Speakers
James Armstrong is an adjunct assistant professor in the theatre department of City College of the City University of New York. His plays have been performed by Detroit Repertory Theatre, Wellfleet Harbor Actors Theater, the Abingdon Theatre Company, and other professional companies, and his writings on theatre have appeared in such publications as Shaw, The Shavian, Dickens Quarterly, The Edgar Allan Poe Review, European Stages, Theatre Notebook, and Theatre Journal.
Leah Benson, educated at UCD, has 18 years of experience as a professional archivist working in the museum and cultural sector. Since being appointed Archivist for the National Gallery of Ireland she works to ensure that the holdings of the archive collections in the Gallery are preserved, protected, and accessible, and accurately reflect the gallery’s own artistic collections. She lectures on these areas as part of the gallery’s public programmes at national and international conferences and events. Her recent public facing projects included the exhibitions [In]Visible: Irish Women Artists from the Archives (July 2018 – March 2019) and A Priceless Education: Shaw and the National Gallery of Ireland (July 2020 – September 2021).
Brigitte Bogar has worked as conference organizer for MAPACA, served on their board (2013-2018), and as Area-Chair for Body Art and Musical Theatre. She has lectured/performed/presented widely, both solo and with her late husband Christopher Innes, at invited public lectures/concerts in USA, UK, Canada, Sweden and Denmark (including NEMLA Keynote 2015). Together Bogar and Innes edited Carnival: Theory and Practice (2012), and Shaw Criticism: Music, (2016). She is the guest editor of SHAW 39.1: Shaw and Music, and is currently working on her last book with Innes, Art and Myth: The Operas of R. Murray Schafer. In 2014, she recorded a CD featuring music by GBS. Her recent stage appearances include Sentain in Der fliegende Holländer and Lenora in Beethoven’s Fidelio, as well as Elvira in Don Giovanni, Agathe in Der Freischütz, and Gutrune in Wagner’s Götterdämmerung.
Mary Christian is Assistant Professor of English at Middle Georgia State University where she teaches world literature and modern drama. She is the author of Marriage and Late-Victorian Dramatists (in Palgrave's "Bernard Shaw and his Contemporaries" series). She has also contributed articles to Religion and Literature, Theatre Survey, Humanities, and SHAW: The Journal of Bernard Shaw Studies.
Suzanne Colleary is Research Fellow at TCD and a Lecturer/ Theatre practitioner at Sligo IT. She has published two books The Comic ‘i’ (2015) and The Comic Everywoman (2019) in addition to being widely published on Irish theatre, drama and comedy. Recent productions include Murmur (10-minute radio short), Fibín and Radio na Gaelteachta 2021. Murmur full audio drama, Magpie productions, Camden Fringe 2021.
Ellen E. Dolgin is Professor of English at Dominican College in Orangeburg, NY where she teaches Studies in Drama/Studies in Tragedy; multicultural American literature; Brit. Lit. II, Global women’s literature, and Literary Realism. She incorporates Shaw plays annually into one or more of her courses. She is past VP of the ISS and currently coordinates the Shaw sessions at the Comparative Drama Conference; two sessions are slated for this coming October. Her recent publications include: chapter contributions to Shaw in Context (Ed. Brad Kent); Bernard Shaw’s Marriages and Misalliances (Ed. Robert Gaines); and a monograph, Shaw and the Actresses Franchise League: Staging Equality (McFarland).
Oscar Giner is a dramatic poet who has been working in the American Southwest and in his native Caribbean for over four decades. He is a professor at the Herberger College of Design and the Arts and the Barrett Honors College at Arizona State University. With co-author Robert L. Ivie, Giner has written book chapters and articles that have been published in China, Poland, and Slovenia. He has also published Hunt the Devil: A Demonology of US War Culture, and has completed a new book, After Empire: Passage to Democracy.
Rae Greiner is Associate Professor of English at Indiana University and co-editor of Victorian Studies. She writes on the novel, feeling, the moral sentiments, and epistemology/ontology, and is currently writing a monograph titled Stupidity After Enlightenment.
Rosalie Rahal Haddad was Vice-President of the ABEI (Brazilian Association of Irish Studies) from 2007 to 2018 and is currently an Advisor to the Association, apart from Associate Researcher at the W.B. Yeats Chair of Irish Studies (University of São Paulo). She is also a board member of the Trinity Centre for Literary and Cultural Translation (Trinity College Dublin). She holds a master’s and a doctoral degree in Anglo-Irish Studies from the University of São Paulo and undertook postdoctoral research at the State University of São Paulo (UNESP). She has published widely on Bernard Shaw’s works and has been active in the production of his plays in São Paulo, Brazil.
