Curriculum Vitae Style Definition: Body Text: Left
MAYA E. ROTH, Ph.D.
Department of Performing Arts firstname.lastname@example.org
108 Davis Center, Georgetown University 202-374-0968 (mobile)
Washington, DC 20057-1063 202-687-1327 (work)
Ph.D. University of California at Berkeley. Dramatic Art. August 2001. UC Dissertation Fellow.
M.A. University of California at Berkeley. Dramatic Art & Directing. Distinction, May 1995.
B.A. Swarthmore College. Theater Major, with minors in Sociology/Anthropology & Philosophy.
Magna cum laude, June 1989.
Assistant Professor, Theater & Performance Studies (Endowed), Program/Department of
Performing Arts, Georgetown University, 2004-present.
Director (Founding), Theater & Performance Studies Program, Georgetown University, 2003-
2007 and 2009-present.
Artistic Director (Founding), Royden B. Davis Performing Arts Center, 2005-2007.
Co-Director (Founding), Program in Performing Arts, Georgetown University, 2003-2007.
Visiting Assistant Professor, Department of Art, Music and Theater, Georgetown University,
Adjunct Assistant Professor, Department of English, University of California, Berkeley, 2001.
AWARDS AND FELLOWSHIPS (selected)
2009 Competitive Fall Faculty Grant, Georgetown Graduate Division
2009 Faculty-in Residence Commendation, Student Life, Georgetown University
2008 Junior Faculty Research Fellowship, Georgetown University Graduate Division
2006 Curriculum Renewal Grant, Georgetown College (Co-Written, 5K)
2000 Graduate Travel Award, Department of Dance, Theater & Performance Studies, UC
2000 Regional Winner in Directing, American College Theater Festival
1999 Outstanding Graduate Student Instructor, Academic Senate, UC Berkeley
1998 Sara Huntsman Sturgess Departmental Prize for Distinguished Talent, UC Berkeley
1998 Pearl S. Hickman Fellow, Department of Dramatic Art, UC Berkeley
1996 Roslyn Schneider Eisner Memorial Fellowship, Grad. Division, UC Berkeley
1995 Eisner Prize for Outstanding Creative Achievement: Directing, UC Regents
1995 Regents Fellowship, University of California
1993 University Scholar
1989 Phi Beta Kappa
1988 Dana Fellow in Black Studies, Swarthmore College
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International Dramaturgy: Translation & Transformations in the Theatre of Timberlake
Wertenbaker, Book. Lead editor w. Sara Freeman, co-editor. Brussels: Peter Lang, 2008.
Three sole-written chapters include:
—Introduction (“Translation & Theatre”), 11-34
—“Cultural Translations in Timberlake Wertenbaker’s History Plays: New Anatomies to
After Darwin,” 155-176
—“From Euripides to Racine with Timberlake Wertenbaker: An Interview with Carey
ARTICLES & BOOK CHAPTERS
“Revealing and Renewing Feminist Theatrical Engagement: The Jane Chambers Contest for
Women Playwrights.” Theatre Topics (September 2010): 157-168.
“The Philomela Myth as Postcolonial Feminist Theater: Timberlake Wertenbaker’s The Love of the
Nightingale. Feminist Theatrical Revisions of Classic Texts. Ed. Sharon Friedman. NC:
McFarland Press, 2009: 42-60.
“A Doubly ‘Environmental’ Sensorium: Omaha Magic Theatre’s Sea of Forms. The Senses in
Peformance. Ed. Sally Banes and Andre LePecki. World Performance Series. London:
Routledge, 2007: 154-166.
“Migrations, Border-Crossings and ‘Willful Internationalism’ in Timberlake Wertenbaker’s The
Break of Day. Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium.
Ed. Marc Maufort and Franca Bellarsi. Brussels: Peter Lang, 2002: 79-90.
REVIEWS, ESSAYS & PROFESSIONAL PROGRAM NOTES (selected)
Rev. of No Child. Solo Perf. Nilaja Sun (Berkeley Repertory Theatre, National Tour, 24 May 2008).
Theatre Journal. (March 2009): 108-09.
“The Life of Galileo: A Work in Progress, Like the New Age.” The Studio Theatre Season
Performance Guides. (Washington, DC: Fall 2003): 12-16.
“Agnes Wilcox and the Prison Arts Programs,” Women and Theatre Newsletter. (Fall 2002): 4-6.
“Status of Women in Theater: The Grim Report,” & “Interviews with its Authors, Suzanne Bennett
and Susan Jonas,” Women and Theatre Newsletter (2000) 3-5.
Rev. of Private Lives.Dir. Anne Bogart & SITI Company (Actors Theatre of Louisville, January 20,
1998). Theatre Journal. (October 1998): 375-7.
Published Interview with Irma Mayorga, Award-winning Playwright of Cascarones, Women
andTheatre Newsletter (2000) PG.
CONFERENCE PRESENTATIONS, SEMINARS & ROUNDTABLES (selected)
“Embodying Loss in Love Unpunished: Pig Iron’s Performance Response to 9-11,” for American
Theater and Drama Society’s “Works in Progress” Conference, University of Maryland,
forthcoming October 15, 2010.
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Traumatic Structures Working Group Participant in structured weekly dialogue since July 2010
regarding works-in-progress, with mine being “Navigating Traumatic Structures in
Performance: Rupture, Ritual and Repetition in Dramas that Pose Social and Psychic
Stakes.” ASTR Public Seminar, forthcoming in Seattle, 20 November 2010.
Moderator of Talkback and Performer, A Live Dress, reading of the Jane Chambers award-winning
play by Martha Jane Kaufman, ATHE Featured Performance, Los Angeles, 5 August 2010.
