Caitlin Marshall

Caitlin Marshall (PhD Performance Studies, University of California Berkeley) is a theater and performance historian and practice based researcher. Her manuscript in progress, “Power in the Tongue: Sounding America in Red, Black, and Brown,” is a cultural history of what it meant to sound American in the nation's first independent century. Along with Shellée Haynesworth (Black Broadway on U) she is a co-producer and lead researcher of the new musical, At the S Street Salon, based on the archived letters of Georgia Douglas Johnson. She has held fellowships at the McNeil Center for Early American Studies at UPenn and at the Harry Ransom Center at UT Austin. Her article, "Ear Training for History: Listening to Elizabeth Taylor Greenfield's Double-Voiced Aesthetics," received an honorable mention for the 2024 Vera Mowry Roberts Award from the American Drama and Theatre Society, and she was a recipient of the 2023 Cambridge University Press prize and the 2021 Research Fellowship at the American Society for Theatre Research. Her writing is published or forthcoming from Theatre Survey, Theatre Journal, Studies in Musical Theatre, Journal of the American Musicological Society, Performance Matters, Postmodern Culture, Twentieth-Century Music, and Sounding Out!

Areas of Specialization: American theater history, performance historiography, performance as research, critical race studies (esp. Black, Indigenous, and Latine studies), sound and musical theater studies, settler colonial studies, disability studies and crip theory.

Representative Publications/Research Activities:

• “Disability in Musical Theatre” with Samuel Yates and Lindsey Barr. Co-editor, spec. issue of Studies in Musical Theatre. 19 no. 2. Forthcoming.
•  “Cripping Consonance: The Duets of MillieChristine McKoy” in The Bloomsbury Encyclopedia of Sound Studies, v. 3. Eds. Jennifer Stoever, Dolores Inés Casillas and Qiushi Xu. New York: Bloomsbury. Forthcoming.   
•  “Internationalizing the US Academy: Perspectives from Theatre and Performance Studies” with Jyana Brown and Yizhou Huang. Co-editor, Theatre Topics. 34 no. 1 (March 2024): 69-71.
• “Ear Training for History: Elizabeth Taylor Greenfield’s Double-Voiced Aesthetics.” Theatre Survey. 64 no. 2 (May 2023): 150-76.
• “Sound Acts, Part II” with Patricia Herrera and Marci McMahon. Co-editor, spec. issue of Performance Matters. 8 no. 1 (2022): 1-8. 
• “A Voice Like Thunder: Edwin Forrest’s Sonic Redface,” in Colloquy on“Early American Music and the Construction of Race." Eds. Glenda Goodman and Rhae Lynn Barnes in Journal of the American Musicological Society. 74 no. 3 (Fall 2021): 623-632.
• “Sound Acts, Part I” with Patricia Herrera and Marci McMahon. Co-editor, spec. issue of Performance Matters. 6 no. 2 (2020): 1-7. 

Representative Fellowships, Grants, and Awards:

• Honorable Mention, Vera Mowry Roberts Research and Publication Award   (American Theatre and Drama Society)
• University of Maryland Faculty Student Research Award (FSRA) for At The S Street Salon
• Cambridge University Press Prize (American Society for Theatre Research)
• American Society for Theatre Research (ASTR), Research Fellowship.
• Early American Music and the Construction of Race Workshop at the McNeil Center for Early American Studies, University of Pennsylvania
• University of Maryland Teaching and Learning Transformation Center Elevate Fellowship
• Ransom Center Research Fellowship at the University of Texas at Austin
• The Mellon School of Theatre and Performance Research at Harvard University