Brad Kent is Professor of British and Irish Literatures at Université Laval, Québec. His recent publications include George Bernard Shaw in Context (Cambridge University Press, 2015) and The Selected Essays of Sean O'Faolain (McGill-Queen's University Press, 2016). He is general editor of an eight-volume series of Shaw’s writings, two of which he has edited himself, that are being published by Oxford World’s Classics in 2021, and co-editor, with David Kornhaber, of The Cambridge Companion to Modernist Theatre, which is due to be published in 2023. At present, he is working on a monograph, supported by a grant from the Social Sciences and Humanities Research Council of Canada, on censorship and Irish writing from 1880 to 1970.
John M. McInerney is Professor Emeritus at the University of Scranton, where he taught modern drama, including Shaw, for more than 45 years, while also working as an actor, writer, and director in community theatre productions. A dozen of his original plays have been produced. He has been an officer in the International Shaw Society, has regularly presented papers at the Shaw Symposium, and has contributed articles and reviews to SHAW: The Journal of Bernard Shaw Studies, as well as book chapters in Shaw and Feminisms and Bernard Shaw in Context.
Audrey McNamara is a module coordinator and lecturer in University College Dublin. Her monograph Bernard Shaw: From Womanhood to Nationhood: The Irish Shaw is forthcoming. Publications include an essays on the work of Bernard Shaw, Conor McPherson, Enda Walsh, and Benjamin Black. She was guest co-editor with Nelson O’Ceallaigh Ritschel for Shaw 36.1: Shaw and Money (Penn State University Press 2016) and The Eugene O’Neill Review (Spring 2018, Penn State University Press). She and Nelson also co-edited Shaw and the Making of Modern Ireland (Palgrave Macmillan, 2020).
Michael O'Hara is the Sursa Distinguished Professor of Fine Arts at Ball State University and the Treasurer of the ISS. He has published on pedagogy and technology and on Shaw and the Federal Theatre Project, the latter of which will be the happy task that fills his first (ever) sabbatical in Spring 2022, now that he has returned to the faculty full-time after 12 years in administrative purgatory.
Vania Papanikolou holds a PhD from the University of Crete (Department of Philology -Division of Music and Theatre Studies, PhD, 2012). She recently published by Amolgos Editions her doctoral thesis “Dream Is Better Than Nothing...” The Contribution of Nea Skini in the Development of the Modern Greek Theatre (Athens 2020). She is teaching History and Historiography of the Modern Greek Theatre int the Department of Theatre Studies at the University of Patras. Her current research is focused on the reception of Realism and Modernism in the Greek theatre and especially the reception of George Bernard Shaw in the Greek Theatre. She is Post-doctoral Scholar of State Scholarships Foundation in Greece (IKY) on “The Reception of George Bernard Shaw in Modern Greek Theatre. From the First Performances to establishment”. She has participated in Shaw-at-home Conference at Ayot St Laurence (June 2013). Her paper “You Never Can Tell or Dad Is Missing: The Reception of George Bernard Shaw in Greek Theatre at the Beginning of the 20th Century” was published in Upstage, 7 (Autumn 2015). Other papers on Shaw: “Opportunist or Socialist? The Reception of George Bernard Shaw by the Greek Left Wing Intellectual”, In: K A. Dimadis (ed.), Continuities, Discontinuities, Ruptures in the Greek World (1204-2014): Economy, Society, History, Literature, Vol. 4, European Society of Modern Greek Studies, Athens 2015, pp. 141-156, “George Bernard Shaw – Christos Daralexis: Eclectic Affinities... of Otherness”, In: 6th Panhellenic Theatrical Conference Theatre and Otherness: Theory, Dramaturgy and Theatre Practice, Nafplio-Greece, 17-20 May 2017 [forthcoming].
Jean Reynolds is Professor Emerita of English at Polk State College (FL). She is the author of Pygmalion's Wordplay: The Postmodern Shaw (1999) and the co-editor (with D. A. Hadfield) of Shaw and Feminisms: Onstage and Off (2013), as well as several other books and many articles.
Yulia Skalnaya has been studying Shaw since 2014. In 2015, she received her degree in Philology at Lomonosov Moscow State University (diploma paper “Bernard Shaw’s Interwar Dramas: Theatre as Synthesis”). There she continued her research at the Department of Foreign Literature and in 2018 defended my PhD thesis “Experimentation with Genre in Bernard Shaw’s Plays." She is currently working at Lomonosov Moscow State University as a full-time senior lecturer of English at the Faculty of Global Studies. She also delivers lectures and conduct seminars on the history of literature as a visiting lecturer at other faculties and universities.