“TROJAN BARBIE: Staging an Iconoclastic Anti-War Play ‘from’ America, Colliding Cultures,
Feminist Geographies,” for Gendered Violence and the Militarization of Gender and
Sexuality in War Plays by Christine Evans, Judith Thompson & Naomi Wallace, ATHE
Conference, NYC, 9 August 2009.
Director-Dramaturg, The Siegels of Montauk” reading of Jane Chambers award-winning play by
Meryl Cohn, ATHE Featured Performance Event in NYC, 10 August 2009.
Panel Moderator, Pig Iron & the Re-imagination of American Theatre, ATHE Conference, NYC, 11
“Trends and Challenges for Feminist Playwrights in the US Today,” the Jane Chambers Contest
Panel, Women and Theatre Conference, Pregones Theatre, NYC, 8 August, 2009.
Director-Dramaturg, Trojan Barbie: A Car Crash Encounter with Euripides’ Trojan Women,”
Staged reading of Jane Chambers award-winning play by Christine Evans, ATHE
Conference New Orleans, Featured Performance, July 2007.
Why Fefu and Her Friends Endures, Reinventing the Canon for the 21st Century Classroom, ATHE
Multidisciplinary Panel, New Orleans, July 2007.
Conference Planner & Convener, International Dramaturgy Symposium: Timberlake Wertenbaker
& the Poetics/Politics of Translation, Davis Center, 31 - March-1 April 2006.
“Cultural Translations: Three Wertenbaker History Plays.” International Dramaturgy Symposium,
Georgetown University, April 1, 2006.
“Performance Pedagogy: Space, Status & Embodiment,” American Studies Conference,
Washington DC, 6 Nov. 2005.
Moderator. “Making Waves: Bridging Disparate Feminisms through Embodied Activism,” WTP
Conference, Brava for Women in the Arts, San Francisco, July 26, 2005.
“Theories of Diaspora:” Participant in Humanities Initiative Panel Discussion, Georgetown
University, November 9, 2004.
“Networking Feminism & Theater History in the Classroom,” ATHE, Toronto, 29 July 2004.
Folger Shakespeare Symposium on Performance as Theory: Twelfth Night, 14 March 2003.
“When Gender Trumps Race: Twentieth Century Performances of Shakespeare’s Antony and
Cleopatra.” ASTR Seminar Paper, Philadelphia, 16 November 2002.
Cascarones, directed staged reading for 2001 Jane Chambers student-winning play by Irma
Mayorga, WTP Pre-Conference, Chicago, July 2001. Moderated discussion.
Panel Chair, “The Politics of Performance: Negotiating Intercultural & Intertextual Exchange in
‘European’ Performance from the Renaissance to Postmodern,” ATHE, DC, 2 Aug. 2000.
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Director and Post-play Moderator, Lot’s Daughters: Staged reading, Jane Chambers student-
winning play by Rebecca Basham, WTP Pre-Conference, Washington, DC, July 2000.
“Opening Civic Spaces: The Theatre of Timberlake Wertenbaker,” ASTR Seminar paper,
Minneapolis, November 13, 1999.
Moderator and Respondent. “Opening Pedagogy,” Women and Theatre Program’s Pre-Conference
to ATHE Conference, Toronto, July 26, 1999.
“Women so Far from Home: Im/migrants, Ex-Patriates & Refugees in Plays by T. Wertenbaker,”
Boundaries in Question National Conference, UC Berkeley, 5 March, 1999.
“Negotiating Space, Place & Relationship in Antony & Cleopatra,” MATC, Minn., March 1994.
Director, Scared of Sarah by Laura Brienza, Kennedy Center Page to Stage Festival (Millennium
Stage). Staged reading of new work, Georgetown alumni artists. 6 September 2010.
Director-Dramaturg, The Grace of Mary Traverse by T. Wertenbaker, Davis Center. Area Premiere.
Student actors, professional designers. Playwright attended opening. April 2010.
Director-choreographer-dramaturg, Big Love by Charles Mee, Gonda Theatre, Davis Performing
Arts Center. Large multiracial ensemble cast of student and faculty artists, involving 40
people for production. Designs by NY-based Clint Ramos. April 2007.
Director, Galileo’s Daughter by T. Wertenbaker, workshop reading (first US foray), with
playwright in residence. Gonda Theatre, Davis Center, Washington DC, 24 April 2006.
Professional, faculty and advanced student actors.
Director-dramaturg, Our Country’s Good by T. Wertenbaker, Gonda Theatre, Opening production
in Davis Performing Arts Center. Tied to playwright’s residency and advanced performance/
research class, building on my multi-year research. Designs by Broadway Designer Michael
Philippi with original digeridoo compositions by Gerard Yun. November & December 2005.
Director-deviser, Vinegar Tom by C. Churchill, Walsh Black Box Theatre, Georgetown University.
Led group adaption of contemporary frame for multidisciplinary collectivist production with
music, dance and “poor theater” design, tied to research-to-performance class. April 2004.
Director and Sound Designer, Twelfth Night, Poulton Hall, Theater Season, Georgetown University.
Co-production with Mask & Bauble, April 2003.
Assistant director and dramaturg, “The Individuality of Streetlamps,” by Anna K. Gorisch,
Kennedy Center-American College Theatre Festival, Washington, DC. Staged reading for
10-minute student play, which won the festival, April 2000
Director, The Trestle at Pope Lick Creek by Naomi Wallace, Theatre Rhino, San Francisco. Multi-
disciplinary staged reading with professional and rising SF actors, December 1999.
Director, The Years by Cindy Lou Johnson, West Coast Premiere, Durham Studio Theatre, UC
Berkeley, November 1999. Winner of ACTF Regionals in directing, two actors nominated.
Director-dramaturg, Our Country’s Good by T. Wertenbaker, Zellerbach Playhouse, UC Berkeley.
With scenic designs by SF Designer Kate Edmunds, October 1996.
