Curriculum Vitae
PHOEBE RUMSEY
EDUCATION:
Ph.D. Theatre and Performance, The Graduate Center, CUNY, February 2019.
Dissertation: “Embodied Nostalgia: Early Twentieth Century Social Dance and U.S. Musical Theatre”
Committee: David Savran (Chair), Elizabeth Wollman, Peter Eckersall
M.A. Performance Studies, Tisch School of the Arts, New York University, 2014.
Thesis: “Interview with Sondheim the Hard Way: The Precariousness of Letter Exchange as an Interview Modality and Research Method”
Advisor: André Lepecki
M.A. Theatre, University of Nevada, Las Vegas, 2000.
Thesis: “Dance in the Contemporary American Musical: What Has Become of the Dream Ballet?”
Committee: Jeff Koep (Chair), Christopher Hudgins, Ellis Pryce-Jones
B.F.A. Contemporary Dance, Simon Fraser University, Vancouver, BC, Canada, 1994.
FHEA Fellow of the Higher Education Academy, via the Academic Professional Excellence
Framework (APEX), 2022.
AREAS OF RESEARCH AND TEACHING:
Musical Theatre (Choreography, Directing, Skills, Theory and History); Dance (Contemporary, Modern, Jazz, Ballet, Tap, Choreographic Methods, Devised Theatre, Body Movement for Actors, Dance History, and Anatomy); Theatre (History, Theory, and Literature), Performance Studies (Theory and Criticism); Theatre Criticism and Analysis
ACADEMIC EMPLOYMENT HISTORY:
2020- Senior Lecturer, Musical Theatre/ Drama & Performance, School of Art & Design, University of Portsmouth, UK.
2016-2019 Adjunct Instructor, City College of New York, CUNY.
2015-2018 Teaching Fellow, City College of New York, CUNY.
2018 Guest Instructor, Borough of Manhattan Community College.
2017 Guest Instructor, Tisch School of the Arts, New York University.
2005 Guest Instructor, Canadian College of Performing Arts, Victoria, BC.
RESEARCH AND PUBLICATIONS
BOOKS:
Embodied Nostalgia: Early Twentieth Century Social Dance and the Choreographing of Broadway
Musical Theatre. London: Routledge (Forthcoming January 2023).
Dance in Musical Theatre: A History of the Body in Movement, edited collection by Phoebe Rumsey
and Dustyn Martincich, London: Bloomsbury (Forthcoming October, 2023).
REFEREED JOURNAL ARTICLES AND BOOK CHAPTERS:
“The Contemporary Legacy of Oklahoma!: Sparking meaning between the traditional and
experimental in musical revivals.” Invited chapter in Cambridge Companion to Rodgers and
Hammerstein, London: Cambridge (Forthcoming Spring 2023).
“Dialogues of the Body: Embodied Conversations at the Intersection of Jazz and Musical Theatre.” Invited Chapter in Intellect (Forthcoming Summer 2021)
“In Anticipation of West Side Story: The Confluence of Styles, Genres, and Influences in the Early
Choreography of Jerome Robbins.” Invited chapter in The Cambridge Companion to ‘West
Side Story’, edited by Paul Laird and Elizabeth Wells, London: Cambridge (Forthcoming December, 2022).
“Convergence of Dance Styles in the Musical Hamilton.” Invited chapter in The Routledge Companion to the Contemporary Musical, edited by Jessica Sternfeld and Elizabeth L. Wollman, (London: Routledge, 2019), 255-262.
“Preserved by Permafrost: Reanimating and Reimagining Complexity in Canada’s Klondike Gold Rush.” Chapter in The Routledge Companion to Theatre and Politics, edited by Peter Eckersall and Helena Grehan, (London: Routledge, 2019), 317-327.
“Rebuilding Posterity: Savion Glover’s Choreography of Shuffle Along – Or The Making Of The Musical Sensation of 1921 And All That Followed.” Chapter in Reframing the Musical: Race, Culture, and Identity, edited by Sarah Whitfield (London: Palgrave, 2019), 129-148.