Lawrence Switzky is Associate Professor of English at the University of Toronto-Mississauga. His current research examines the place of theatre within the history of mass computation and artificial intelligence. He is the co-editor (with David Kornhaber) of the quarterly journal Modern Drama.
Leah Benson, educated at UCD, has 18 years of experience as a professional archivist working in the museum and cultural sector. Since being appointed Archivist for the National Gallery of Ireland she works to ensure that the holdings of the archive collections in the Gallery are preserved, protected, and accessible, and accurately reflect the gallery’s own artistic collections. She lectures on these areas as part of the gallery’s public programmes at national and international conferences and events. Her recent public facing projects included the exhibitions [In]Visible: Irish Women Artists from the Archives (July 2018 – March 2019) and A Priceless Education: Shaw and the National Gallery of Ireland (July 2020 – September 2021).
Brigitte Bogar has worked as conference organizer for MAPACA, served on their board (2013-2018), and as Area-Chair for Body Art and Musical Theatre. She has lectured/performed/presented widely, both solo and with her late husband Christopher Innes, at invited public lectures/concerts in USA, UK, Canada, Sweden and Denmark (including NEMLA Keynote 2015). Together Bogar and Innes edited Carnival: Theory and Practice (2012), and Shaw Criticism: Music, (2016). She is the guest editor of SHAW 39.1: Shaw and Music, and is currently working on her last book with Innes, Art and Myth: The Operas of R. Murray Schafer. In 2014, she recorded a CD featuring music by GBS. Her recent stage appearances include Sentain in Der fliegende Holländer and Lenora in Beethoven’s Fidelio, as well as Elvira in Don Giovanni, Agathe in Der Freischütz, and Gutrune in Wagner’s Götterdämmerung.
Mary Christian is Assistant Professor of English at Middle Georgia State University where she teaches world literature and modern drama. She is the author of Marriage and Late-Victorian Dramatists (in Palgrave's "Bernard Shaw and his Contemporaries" series). She has also contributed articles to Religion and Literature, Theatre Survey, Humanities, and SHAW: The Journal of Bernard Shaw Studies.
Suzanne Colleary is Research Fellow at TCD and a Lecturer/ Theatre practitioner at Sligo IT. She has published two books The Comic ‘i’ (2015) and The Comic Everywoman (2019) in addition to being widely published on Irish theatre, drama and comedy. Recent productions include Murmur (10-minute radio short), Fibín and Radio na Gaelteachta 2021. Murmur full audio drama, Magpie productions, Camden Fringe 2021.
Ellen E. Dolgin is Professor of English at Dominican College in Orangeburg, NY where she teaches Studies in Drama/Studies in Tragedy; multicultural American literature; Brit. Lit. II, Global women’s literature, and Literary Realism. She incorporates Shaw plays annually into one or more of her courses. She is past VP of the ISS and currently coordinates the Shaw sessions at the Comparative Drama Conference; two sessions are slated for this coming October. Her recent publications include: chapter contributions to Shaw in Context (Ed. Brad Kent); Bernard Shaw’s Marriages and Misalliances (Ed. Robert Gaines); and a monograph, Shaw and the Actresses Franchise League: Staging Equality (McFarland).
Oscar Giner is a dramatic poet who has been working in the American Southwest and in his native Caribbean for over four decades. He is a professor at the Herberger College of Design and the Arts and the Barrett Honors College at Arizona State University. With co-author Robert L. Ivie, Giner has written book chapters and articles that have been published in China, Poland, and Slovenia. He has also published Hunt the Devil: A Demonology of US War Culture, and has completed a new book, After Empire: Passage to Democracy.
Rae Greiner is Associate Professor of English at Indiana University and co-editor of Victorian Studies. She writes on the novel, feeling, the moral sentiments, and epistemology/ontology, and is currently writing a monograph titled Stupidity After Enlightenment.
Rosalie Rahal Haddad was Vice-President of the ABEI (Brazilian Association of Irish Studies) from 2007 to 2018 and is currently an Advisor to the Association, apart from Associate Researcher at the W.B. Yeats Chair of Irish Studies (University of São Paulo). She is also a board member of the Trinity Centre for Literary and Cultural Translation (Trinity College Dublin). She holds a master’s and a doctoral degree in Anglo-Irish Studies from the University of São Paulo and undertook postdoctoral research at the State University of São Paulo (UNESP). She has published widely on Bernard Shaw’s works and has been active in the production of his plays in São Paulo, Brazil.