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Director, Tracks and Tubers, written and performed by Kevin DiPirro, The Marsh, San Francisco.
New solo work on DiPirro’s sojourn in Ireland and mixed ethnic roots, September 1996.
Director and Assistant Sound Designer, She Talks to Beethoven by Adrienne Kennedy, Zellerbach
Playhouse, UC Berkeley. CTA Summer Season, 1996.
Director, A Still Small Voice/ Book of Job, World Premiere, Zellerbach Playhouse, UC Berkeley.
New multidisciplinary dance/opera composed by Helen Lee, conducted by Simon Lipskar
(SF Conservatory of Music), choreographed by Carol Murota (Berkeley), libretto by Daniel
Harmon (UChicago). Professional & student opera singers, dancers & actors. April, 1996.
Director, Fifth of July by Lanford Wilson, Durham Studio Theatre. Summer Season, July 1995.
Director, The Bald Soprano by Eugene Ionesco, Durham Studio Theatre, UC. Summer Season, July
Director, Top Girls by C. Churchill, Durham Studio Theatre, UC Berkeley. March 1994.
Director, David’s Red-Haired Death by S. Kramer, Bay Area Premiere, Black Box 7, UC Berkeley.
Director, Rockaby by Beckett, Black Box 7, UC Berkeley. Sound design by Greg Kuhn with Maya
Roth, April 1993.
Director and adaptor, Second Shephard’s Play, Pearson Theatre, Swarthmore College. Multimedia
contemporary frame for medieval morality play, November 1986.
Writer, Director, Performer, Closed Wards, Studio 7, UC Berkeley. Solo performance about
practices of containment and disciplined bodies/voices in the Americas, drawing from oral,
family, and political histories. (Invited to the Marsh, SF.) April, 1994.
Deviser and Director, CountDown. Ensemble one-act on cultural legacies of the past millennium,
featuring spoken word, dance, mixed media. Cast included graduate students from four
departments and two professionals. Durham Studio Theatre, December 1992.
Writer, choreographer, performer, Weaving Into This Space, The Marsh, San Francisco. Solo work
interweaving family memoir, histories of violent dispossession, and contact improvisation.
(Invited to Josie’s Cabaret in S.F.) Directed by David Ford, Nov. 1991.
Writer, choreographer, performer, Weaving Into This Space, Theatre Artaud Studios, San Francisco,
PROFESSIONAL SCRIPT ADJUDICATION AND CURATING
Director of Adjudication, Jane Chambers Playwriting Contest, 2007 and 2009. Coordinated review
of 235 plays in 2007 and of 140 full-length new plays in 2009. Sample press coverage in
ATHE News, Gay News Daily, Cape Cod Online, & the Jewish Weekly.
Finalist Judge, Jane Chambers Playwriting Contest Final Round, twelve to twenty plays annually,
2007, 2008, 2009 and 2010.
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Curator, “Winning Jane Chambers Plays” in 2007, 2008, 2009 and 2010, distributed annually to
LMDA, ATHE and WTP. Posted at: <http://www.athe.org/wtp/html/chambers.html>. Video
interview with Winner Martha Jane Kaufman posted on ATHE website, 2010.
Researched and created archive of all Jane Chambers contest winning plays since 1984; full list now
posted in ATHE Bulletins and at<http://www.athe.org/wtp/html/chambers.html>.
Script Reader/Adjudicator, O’Neill National Playwrights Festival, first round, 2009.
Bibliographer, Aurora Theatre, Annotated Reading Guides inspired by each play in three seasons,
Aurora Theatre Brochures. (Berkeley, CA: 1997, 1999, 2000).
Defined Mission Statement for new Davis Performing Arts Center as research and teaching lab for
Theater & Performance Studies, with special focus on new works, classics re-imagined,
interdisciplinary connections, and civic theater.
Conceived and programmed four theme-based home seasons for TPST: Season of Modern Classics
2003-04, Season of Conscience 2004-05; Season of Transformation 2005-06; Classics
reVisioned 2006-07. (Season of Transformation opened the Davis Center.) Four to six
mainstage events with critical and creative framing for each, and ~ 25 other events/year.
Stewarded two-week residency for 33 Variations with Moises Kaufman and Arena Stage, which
went to Broadway. GU workshop involved professional artists and 6 advanced students.
Cited by Mark Bly in American Theatre, Fall 2009.
Conceived and stewarded 10-day developmental residency for Jenufa with T. Wertenbaker, Irina
Brown & Chris Sivertsen. Open rehearsals and showing of work-in-progress with curricular
links and interdisciplinary talkbacks. Cast of professional, faculty, and advanced student
artists, Spring 2006. Play premiered in London, Fall 2007. Cited in playscript.
Organized Festival of Interfaith Arts, funded by Ammerman Family, inaugurated 2006-07, with Liz
Lerman, Simon Shaheen, Naomi Shihab Nye, 11 Tibetan monks, photo exhibit of sacred
spaces, and array of campus artists. Cosponsored by Campus Ministry, Center for
Contemporary Arab Studies, Program in Jewish Civilization, Music, the Berkley Center.
Arranged guest artist residencies tied to production for Clint Ramos (NY-based Designer, 2006,
2007), Michael Philippi (Broadway Designer, 2005-06), Wynn Handman (American Place
Theatre, 2006), Olympia Dukakis (2006), Joe Dowling (Guthrie Theatre, 2006), Cliff
Osmond (L.A. Actor, 2006), Karin Abromaitis (Fight Choreography, 2007), among others.