“The New Choreography of Rodgers and Hammerstein’s Allegro,” Studies in Musical
Theatre Journal 9.3 (December 2015): 227-285.
BOOK REVIEWS:
“Dramaturgy in Motion: At Work In Dance and Movement in Performance” by Katherine Profeta. Invited review in PAJ: A Journal of Performance and Art 39.3 (September 2017): 100-101.
“Big Deal: Bob Fosse and Dance in the American Musical” by Kevin Winkler. Invited book review in Journal of American Drama and Theatre 31.3 (Spring 2019): 268-269.
OTHER:
“Letters from Sondheim: how I got to know the great composer” The Conversation & picked up by The Independent. December 2, 2021. https://theconversation.com/letters-from-sondheim-how-i-got-to-know-the-great-composer-173178
TEACHING EXPERIENCE
UNIVERSITY OF PORTSMOUTH
Movement for Performance (Musical Theatre Level 4): 2021, 2022
Performance & Society (Drama and Performance & Musical Theatre Level 5): 2020, 2021, 2022
Devised Theatre (Musical Theatre Level 4): Spring 2020
Performance, Criticism & Analysis (Seminar): Spring 2020
Critical Contexts (Drama and Performance & Musical Theatre Level 5): Spring 2020, 2021, 2022
Musical Theatre Skills (Level 5): 2020, 2021, 2022
Advanced Scene Study (Musical Theatre, Level 5): Spring 2020, 2021, 2022
Forming a Company (Level 6) 2022, 2023
*Module Coordinator: Musical Theatre Skills, Advanced Scene Study, Movement for Performance
CITY COLLEGE OF NEW YORK, CUNY:
Body Movement: Fall 2016, Spring 2017, Fall 2018.
Theatre History III (1900-2018): Spring 2018.
Theatre History I (Origins to 1640): Fall 2017.
Introduction to Theatre: Fall 2015, Spring 2016, Fall 2016, Spring 2017, Spring 2018.
NEW YORK UNIVERSITY:
Topics in Musical Theatre: 1950s: Guest Lecturer, Fall 2017.
BOROUGH OF MANHATTAN COMMUNITY COLLEGE, CUNY:
English Composition: Guest Instructor, Fall 2018.
CANADIAN COLLEGE OF PERFORMING ARTS:
Intermediate and Advanced Jazz and Ballet: Guest Instructor, Fall 2005.
OTHER TEACHING EXPERIENCE (Studio/Conservatoire)
St. Michael’s University School, Victoria BC, Canada.
Summer Musical Theatre Voice Intensive, Director/Choreographer: Summer 2013,
Summer 2012, Summer 2011.
Victoria Academy of Dramatic Arts, Victoria BC, Canada. Movement and Dance for Actors: Spring 2012.
Boston Dance Collective, Victoria BC, Canada.
Musical Theatre: 8 sessions, Ballet: 6 sessions, Jazz: 6 sessions (2009-2013).
General Manager: staff management, public relations, and development.
Kaleidoscope Theatre Performing Arts Studio, Victoria BC, Canada.
Musical Theater: 8 sessions, Movement: 4 sessions (2007-2013).
Principal: staff management, curriculum development.
Dansko Studios, Victoria BC, Canada.
Ballet: 14 sessions, Contemporary: 14 sessions, Musical Theater: 8 sessions, (2002-
2009).
Victoria Dance Connection, Victoria, BC, Canada: Modern and Contemporary (Guest Instructor, 2007-2009)
Excalibre Dance, Victoria, BC, Canada: Ballet and Contemporary 2000-2002
ADJUDICATION:
2015 Provincial Dance Adjudicator, Powell River, BC. Adjudicate all Level 1 Finalists for BC Provincial Dance Festival (includes teaching workshops, master classes in ballet, jazz, contemporary and musical theatre).
2014 Stage Adjudicator, Prince George Dance Festival. Adjudicate all levels of musical theatre, jazz, tap, contemporary, street dance
Award Scholarships, awards and placements.
