Pannill Camp is Associate Professor of Drama of the Performing Arts Department at Washington University in St. Louis. He teaches courses on eighteenth-century theatre, performance theory, and topics including theatre space, acting, and contemporary comedy. His book, The First Frame: Theatre Space in Enlightenment France (2014) received an honorable mention for the ATHE Outstanding Book Award and was a finalist for the Kenshur Prize in Eighteenth-Century Studies. His research has also appeared in Theatre Journal, Philological Quarterly, and Performance Research. Follow Pannill on Twitter @pannill.

Jordan Ealey (they/she) is a scholar-artist based in the DC-area, but will always and forever be a Georgia peach. Currently, Jordan is a doctoral candidate in Theatre and Performance Studies at the University of Maryland, College Park. Their dissertation project investigates the politics, forms, and aesthetics of black women-authored musicals from the nineteenth-century to the present. Jordan’s scholarly writing has been published in The Black Scholar and Girlhood Studies, with reviews in Theatre Journal, Frontiers: Augmented, Studies in Musical Theatre, and Theatre Topics. They are also currently working as an Assistant Editor for Dr. Laura Edmondson at Theatre Journal. Jordan is the co-host and co-producer of Daughters of Lorraine, a podcast on black theatre through a black feminist lens, which is supported by HowlRound Theatre Commons. They are also a freelance dramaturg, playwright, and arts critic.

Miriam Felton-Dansky is Associate Professor of Theater and Performance and director of Bard's undergraduate Theater and Performance Program. Her research and teaching interests include experimental and avant-garde performance, the politics of attention and spectatorship, and theater in the digital age. Her book Viral Performance: Contagious Theaters from Modernism to the Digital Age was published by Northwestern University Press in 2018. Her articles and essays have appeared in publications such as Theatre Survey, Theatre Journal, Theater, PAJ, ASAP/J, and Artforum.com, and she was a theater critic for the Village Voice from 2009 to 2018. She is a regular cohost of the On Tap theater and performance studies podcast, and a contributing editor for Theater, where she guest coedited the "Digital Dramaturgies" trilogy (2012–18).

Brian Eugenio Herrera is a writer, teacher and scholar based in New Jersey, but forever rooted in New Mexico. He is author of The Latina/o Theatre Commons 2013 National Convening: A Narrative Report (HowlRound, 2015). His book Latin Numbers: Playing Latino in Twentieth-Century U.S. Popular Performance (Michigan, 2015) was awarded the George Jean Nathan Award for Dramatic Criticism and received an Honorable Mention for the John W. Frick Book Award from the American Theatre and Drama Society. With Stephanie Batiste and Robin Bernstein, Brian serves as co-editor of “Performances and American Cultures” series at NYU Press. Also a performer, Brian's autobiographical storywork performances (including I Was the Voice of Democracy and TouchTones) have been presented in venues large and small across the United States, as well as Beirut and Abu Dhabi. Follow Brian @stinkylulu.

Shayoni Mitra works at the intersection of performance and politics. Her interest in political theatre stems from her years as an actor with Delhi based street theatre group Jana Natya Manch. She is currently revising toward publication her manuscript, “Contesting Capital: A History of Political Theatre in Postcolonial Delhi,” which interrogates the ever shifting, adapting expressions of political theatre under different configurations of power. Prof. Mitra has taught courses on Indian, Asian and non-Western performances as well as modern Theatre History and Performance Studies. Her teaching bridges the gap between the global North and South, putting into dialogue the histories of Western Realism with classical, folk, stylized, avant garde and improvized forms from around the world. She actively embraces the scholar-practitioner-activist role encouraging the connections between pedagogy and praxis.

Leticia Ridley is a theatre historian and performance studies scholar whose research works at the intersections of Black feminism, Black Studies, performance theory, and Black digital humanities. She is Assistant Professor in the Department of Theatre and Dance at Santa Clara University. Her research interests include Black theatre and performance, American popular culture, and sports. She is currently working on her book project, tentatively titled Hypervisibility Renderings: Black Feminist Performance in the 20th and 21st Centuries, which examines contemporary Black women’s performance cultures, or the ways that Black women artists, athletes, and musicians (who all occupy the position of celebrity) make culture that articulates their definitions of self and constructs alternative frameworks for themselves and other Black women to occupy. You can find her writing in Frontiers: A Journal of Women Studies, and forthcoming in Journal of American Drama and Theatre and A Routledge Anthology of Sport Plays. She is co-host and co-producer of the Daughters of Lorraine podcast.

Sarah Bay-Cheng is the Dean of the School of the Arts, Media, Performance & Design and Professor of Theatre & Performance Studies at York University (Toronto, Canada). Her research focuses on the intersections among theatre, performance, and media including histories of avant-garde theatre and film, social media, and digital technologies in performance. Her publications include the books Performance and Media: Taxonomies for a Changing Field (2015), Mapping Intermediality in Performance (2010), Poets at Play: An Anthology of Modernist Drama (2010) and Mama Dada: Gertrude Stein’s Avant-Garde Drama (2004) as well as articles, essays, and invited lectures. Her current book project considers digital historiography and performance. Prior to coming to York, she was a Fulbright Visiting Senior Scholar in Media and Cultural Studies at Utrecht University in the Netherlands (2015) and the founding director of the Technē Institute for the Arts and Emerging Technologies at the University at Buffalo (2012-2015).

Harvey Young is Dean of the College of Fine Arts at Boston University. His seven book publications include Theatre & Race (2013) and Embodying Black Experience (2010). His research on the performance and experience of race has been profiled and/or cited in media including The New Yorker, The New York Times, and The Chronicle of Higher Education. He has served on the Board of Directors of the American Society for Theatre Research (ASTR), as editor of Theatre Survey, and is the President of the Association for Theatre in Higher Education (ATHE). Learn more about Harvey at www.harveyyoung.net. Follow him on Twitter at @HarveyYoungBU.

Kareem Khubchandani is Associate Professor of Theatre, Dance, and Performance Studies at Tufts University. He is the author of Ishtyle: Accenting Gay Indian Nightlife (University of Michigan Press, 2020), which received the 2019 CLAGS: Center for LGBTQ Studies Fellowship award, the 2021 Dance Studies Association de la Torre Bueno best book award, and the 2021 ATHE Outstanding Book Award. Kareem is co-editor of Queer Nightlife (University of Michigan Press) and curator of www.criticalauntystudies.com. He holds a Ph.D. in Performance Studies from Northwestern University, and previously served as Embrey Foundation Postdoctoral Fellow at the Center for Women's and Gender Studies at the University of Texas at Austin.

Dr. Pierce is a scholar, writer, teacher, and artist with special interests in consciousness, cognition, cultural competency, neuroinclusion, performance studies, and dramaturgy. The common thread through her work is curating, developing, and creating work that is intellectually curious, compassionate, and emancipatory. Her published work has appeared in TDR, Arts and Literature, and in several anthologies.