Presented public talks at high-profile campus events on the role of theater in society and liberal arts
education (Davis Opening Ceremony, December 2005), in research community
(International Dramaturgy Symposium, April 2006), in life of the spirit (Opening Ceremony,
Festival of Interfaith Arts, April 2007), and in engaging public imagination (Parents
Hosted Symposia, including partnership event with Arena Stage Panel on Playwriting in the 21st
Century, featuring Nilo Cruz, David Henry Hwang, Robert O’Hare, and Karen Zacarias,
moderated by Senior Dramaturg Mark Bly. Full-house attendance for GU and DC audience,
Gonda Theatre, April 2007. (Transcript published in American Theatre, summer 2007.)
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Managed Waves of Press Openings and Events for Davis Center. In 2005-06, hosted 6000 patrons
at Davis Events; in 2006-07, 10,000 patrons at 50 events.
Edited Chapbook, “The Importance of Being Uncomfortable,” Public Lecture by T. Wertenbaker,
Davis Performing Arts Center, April 2006.
“Good Things in Small Packages,” Hugh Hardy and Maya Roth, Architects Forum, January 2006:
Artistic Director Talkback, “Representing the Holocaust,” with Ari Roth (Artistic Director, Theatre
J) & Cast/Director Karen Berman, Dr. Korczak and the Children, Devine Theatre, GU Davis
Center, February 2006.
Artistic Director Talkback, Engaging The Gospel at Colonus with Vicki Pedrick (Classics), Diana
Hayes (Theology), Isaiah Wooden, (BTE Artistic Director), Davis Center. October 2006.
Artistic Director Talkbacks on Still Life & War/Trauma, with Carol Day, MSW; Ron Cima, POW
Expert; Christina Ciocca, ’05, director; cast; & audience, Walsh Black Box, April 2005.
Artistic Director Talkback, “Unpacking A Doll House,” Panel Discussion with Gay Cima (English),
Dina Amin (Arabic/SFS), & Cliff Osmond (Guest Director), McNeir Hall, November 2004.
Coordinator, Shakespeare and Performance Series of Special Events (film-viewings and talkbacks,
workshops, public lectures) linked to Twelfth Night, Georgetown, Spring 2003.
Artistic Director and Co-convener, New Student Works Inter-Campus Arts Festival, UC Berkeley
1996. (Director of solo entry Split Ends and Ready Scissors by Diana Caplan.)
INVITED SPEAKER OR PERFORMER
Eclipsed Respondent, World Premiere of Danai Guirara play in relation to theater that engages
global human rights, Woolly Mammoth Theatre, 13 September 2009.
“Quirky Jews in Contemporary American Theater,” & respondent to world premiere of Sleeping
Arrangements, Theatre J, DC, 11 February 2007.
Bal Masque Respondent, World Premiere of Richard Greenberg play, Theatre J, Washington DC,
April 30, 2006.
“Gender & Morality Play Structures in Fat Pig,” Respondent, Area Premiere of Neil LaBute play,
Washington DC, March 26, 2006.
Performer, Scenes from Right as Rain, conceived and adapted by Derek Goldman, “Voicing Anne
Frank: Adaptation and Appropriation in a New Telling of Her Story,” Transcending
Boundaries: Jewish Languages, Identities and Cultures Conf., Program in Jewish
Civilization, Georgetown University, February 19, 2007.
Post-Colonial Issues in Performance: Directing Our Country’s Good, Humanities & Human Rights
Panel Discussion, 21 November, 2005.
“Testimonial Theater: Its Historical Antecedents, Activist Civics, and Artistry,” on Testimonial
Theater Panel, McNeir Hall, Georgetown University, April 13, 2005.
“Transforming Sexual & Social Paradigms in Cloud Nine,” Footlights Theater Guild re Catalyst
Theatre’s production and the play’s critical and creative contexts, DC, January 24, 2005.
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The Love of the Nightingale Respondent and Talkback Moderator for Take Back the Night, Mask
and Bauble Dramatic Society and Women’s Center, Poulton Hall, GU, November 13, 2004.
“Women’s Theater Movements in Multicultural America,” Guest Lecture for Theater of Diversity
class, March 3, 2004.
Selections from Closed Wards, my solo performance, and Francis Tanglao-Aguas’ The Sarimanok
Travels for Take Back the Night, Women’s Center, Bulldog Alley, November 2003.
“A Tale of Two Cities—18th Century Lives & Performance in London & Paris,” World Theater
History Class Guest Lecture, Department of Art, Music and Theater, September 2003.
Twelfth Night in Performance: Guest Speaker to Shakespeare and Performance Class (taught by
Bruce Smith), English Department, Georgetown University, April 2003.
“Solo Performers Confronting Difference: Anna Deveare Smith and Guillermo Gomez-Peña”: guest
lecture to Art Confronting Difference Class (taught by Alison Hilton), Department of Art,
Music and Theater, Georgetown University, November 2002.
“See/Hear” Digital Technology and Dance, Respondent to Carol Murota’s new work and live art
interactions, Zellerbach Playhouse, Consortium for the Arts, UC, November March 2000.
“In Conversation with Playwright Cindy Lou Johnson,” Making Theater Speakers Forum, CTA,
UC Berkeley, November 1999. (As director of West Coast premiere of Johnson’s The Year
Director, Performer, The Vagina Monologues: an intergenerational, interdepartmental staged
reading of Eve Ensler’s play, involving faculty, staff, alumnae, graduate and undergraduate
students. Representations of Women in Theater History course, taught by Steve Tillis,
Durham Studio Theatre, UCBerkeley, November, 1998.
“Feminist Topographies in Timberlake Wertenbaker’s Love of the Nightingale,” Representations of
Women in Theater History course (taught by Steve Tillis), UC Berkeley, October 1998.
Post-Performance Symposium on Historical Reverberations in The Crucible, Center for Theater
Arts, Zellerbach Playhouse, UC Berkeley. November, 1995.
“What Gives? Gender, Shakespeare, and Performance: Casting, Staging and Acting Pragmatics &
Implications,” Shakespeare and Performance seminar (taught by Dave De Rose),
Department of Dramatic Art, Berkeley. October 1995.