2013 Ballet/Contemporary Adjudicator, Kamloops Festival of the Arts. Adjudicate all levels of ballet and modern dance, teach six master classes: 3 levels.
CONFERENCE ACTIVITY/PARTICIPATION (juried, unless noted otherwise):
“Shifting Centres: Choreography and post-traumatic stress disorder in the musical
Bandstand.” Paper presented at the annual meeting of the International Federation of
Theatre Research, Music Theatre Working Group, Reykjavik, Iceland, (June 2022).
“Disruptions of History: George Takei’s Allegiance catalyzes a system of edification and
advocacy.” Paper presented at the annual meeting of the Theatre and Performance
Research Association (TAPRA), Performance, Identity & Community Working Group, Sept. 2021(online).
“’This was a music that was theirs’: Ragtime and the Deconstruction of Collective Nostalgia
through the Choreography of Graciela Daniele.” Paper presented at the annual meeting
of the Association for Theatre in Higher Education, August 2021 (online).
“The Color Purple: Creative figures, racial politics, and divergent aesthetics in musical theatre
processes.” Paper presented at the annual meeting of International Federation of Theatre
Research, Music Theatre Working Group, Galway, Ireland, Aug. 2021 (online)
“The ‘Road to Hell’ Passes Through Edmonton, Alberta: Hadestown’s Unusual
and Essential Stop at the Citadel Theatre.” Paper accepted Song, Stage &
Screen Conference 2020 – Postponed.
“Shifting Movement Ecologies in West Side Story: Choreographic Strategies of Jerome Robbins
and Anne Teresa De Keersmaeker.” Paper accepted at International Federation for
Theatre Research 2020 – Postponed.
“Family Friendly” Shows: Shifting Publics for Theatrical Performance in Las Vegas, Nevada
Paper shared at the annual meeting of the American Society for Theatre Research,
Arlington, VA, Right Wing Publics Working Group November 2019
“Revision and Resistance: Daniel Fish’s Reclaiming of Oklahoma!”
Paper presented at the annual meeting of Performance Studies International, Calgary, AB, July 2019.
“Sparking Meaning Between the Traditional and Experimental: Daniel Fish’s Revisioning of
Oklahoma! Paper presented at the annual meeting of Song, Stage, and Screen Conference,
Leeds, UK, June 2019.
“Revolutions in Dance: Integrating Musical Theatre Historiography and Pedagogy.” Co-convener with Ryan Donovan of panel at the annual meeting of the Association for Theatre in Higher Education, Boston, MA, August 2018.
“Everybody Dance: Social Dance, Survival, and Self-Realization in Steel Pier.” Paper presented at the annual meeting of the Association for Theatre in Higher Education, Boston, MA, August 2018.
“Dance, Dance, Re-Evolution: Popular Dance Forms in Musical Theatre.” Paper presented at the annual meeting of the Association for Theatre in Higher Education, Boston, MA, August 2018.
“Social Dance in the Musical Allegiance: How the Dancing Body Permeates Boundaries of Nationhood and National Identity in Musical Theatre.” Paper presented at the annual meeting of International Federation of Theatre Research, Music Theatre Working Group, Belgrade, Serbia, July 2018.
“Reparation and Reanimation in Musical Theatre: George C. Wolfe’s Shuffle Along – Or The Making Of The Musical Sensation of 1921 And All That Followed.” Paper presented at the annual meeting of the Canadian Association of Theatre Research, Kingston, ON, June 2018.
“The Overflow of Nostalgia and the Formation of Subjectivity: A Collage of Memory and Meaning in Meg Stuart’s Hunter.” Paper presented at the annual meeting of Performance Studies international, Hamburg, Germany, June 2017.
“The Evolution of the Tribe: Choreographing Hair in the Twenty-First Century and the Innate ‘Harmony and Understanding’ of Movement.” Invited panelist at the annual meeting of the Association for Theatre in Higher Education, Las Vegas, NV, August 2017.
