Select Publications

Julia completed the National Critics Institute at the O’Neill Theater Center in 2017, where she studied with Chris Jones of the Chicago Tribune.

Upcoming and Recent Papers/Curation:

Curtains: Why is Opera So Fascinated with Death? | Opera Philadelphia, 2019.
“What is it about opera that invites so many onstage deaths—and what is it about opera audiences that keeps us coming back to experience them? We go to the opera knowing that its characters are about to break our hearts. The art form sets up spoilers by default: we read synopses before the performances begin, or are hearing classic tales that have been retold many times over. By dispensing so efficiently with plot, operas are freed to focus on the emotional storytelling that gets them there, building to these deaths musically in myriad ways. Death can be a release, an indictment, a moment of catharsis, or a lonely act; sometimes, all at once.

Lessons from the Gogol Center | Theatre Communications Group (TCG) Circle.
Although America and Russia’s theatrical landscapes have been transformed since Margo Jones came to Moscow, there is still much that the two nations can learn from one another, particularly from the companies and directors who push against the status quo.  At Moscow’s newest government-funded theatrical endeavor, the Gogol Center, director Kirill Serebrennikov has attempted to rid the city’s theater scene of its cobwebs while respecting those who came before him, crafting a performance complex meant to ‘lead a constant dialogue with reality while creating a reality within its walls.'”

What History Can Teach Us About Arts Philanthropy in the Age of ObamaHowlRound Theatre Commons.
“Theater artists have the power to start national conversations, provide employment, support their local economies, and contribute valuable nuances to our society’s historical record. It’s high time the government acknowledged this fact by offering proper support.  The government and foundations should—and must—continue supporting arts organizations and should strategically evaluate how do so in ways that help theaters attain long-term stability. But the rest of us—the theater makers, the artists, the musicians, the arts enthusiasts and advocates—must hold up our end of the bargain. To enact change that will bring newer, younger audiences into the seats, we need to start altering how we find the money to put them there…Instead of using flash-in-the-pan quick fixes, we need to put egos aside and, when necessary, rebuild these theaters’ business plans from the ground up.”

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