Sea of Forms: performer in OMT touring production of Megan Terry’s multimedia environmental
play with music, directed by Jo Ann Schmidman. Hosted at Feminist Intersections
Conference, Grinnell College, Iowa, October 1988.
Mrs. Joseph Porter, Mrs. Joseph Porter. Independent Film/Senior Thesis Production Conceived,
adapted from Dickens, and directed by Joe Della Rosa, Georgetown College, February 2007.
Mother and Angel, It’s a Wonderful Life, SoundIncentive Radio Theater Public Reading, DC
December 2006. (Also did a series of radio recordings of archival ads and radio plays from
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Dancer, The Leavers, Also Rehearsal Assistant/Director, New Work by Joe Goode. Roving Outdoor
Sites and Zellerbach Playhouse, UC Berkeley, April 1999. Site-specific dance theater piece
developed in collaboration with Berkeley dancers and actors, CTA Main Season.
Hannah, Scenes from Arcadia, Hearst Auditorium, UC Berkeley, February 1999, Featured with
Robert Osserman’s “Conversation with Tom Stoppard,” Mathematical Sciences Research
Institute and Center for Theater Arts. Videos made for math/science instructional purposes.
Cameo & Voiceovers, The Waiter, Independent Film by Allen Johnson. Summer and fall 1997.
Elizabeth Gurley Flynn, “Labor On,” Performing History, Durham Studio Theatre, UC Berkeley,
Spring 1996. Devised and performed, with a colleague, a piece about Elizabeth Gurley
Flynn and Joe Hill, leaders of the early US labor movement, using historical source
materials. Directed by Guest Artist Roger Guenveur-Smith.
Elizabeth Proctor, The Crucible, Zellerbach Playhouse, UC Berkeley, October-November 1995.
Opening production directed by Chris Herold, Center for Theatre Arts. University Citation.
Alumna Guest Artist Dancer, “Herodiade,” choreographed by Sharon Friedman, Festival of Music
and Dance, Swarthmore College, Fall, 1990.
Dancer (one lead), Soedjatmoko New Works, Melanie Stewart Studios, Philadelphia, June 1989.
Performed in three new dance theater works choreographed by Galuh Soedjatmoko.
Dancer, And Then There Was One, Dance Concerts at Bryn Mawr & Swarthmore Colleges,
Choreography by Guest Artist Karen Bamonte, fall 1988.
Martha & Masked (Wo)Man, Spring Awakening, Pearson Theatre, Swarthmore College, May 1988.
Primary Role, Sea of Forms, Touring & Omaha Magic Theatre, 1987. Performer in six-week run of
multi-disciplinary original work by resident writer Megan Terry, directed by J.Schmidman.
Sky Character, Walking Through Walls, World Premiere, Omaha Magic Theatre, Nebraska, 1987.
Participant, community-based developmental process; Performed in world premiere by M.
Terry, originating role. As dramaturg, scored staging and performance text for archives.
Varied Roles, Plays by Sherry Kramer, Roxanne Drexler, Migdalia Cruz, Sam Shephard.
Playreading Series, Omaha Magic Theatre, Nebraska, summer 1987.
Andante, Premiere, Music & Dance Festival, Lang Auditorium, Swarthmore, fall 1987.
Choreographed by Sharon Friedler, based on Doris Lessing’s The Summer Before the Dark.
“Seasons” & “Tangled Night,” Faculty and Student Dance Concert, Lang Auditorium, spring 1987.
Dancer in new works by Carolyn Reichek & Darko Tresnjak.
Mary (Lead), Comet’s Sign, World Premiere, Pearson Theatre, Swarthmore College, fall 1986.
Performed, with Darko Tresjnak, in work written and directed by Polish theater émigré
Viola/Cesario, Twelfth Night, Pearson Theatre, Swarthmore College Main Season, spring 1986.
Performer, “Non-Sequitur, “Dance Concert, Lang Auditorium, Swarthmore College. Ensemble-
devised accumulation series (movement/text), choreographed by Pat Blanchet, spring 1985.
Dorcas, Plenty by David Hare, directed by D. Neighbors, Phoenix Theatre, Indianapolis, fall 1983.
Curley’s Wife, Of Mice and Men, Edyvean Repertory Theatre, Indianapolis, fall 1982.
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Cora Wheeler, Clarence, Booth Tarkington Festival, Indiana Repertory Theatre, July 1982.
Other roles include Val (Fen), Rosalie (Oh Dad, Poor Dad...), Dinah Lord (Philadelphia Story). I
include only selected roles to indicate different waves of focus in professional, university &
experimental theatre. Commercial work (industrial films, C.D.roms, t.v./radio) excluded.
RELATED PROFESSIONAL EXPERIENCE
Oral historian of dance: Assisting Carol Murota for dancer/choreographer David Wood (Martha
Graham Co., founder UC Dance), SF Performing Arts Library Archives, 1998-9.
Shakespeare Researcher: Archival production & bibliographic research for Marvin Rosenberg’s The
Masks of ‘Antony and Cleopatra,’1992-5.
Publicity, Kronos Quartet: Wrote 14 Program Notes for commissioned works such as Dumisani
Maraire’s Mai Nozipo, Scott Johnson’s It Raged, Giya Kanchelli’s Night Prayers, and Foday
Musa Suso Tilliboyo. Assistant to Artistic and Managing Directors of internationally-touring
string ensemble with home seasons at Lincoln Center and Herbst Auditorium, SF.
Maintained press distribution, composer notes, sheet music library. 1989-92
Oral Historian, “Pat W. Boyer and the Swarthmore College Dance Program,” McCabe Library,
Bibliographer, eight annotated bibliographies on African-influenced dance, theater, and
performance histories, McCabe Library (Swarthmore), 1988-9.