“Rebuilding Posterity: George C. Wolfe’s Shuffle Along.” Round-table participant discussion at the annual meeting of the American Society for Theatre Research, Minneapolis, MN, November 2016.
“Who’s That Woman: Female Identity at Work in Musical Theatre,” co-convener, panel at the annual meeting of the Association for Theatre in Higher Education, Chicago, IL, August 2016.
“The Ghosting of Female Labor in Stephen Sondheim’s Follies: The Commodification and Fragmentation of the Feminine in Performance.” Paper presented at the annual meeting of the Association for Theatre in Higher Education, Chicago, IL, August 2016.
“The Takarazuka Revue and the Empowerment of the Japanese Woman.” Paper
presented at round-table discussion for the annual meeting of the Association for Theatre in Higher Education, Chicago, IL, August, 2016.
“The Body as Animal: Pack Mentality as a Climate for Performance in Wayne
McGregor’s Entity.” Paper presented at the annual meeting of Performance Studies international, Melbourne, Australia, July 2016.
“Hamilton: Remixing Historical Narratives.” Paper presented at the annual meeting of International Federation of Theatre Research, Music Theatre Working Group, Stockholm, Sweden, June 2016.
“The New Choreography of Rodgers and Hammerstein’s Allegro.” Paper presented at the annual meeting of the Association for Theatre in Higher Education, Montreal, QC, August 2015.
“The Theatre of the Klondike Gold Rush in Canada’s Yukon Territory.” Paper presented at the annual meeting of the International Federation of Theatre Research, Hyderabad, India, July 2015.
“Follow The Gold: The Significance and Momentum of Theatre in the Klondike Gold Rush (1896-1901).” Paper presented at the annual Mid-America Theatre Conference, Kansas City, MI, April 2015.
INVITED LECTURES/WORKSHOPS:
2022 “The Living Document as Research, Artefact and Practice,” with Dr. Ben MacPherson,
School of Art, Design and Performance, University of Portsmouth.
2021 “Motivational Boost” Lecture and workshop to Post Graduates University of Portsmouth
2018 “Embodied Nostalgia: Early Twentieth Century Social Dance and U.S. Musical Theatre.” Music Theatre Forum, New York Public Library for the Performing Arts, Lincoln Center.
2016 “Public History and Teaching Hamilton: An American Musical: Interdisciplinary Considerations,” Seminar on the Early American Republic, History Department, The Graduate Center, CUNY.
2014 “The Choreographic Gesture,” a lecture-demonstration at Praxis: Performance Studies Conference, New York University.
2011 “Moving Musical Theater”: A lecture-demonstration, St. Michael’s University School. Summer Voice Intensive, Victoria, BC.
2010 “Introducing Musical Theater”: A movement and voice workshop series,
Dance Days Performing Arts Festival, Victoria, BC.
AWARDS AND GRANTS
2021 Teaching Innovation Award, University of Portsmouth, UK
2017 New Scholars’ Prize, International Federation of Theatre Research for best essay: International Federation of Theatre Research, Sao Paulo, Brazil.
2016, 2018 Doctoral Student Research Grant, The Graduate Center, CUNY.
2015 Bruce Kirle Memorial Debut Panel Selection, an essay competition as part of the Association for Theatre and Higher Education, Montreal, Canada.
2015-2018 Student Conference Travel Awards, The Graduate Center, CUNY.
2015 Travel Bursary, Emerging Scholar, International Federation of Theatre Research, Hyderabad, India.
2014 Cohn-Lortel International Theatre-Going Award, Theatre and Performance Department, CUNY.
2014-2019 Graduate Fellowship, The Graduate Center, CUNY.
2013 Lew Wasserman Scholarship, New York University.
1994 David Irving Award and Scholarship, North Vancouver Operatic Society.
1993 University Scholarship – School Contemporary Arts, Simon Fraser University.
1993 Grace MacDonald Award, Theatre Under the Stars, Vancouver, BC.
SERVICE TO THE PROFESSION
2022 Co-Organizer XVI Song, Stage & Screen Conference, International Musical Theatre
Conference, University of Portsmouth, June 29-July 1, 2022.
