miami’s Associated Student Government (2004 & 2005)
  • Gerald Kahan Award for best essay in the field of theatre studies in North America by a young scholar in 2002, awarded by the American Society for Theatre Research
  • National Endowment for the Humanities Summer Stipend, 2001

Work in Progress

Dr. Johnson is working on a project called Racing the Great White Way:  a Performative Geography of Early Broadway, a book project of theatrical criticism that re-reads (or, queers) traditional histories of Broadway to allow for previously overlooked intersections of race, ethnicity, class, gender, and sexuality.

She is also assisting with a forthcoming documentary film called Re-Discovering Kate Carew with Jaffa Films.