Company Member, Omaha Magic Theater: Performer, technical artist (scenic/lights) & dramaturgic
assistant to celebrated avant-garde, feminist company. Press releases, playreadings, new
work development, educational study guides, archives, grants, 1987. Also see Performances.
COURSES TAUGHT, GEORGETOWN
Cross-Cultural Performance Studies (New, Core)
Introduction to Acting (Gateway, TPST Req.)
Play Analysis: Dramaturgy (New, TPST Req., Hums R&W, Comp Lit)
World Theater History: Cultures & Contexts (New, Core, Hums R&W, SFS)
Scene Study & Character: Intermediate Acting
Modern Drama (TPST, Comp Lit)
Contemporary American Women Playwrights (New TPST seminar, WGS, American Studies)
Contemporary Plays by British and American Women Playwrights (Renewed, TPST, WGS)
New Works Lab (New)
Theatrical Ensemble: Research to Performance (New, Advanced)
Majors Colloquium (New, TPST Req.)
Minors Colloquium (New)
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E.g., Dramaturgy, Directing, Arts Management, Latino/a Drama, Children’s Theater,
Theater Design, Shakespeare and Performance, Acting
Administrator, Production Practicum (Req.), and for professional Apprenticeships in Acting,
Dramaturgy, Arts Management, and Community Engagement
COURSES TAUGHT, UC Berkeley
Introduction to Acting
Contemporary American Theater (New, R&W req.)
Introduction to Play Analysis (New for English, R&W)
UNDERGRADUATE THESIS PROJECTS ADVISED
Miranda Hall, Lead Advisor, Dramaturgy and Writing of The Orphan Play, TPST Thesis Project,
Gonda Theatre, Davis Season, Fall 2010/forthcoming Winter 2011.
Kari Fox, Lead Advisor, Dramaturgy & Direction of Caroline or Change by Tony Kushner with
music by Jeanine Tesori, TPST Senior Project, Gonda Theatre, Davis Season, Fall 2009.
Obehi Utubor, Lead Advisor, Dramaturgy & Direction of The Bluest Eye by Toni Morrison, adapted
to the stage by Lydia Diamond, TPST Senior Project (Black Theatre Ensemble), Walsh
Black Box, Spring 2009.
Miguel Garcia, Lead Advisor, Playwriting & Workshop Reading of Glory: a Dark Brown Dramedy
in Three Acts, TPST Senior Project, 2006-07.
Jen Rogers, Lead Advisor, Dramaturgy & Direction of Schoolgirl Figure, by Wendy MacLeod,
Opening Season of Davis Center, IDS Honors Project, Georgetown, 2005-06.
Christina Ciocca, Lead Advisor for “Critical Contexts for A Still Life” and direction of Emily
Mann’s Still Life, Honors Thesis Project, Georgetown, 2004-05.
Katie White, Outside Reader, “The Populist Appeal of The Vagina Monologues,” Women’s Studies
Senior Thesis, Georgetown University, 2003.
Cherise Boothe, Lead Advisor, “My Search for Family: A Jamaican American Docudrama,”
Dramatic Art & African-American Studies ethnographic solo piece, UC Berkeley. 1998-99.
Diana Caplan, Lead Advisor, “Split Ends & Ready Scissors: Refashioning Me,” Dramatic Art solo
performance conceived, written and performed by Diana Caplan, UC Berkeley. 1996-97
Courtney Levine, Primary Advisor for “Access and ‘Independence:’A Selected Examination of
Women’s Roles in American Theater,” Dramatic Art senior thesis, UC Berkeley. 1995-96
_______, Independence by Lee Blessing, senior honors directing project, UCB. Spring 1996.
Maya E. Roth 12
SERVICE to DEPARTMENT, GEORGETOWN (representative)
Co-Director (Founding), Program in Performing Arts. Responsible for budgets, staff merit review
and supervision, faculty meetings, reports, 2003-07.
Curriculum Development, Major in Theater and Performance Studies, approved spring 2007.
Forged Partnership with Arena Stage (Special Events, Co-Productions, Apprenticeships, Teaching
Artists), with Dean Jane McAuliffe, Artistic Director Molly Smith, Derek Goldman, 2006.
Director, Undergraduate Studies, Theater and Performance Studies, 2004-2007, 2009-ongoing.
Merit Review Committee, Department of Performing Arts 2009, 2010.
Merit Review Committee, Department of Art, Music and Theatre, 2004, 2005, 2006, 2007.
Executive Council to the Department of Art, Music and Theater, Georgetown Univ., 2004-07.
Chair, Search Committee for Assistant Professor of Theater and Performance Studies, 2010-now.
Chair, Search Committee for Visiting Professor of Design, 2004-05.
Chair, Search Committee for Technical Director, Davis Performing Arts Center, 2004-05.
Chair, Search Committee for Visiting Assistant Professor of Theater, Georgetown University, 2003.
Member, National Search Committee for Associate Technical Director, Davis Center, 2010.
Member, Search Committee in Theater & Performance Studies (two hires), with over 200
applicants, and six campus interviews, Georgetown University, 2006-07.
Member, Search Committee for Senior Hire in Theater, Georgetown University, 2003-04.
Member, Local Search Committees for Academic Coordinator, Publicity Director (twice), Financial
Analyst (twice), and Administrative Assistant, 50+ local applicants each, 2004-2006.
Faculty Steward of TPST and Davis Donor Relations: Annual Letters, Hosting Donors, 2004-2007.