2021/20 Musical Theatre and All the Jazz Research Network, Network Member. AHRC
Supported, International Collaboration. Lead investigators: Prof. George Burrows and
Nick Gebhardt.
2020 The Amazing Life of Margot Heuman, Actor, Documentary Film, School of Art, Design and Performance University of Portsmouth. Director: Dr. Erika Hughes.
2019 – Editorial Board, Studies in Musical Theatre, Jounral edited by Elizabeth Wollman and
Jessica Sternfeld (Intellect)
2019 Peer Review: Routledge: Taylor & Francis Group: Theatre and Performance Studies.
2017 “Approaching Dance: Transdisciplinary Methodologies and Modalities of the Moving Body in Performance,” Graduate Student Conference, CUNY Organizing Committee, co-convener of round-table, and participant.
2016 Vetting Committee for essay selection. Bruce Kirle Award, ATHE Conference, Music Theatre/Dance, Chicago, IL.
2016 Elected Vice President, Doctoral Theatre Students’ Association.
Student-run executive committee concentrating on events, curriculum, admissions and awards. One-year term.
2014-17 Alumni Events, Volunteer, Department of Theatre, The Graduate Center, CUNY.
PROFESSIONAL EXPERIENCE
EDITORIAL:
2017 Copy Editor, Martin E. Segal Center, The Graduate Center, CUNY.
2014 Managing Editor, Journal of American Drama and Theatre, Martin E. Segal Center, The Graduate Center, CUNY.
OPERATIONS:
2013–2019 Assistant House Manager, Skirball Center for Performing Arts, NYU.
Duties: Host audience, coordinate with artists, facilitate post-show talks, manage ushers and press, oversee box office and ticketing agents, implement all safety procedures, and liaise with technical staff and NYU security.
2001 Special Events Manager, Klondike Visitors Association, Dawson City, YT.
CREATIVE ACTIVITY
CHOREOGRAPHY (a selection):
2020, 2021, 2022 DV Mission 48 Hours Film Challenge Awards Show: Wedgewood Rooms, Portsmouth, UK.
2015 The Usher, Creator and Performer, My Dahlings Cabaret, Rat King Theatre, Darlings, NYC
2013 Side by Side by Sondheim, Choreographer, Saltwater Productions, directed by Sean Guist, Metro Theatre, Victoria, BC.
2012 Pan, A Contemporary adaptation of J.M. Barrie’s Peter Pan, Choreographer, Movement Coach and Fight Choreographer, Kaleidoscope Theatre, directed by Roderick Glanville, McPherson Theatre, Victoria, BC.
2012 The Magic Flute, Choreographer, St. Michael’s University School,
Summer Voice Intensive, Victoria, BC.
2011 Hair –A Tribal Rock Musical, Choreographer, Kaleidoscope Theatre, directed by Roderick Glanville, Victoria, BC.
2011 A Midsummer Night’s Dream, Choreographer and Movement Coach,
Directed by Roderick Glanville, McPherson Theatre, Victoria, BC.
2011 The Mummer’s Masque, A Pageant Opera in 1 Act by Dean Burry, Choreographer and Fight Coordinator, Saltwater Productions, St. Anne’s Academy, Victoria, BC (and 2010).
2011 Mahagonny-Songspiel (Bertolt Brecht and Kurt Weill), Choreographer,
Saltwater Productions, directed by Joanne Hounsell, Metro Theatre, Victoria, BC.
2011 The Hobbit, Choreographer and Movement Coach, Kim Selody’s
adaptation of J. R.R. Tolkien’s book for Kaleidoscope Theatre, McPherson Theatre, Victoria, BC.
2010 The Rocky Horror Show, Choreographer, Kaleidoscope Theatre, directed by Leslie Bland, McPherson Theatre, Victoria, BC.