Brad Kent is Professor of British and Irish Literatures at Université Laval, Québec. His recent publications include George Bernard Shaw in Context (Cambridge University Press, 2015) and The Selected Essays of Sean O'Faolain (McGill-Queen's University Press, 2016). He is general editor of an eight-volume series of Shaw’s writings, two of which he has edited himself, that are being published by Oxford World’s Classics in 2021, and co-editor, with David Kornhaber, of The Cambridge Companion to Modernist Theatre, which is due to be published in 2023. At present, he is working on a monograph, supported by a grant from the Social Sciences and Humanities Research Council of Canada, on censorship and Irish writing from 1880 to 1970.
John M. McInerney is Professor Emeritus at the University of Scranton, where he taught modern drama, including Shaw, for more than 45 years, while also working as an actor, writer, and director in community theatre productions. A dozen of his original plays have been produced. He has been an officer in the International Shaw Society, has regularly presented papers at the Shaw Symposium, and has contributed articles and reviews to SHAW: The Journal of Bernard Shaw Studies, as well as book chapters in Shaw and Feminisms and Bernard Shaw in Context.
Audrey McNamara is a module coordinator and lecturer in University College Dublin. Her monograph Bernard Shaw: From Womanhood to Nationhood: The Irish Shaw is forthcoming. Publications include an essays on the work of Bernard Shaw, Conor McPherson, Enda Walsh, and Benjamin Black. She was guest co-editor with Nelson O’Ceallaigh Ritschel for Shaw 36.1: Shaw and Money (Penn State University Press 2016) and The Eugene O’Neill Review (Spring 2018, Penn State University Press). She and Nelson also co-edited Shaw and the Making of Modern Ireland (Palgrave Macmillan, 2020).
Michael O'Hara is the Sursa Distinguished Professor of Fine Arts at Ball State University and the Treasurer of the ISS. He has published on pedagogy and technology and on Shaw and the Federal Theatre Project, the latter of which will be the happy task that fills his first (ever) sabbatical in Spring 2022, now that he has returned to the faculty full-time after 12 years in administrative purgatory.
Vania Papanikolou holds a PhD from the University of Crete (Department of Philology -Division of Music and Theatre Studies, PhD, 2012). She recently published by Amolgos Editions her doctoral thesis “Dream Is Better Than Nothing...” The Contribution of Nea Skini in the Development of the Modern Greek Theatre (Athens 2020). She is teaching History and Historiography of the Modern Greek Theatre int the Department of Theatre Studies at the University of Patras. Her current research is focused on the reception of Realism and Modernism in the Greek theatre and especially the reception of George Bernard Shaw in the Greek Theatre. She is Post-doctoral Scholar of State Scholarships Foundation in Greece (IKY) on “The Reception of George Bernard Shaw in Modern Greek Theatre. From the First Performances to establishment”. She has participated in Shaw-at-home Conference at Ayot St Laurence (June 2013). Her paper “You Never Can Tell or Dad Is Missing: The Reception of George Bernard Shaw in Greek Theatre at the Beginning of the 20th Century” was published in Upstage, 7 (Autumn 2015). Other papers on Shaw: “Opportunist or Socialist? The Reception of George Bernard Shaw by the Greek Left Wing Intellectual”, In: K A. Dimadis (ed.), Continuities, Discontinuities, Ruptures in the Greek World (1204-2014): Economy, Society, History, Literature, Vol. 4, European Society of Modern Greek Studies, Athens 2015, pp. 141-156, “George Bernard Shaw – Christos Daralexis: Eclectic Affinities... of Otherness”, In: 6th Panhellenic Theatrical Conference Theatre and Otherness: Theory, Dramaturgy and Theatre Practice, Nafplio-Greece, 17-20 May 2017 [forthcoming].
Jean Reynolds is Professor Emerita of English at Polk State College (FL). She is the author of Pygmalion's Wordplay: The Postmodern Shaw (1999) and the co-editor (with D. A. Hadfield) of Shaw and Feminisms: Onstage and Off (2013), as well as several other books and many articles.
Yulia Skalnaya has been studying Shaw since 2014. In 2015, she received her degree in Philology at Lomonosov Moscow State University (diploma paper “Bernard Shaw’s Interwar Dramas: Theatre as Synthesis”). There she continued her research at the Department of Foreign Literature and in 2018 defended my PhD thesis “Experimentation with Genre in Bernard Shaw’s Plays." She is currently working at Lomonosov Moscow State University as a full-time senior lecturer of English at the Faculty of Global Studies. She also delivers lectures and conduct seminars on the history of literature as a visiting lecturer at other faculties and universities.
Lawrence Switzky is Associate Professor of English at the University of Toronto-Mississauga. His current research examines the place of theatre within the history of mass computation and artificial intelligence. He is the co-editor (with David Kornhaber) of the quarterly journal Modern Drama.