Administered yearlong residency in College for Timberlake Wertenbaker with interdisciplinary
seminar, class visits for five departments, public lecture, Davis Opening events, four public
Q&As, symposium, two workshops. 2005-06
Production Manager for 8 mainstage plays including A Few Good Men (Winter 2004), Doll House
(Fall 2004), Still Life (Spring 2005), Winter’s Tale (Winter 2006), Dr. Korczak (Spring
Coordinator Single-Day Campus Visits for lectures or class visits by ten scholars including W.B
Worthen (Berkeley), 2003; Don Weingust (Tufts), 2003; Brandi Catanese (Berkeley), 2006;
Kathy Foley (UCSC), 2009; Allen Kuharski (Swarthmore), 2009; Nina Prieur Billone
(Berkeley), 2009; and Eileen Cherry-Chandler (Bowling Green State University), 2010.
Coordinator, ten 1-2 day Guest Artist Workshops since Jan. 2009, including for: Quinn Bauriedel
(Pig Iron, 2009 & 2010); Adriano Shaplin (Playwright of The Pugilist, 2009), Joan Lipkin
(DisAbility Project, St. Louis, 2009), Timberlake Wertenbaker (British Playwright, 2009)
and Michael Benz (COL ’04; The Globe, 2010).
Maya E. Roth 13
Movement & Character Workshops for casts of, among others, Caroline or Change (2009), Bluest
Eye (2009), The Love of the Nightingale (2004), Still Life (2005), Schoolgirl Figure (2006),
variously sponsored by Black Theatre Ensemble, Mask and Bauble, and TPST, Georgetown.
SERVICE TO DEPARTMENT, U.C. BERKELEY
Graduate Student Representative, Production and Program Planning Advisory Committee, Center
for Theater Arts at UC Berkeley, 1994-95, 1997-98 & 1998-99.
Chair, Departmental Library Development Committee, 1996-99. Coordinated renovation 1998-99.
Graduate Committee Member, Undergraduate Curriculum, DDA, Berkeley, 1996-97.
Graduate Member, Graduate Program Re-Structuring Committee, DDA 1996-97.
Chair, Drama and Dance Intersections Sub-Committee, Chair, DDA, UC Berkeley, 1993-94.
Graduate Assembly Delegate, University of California at Berkeley, 1992-94.
SERVICE to UNIVERSITY (major)
Faculty Representative, Davis Center Building Committee, Reporting to Dean and Sr V-Ps, 2004-
06. Led Discretionary Decisions on Fixtures, Furniture & Equipment, from lobby furniture
to seats in Devine Theatre, involving staff in decisions. Navigated building delays. Two
theatres, four classrooms, two technical workshops (scenic and costume), nine offices,
Steward, Davis Center Public Profile—Wrote Season Brochures for use by Davis Center, Dean’s
Office, Admissions, OAUR and web content for Davis website and press releases, 2005-07.
Host (sometimes weekly), Davis Center Tours for Office of Alumni and University Relations,
members of Board of Directors, Alumni, Campus Members et al. 2005-07.
Faculty Lead, Committee for Opening Gala of Davis Center, Hosted with Advancement, Reporting
to College Dean and University President, Georgetown University, December 2005.
SERVICE to UNIVERSITY (other)
College Awards Committee, Advisory to the Dean for campus senior awards, 2003, 2004, 2005,
2006, 2007, 2010.
Faculty Representative, Diversity Action Council, Advisory to Provost, 2009-ongoing.
College Content Days, Office of Advancement/Alumni Relations, September 2010, Spring 2006.
TPST Speaker/Host, Georgetown Admissions Open Houses: Performing Arts, (GAAP Weekends),
four annually 2006, 2007, 2010.
Member, Comparative Literature Executive Faculty, 2010-11.
Member, Interview Committee, Faculty-in-Residence, Georgetown University, 2009.
Member (Outside), Search Committee in Italian, 2005-06 & 2006-07.
Member, Performing Arts Advisory Committee to the Senior Vice President of Student Activities,
Georgetown University, Appointed Member 2004-07. Ex Officio, 2003-04. 2009-now.
Maya E. Roth 14
Founding Director, Associated Faculty in Theater and Performance Studies (with members from
Classics, English, French, German, Italian, Spanish, Theology), Convened 2006.
Founding Chair, Interdisciplinary Programming Board, Davis Center Special Events proposed by
other departments and co-curricular groups. Bi-annual reports to the Dean. 2005-07.
Member, Humanities & Human Rights Steering Committee 2005-07.
Member, Women’s Studies Advisory Board 2002-05.
Faculty-in-Residence, East Campus, Georgetown University, January 2009-ongoing. Examples:
Spring 2009, Hosted 25 events including: Korean Cultural Night, Transfer Student
Advisement, Dialogue on Race and Racism, Call to Service (with Dr. Dan Porterfield and Fr
Kevin O’Brien), Dinner with Black Theatre Ensemble, LGBTQ Dialogue with faculty.
2009-2010, Hosted 40 events including: Transfer Student Welcome, Academic Mentoring,
Greening Georgetown, Monthly Salons, Yoga, Global Living, Farmers Market Trip,
Dialogue with ex-convicts on “Getting Out” of Incarceration (with Prof. Patricia O’Connor),
Cross-Cultural Performance Studies Class, Grace of Mary Traverse brunch.
Performance trips for: Hell Meets Henry Halfway (Woolly Mammoth), Antony and
Cleopatra (Synetic/Shakespeare Theatre), The Bluest Eye, The Vagina Monologues,
Caroline or Change, Getting Out, Pentecost, and Madness & Civilization (Davis Center).
Post-show discussions in my home for five to twenty people.
College Commencement Reader, May 2006 & May 2007.
Emcee and Host, Performing Arts Galas on Parent Weekends, 2004, 2005, 2006.
Member, Groundbreaking Planning Committee, Davis Performing Arts Center 2003. (Direction of
student performances, Twelfth Night, Luncheon Showing.)
Chair, Academic Theater Space Advisory Committee, Advisory to the Registrar, Georgetown
University, 2003-05. Faculty Representative 2002-03. (Members of four departments.)