2010 Silverwing, Choreographer and Movement Coach, based on book by Kenneth Oppel, Kaleidoscope Theatre, directed by Leslie Bland, Victoria, BC.
2009 I Love You You’re Perfect Now Change, Choreographer, Kaleidoscope Theatre, directed by Leslie Bland, McPherson Theatre, Victoria, BC.
2008 Working The Musical, Choreographer, Kaleidoscope Theatre, directed by David MacPherson, McPherson Theatre, Victoria, BC.
2000 The Elixir of Love, Choreographer, Gaetano Donizetti’s Opera, directed by Dean Lundquist, UNLV Opera, Judy Bayley Theatre, Las Vegas.
DIRECTING:
2013 The Lieutenant of Inishmore, (excerpt). Co-Directed and Choreographed with Tessa Allen, Hey You! Performance Series, Tisch School of the Arts, NYU.
2012 Seussical, Director and Choreographer, Saltwater Productions, Metro Theatre Victoria, BC.
2011 Pandora’s Locker, A Contemporary Opera by Dean Burry, Director and Choreographer, West Coast Premiere, University of Victoria.
2009 Filament, Co-Directed and Choreographed with Amalia Schelhorn An Evening of New Dance and Physical Theater Works, Victoria Events Center, Victoria BC.
PERFORMANCE EXPERIENCE (full resume available upon request):
1995– Masquerade, Dancer, Singer, Swing, Rio Hotel, Las Vegas, NV.
2000 Original Cast, 8 shows (musical revue/Cirque de Soleil-styled productions), Farrington Productions.
2000 Aladdin, Magic Carpet, Assistant Choreographer, Kaleidoscope Theatre, director Leslie Bland, MacPherson Theatre, Victoria, BC.
1995 Fantasy Tonight, Broadway Review, Dancer, Farrington Productions, New Fujiya Hotel, Atami City, Japan.
1994 Diamond Tooth Gerties, Dancer and Singer, Klondike Visitors Association LPV Productions and Lone Wolf Entertainment, Dawson City, Yukon (repeat: 1995, 2001).
1994 Music Man, Dancer, Singer, Greater Vancouver Operatic Society, Centennial Theater, North Vancouver, BC.
1993 Oklahoma!, Dream Laurey, directed by Shel Piercy, Richmond Gateway Theatre Company, Vancouver, BC.
1993 Carousel, Dancer, Singer, Theatre Under The Stars, Malkim Bowl, Vancouver, BC.
1990 Oliver!, Dancer, Singer, Stampede Dinner Theater, Boyce Theatre, directed by Bill Avery, Calgary, AB.
1989 Fiddler on The Roof, Dancer, Singer, Stampede Dinner Theater, Boyce Theatre, directed and choreographed by Margot McDermott, Calgary, AB.
TRAINING (extended details available on request)
Ballet: R.A.D. and ISTD Exams (School of the Alberta Ballet, SFU Dance, International School of Ballet, Joffrey Ballet School, NYC).
Jazz: Commercial and Broadway (Broadway Dance Center, Steps, Ailey Dance School, NYC; The Edge, L.A.; Harbour Dance Center, Vancouver).
Tap: Broadway and Contemporary Styles (Peridance Capezio, Broadway Dance Center, NYC)
Modern: Graham, Limon, Cunningham Styles (BFA, Simon Fraser University, BC).
Hip Hop: Boston Dance Collective, BC.
Voice: Alto; Private coaching with Lloyd Nicholson, Patricia Dahlquist.
Acting: Simon Fraser University, UNLV
PROFESSIONAL AFFILIATIONS
Theatre and Performance Research Association (TAPRA)
American Society for Theatre Research (ASTR)
International Federation of Theatre Research (IFTR)
Association for Theatre in Higher Education (ATHE)
Performance Studies international (PSi)
Canadian Association of Theatre Research (CATR)
LANGUAGES
French: Fluent
INSTRUMENTS
Clarinet
Piano