Mentor to John Carroll Scholars, 1-2 students each year, Georgetown University, 2002-04.
Faculty, One-day Prelude Sessions, New Student Orientation, 2002, 2003.
GRANTS AND FUNDRAISING
College Interdisciplinary Davis Visiting Professorship for Playwright Timberlake Wertenbaker,
2005-06. 90k + 20k programming, College Dean.
Housing for Davis Professor, Italian Dept. Spring 2006, ~ 20k in-kind.
Production/Programming, Jewish Chaplaincy & Faino Family, 2006-09, 45k total, 15k annually
Andrew and Josephine Ammerman, Festival of Interfaith Arts, 2007, 15k inaugural year
Festival of Interfaith Arts CCAS ($1000), Music ($350), Catholic Studies ($150), Berkeley Center
($500) & Jesuit Community (housing 8 monks/week), Faculty-in-Residence (housing for 3)
Production Sponsorship by Alum, Gospel at Colonus, 2006-07, 5K + 5K company match
Hope Playwriting Workshop Endowment (for annual course), 2006, 40k total, 32k received
Production Sponsorship by Alum, Swimmy & Other Stories, 2005-06, 5K
Maya E. Roth 15
Kite Runner Campus Co-Sponsors: CERES ($1500), CCAS ($1000), GU Programming Board
($500), Humanities Initiative ($250), 2006
Dr Korczak & the Children, CERES ($1000), PJC ($1500), BMW Center for German ($250), 2006
Australian Embassy Reception for Our Country’s Good, 2005, $1000
Polish Embassy, Reception for Dr. Korczak, 2006, $1000
Czech Embassy, Reception for Jenufa, 2006, $1000
Humanities & Human Rights Initiative, two afternoon receptions, 2006, $500
Seymour & Troester Foundation, Guest Artist Residency, 2006, $2500
SERVICE TO FIELD
Awards Committee, Association for Theater in Higher Education (ATHE), 2007-10.
Executive Board, Women and Theatre Program (WTP), 2006-10.
Outreach (web content creation, fundraising, Q&A), Jane Chambers Feminist Playwriting Contest,
Sub-Committee and contributing writer, Family & Domestic Partner Benefits Position Paper,
Associate Newsletter Editor, Women and Theater Program (ATHE) 2001-2006. Twice/year.
Coordinator, Jane Chambers Student Playwriting Contest, WTP and ATHE, 1999 -2001,
Graduate Student Representative, Women and Theater Program (ATHE) 1998-2000.
Conference Planner with Executive Board of WTP, “Practically Visionary: Re-Placing Women”
Washington, DC, Winter-Summer 2000.
Conference Planner, Boundaries in Question: Feminist Graduate Student Research. Hosted at UC
Berkeley. (Funded by the Ford Foundation, UC Berkeley’s Townsend Center for the
Humanities & the Designated Emphasis in Women and Gender Studies.) 1996.
Berkeley Campus Representative, Seventh Annual Inter-Campus Arts New Student Works Festival,
UC Davis, 1995. (Funded by ICA, University of California system.)
ATHE Notes, San Francisco Conference panel summaries, 1995.
Other professional support activities for theaters—e.g. house management, development, research.
RECENT COMMUNITY ENGAGEMENT (selected)
Adjudicator, Ten-Minute Play Festival, Imagination Stage for DC Area Theatres, Bethesda Arts
Association, March 2010.
Faculty Host, Three Symposia conceived by Arena Stage’s Cradle for New Work Development:
Defining Diversity (December 2009); Black Playwrights (January 2010); and Devising/New
Works (February 2010), Davis Center, Georgetown University.
Invited Participant, Forum on Theater & Civic Life, Woolly Mammoth Theatre, November 2009.
Maya E. Roth 16
Guest Speaker on civic theatre in the nation’s capitol, Professor Kathy Foley’s UC in DC class, 3
Adjudicator, Theater and Performing Arts Submissions, Jack Kent Cooke Foundation, 2005, 2006,
RECENT PRESS (selected)
“Georgetown Alum Brings New Work to Life at Kennedy Center,” Rev. of Scared of
Sarah, Mairead Reilly, The Hoya, 9 September 2010.
“Dr. Maya Roth Directs The Grace of Mary Traverse,” Booklab Blogspot ‘Top Pick,’ Carole
Sargent, Office of Scholarly & Literary Publications, Georgetown University, 9 April 2010.
“New Play Shows Grace in Unlikely Places,” Rev. of The Grace of Mary Traverse, Caitlin-Marie
Ward The Hoya, 11 April 2010.
“Traverse-ing 18th Century lust and innuendo,” Rev. of The Grace of Mary Traverse, by Sean
Quigley, The Voice, 8 April 2010.
“Symposium Looks at Challenges of Black Playwrights,” Laurie Burgoon, Blue and Grey, 15
“Performing Arts Program Offers Majors,” Andy Pino, Blue & Grey, January 8, 2007: 1 & 7.
“Georgetown Festival Highlights Interfaith Peace,” Andy Pino, Blue & Grey, April 30, 2007: 1 & 8.
“Maya Roth’s Big Love is a Lot to Love,” Madeleine Reidy, Georgetown Voice, 15 March 2007.
“The Davis Center: Putting the ‘Art’ in Liberal Arts,” Tori Zoellner, The Independent, 28 February
“A New Season at Georgetown,” David Barbour, Light and Sound America, April 2006: 58-63.
“A Scholarly Stage,” Nancy Freiberg, Georgetown Magazine (cover article), Fall 2005: 16-21.
“GU Raises Curtain on Arts Center,” Greg Vadala, Northwest Passages, November 9, 2005.
Women & Theater Program (WTP)
American Society for Theatre Research (ASTR)
American Theater and Drama Society (ATDS)
Association for Theater in Higher Education (ATHE)