Peer Reviewed Articles

“Becoming Mrs. Hyde: Adaptation and Feminist Violence in Evan Placey’s Jekyll & Hyde.” New England Theatre Journal, vol. 34, 2023, pp. 69-85.

“Medusa’s choice: Agency and the Medusa Myth in Matthew B.C.’s Medusa.” Science Fiction Film and Television, vol. 16, no. 3, 2023, pp. 301-317. DOI: https://doi.org/10.3828/sfftv.2023.17. (Article title links to Author Accepted Manuscript; DOI links to published version)

“The Winter Garden: Sarah Ruhl’s In the Next Room and the Dialectic Deconstruction of Separate Spheres.” Journal of Dramatic Theory and Criticism, vol. 36, no. 2, Spring 2022, pp. 85-104. DOI: https://doi.org/10.1353/dtc.2022.0006.

“Petrifyin’: Canonical Counter-Discourse in Two Caribbean Women’s Medusa Poems.” Humanities, special issue on Greek Mythology & Modern Culture: Reshaping Aesthetic Tastes, edited by Phillip Zapkin and Kevin Wetmore, vol. 11, no. 24, 7 Feb. 2022, pp. 1-15. DOI: https://doi.org/10.3390/h11010024.

“Femi Osofisan’s Evolving Global Consciousness in Four Adaptations.” Modern Drama, vol. 64, no. 4, Winter 2021, pp. 393-415. DOI: https://doi.org/10.3138/md.64-4-1044.

“Ubuntu Theater: Building a Human World in Yael Farber’s Molora.” PMLA, vol. 136, no. 3, May 2021, pp. 386-400. DOI: 10.1632/S0030812921000213.

“Performing Democratic Protest: Gary Owen’s Iphigenia in Splott and David Greig’s The Suppliant Women.” Essence & Critique: Journal of Literature and Drama Studies vol. 1, no. 1, June 2021, pp. 110-128, https://journalofcritique.com/upload/belge/164712021Jun29-105530-7.-performing-democratic-protest.pdf.

“Disciplining Feminine Performing Bodies in Stephen Norrington’s The League of Extraordinary Gentlemen (2003).” Queering Neo-Victorianism Beyond Sarah Waters, special issue of Neo-Victorian Studies, edited by Caroline Koegler and Marlena Tronicke, vol. 13, no. 1, 2020, pp. 186-211, http://www.neovictorianstudies.com/past_issues/13-1-2020/NVS-13-1-6-P-Zapkin.pdf.

“Past the Lyrical: Mythographic Metatheatre in Marina Carr’s Phaedra Backwards.” Text & Presentation, 2019, vol. 16, 2020, pp. 113-129. (Page Proofs)

“Reading Two Greek Refugee Plays in the Season of the Syrian Refugee Crisis.” Journal of Dramatic Theory and Criticism, vol. 33, no. 1, Fall 2018, pp. 9-29. DOI: https://doi.org/10.1353/dtc.2018.0022.

“Distrustful Art: Imagining a Polyphonic Common in Peter Carey’s Jack Maggs.” Limina: A Journal of Historical and Cultural Studies, vol. 24, no. 1, 2018, pp. 1-16. http://www.limina.arts.uwa.edu.au/__data/assets/pdf_file/0011/3384308/Zapkin-Distrustful-Art.pdf.

“Salt Fish: Fishing and the Creation of Empires in Pericles and Contemporary Oceans.” South Atlantic Review, vol. 82, no. 2, Summer 2017, pp. 78-96.

“Charles de Gaulle Airport: The Camp as Neoliberal Containment Site in Two Trojan Women Adaptations.” Comparative Drama, vol. 51, no. 1, Spring 2017, pp. 1-21.

“Compromised Epistemologies: The Ethics of Historiographic Metatheatre in Tom Stoppard’s Travesties and Arcadia.” Modern Drama, vol. 59, no. 3, Sept. 2016, pp. 302-326.

“‘Kill the Pity in Us’: The Communal Crisis as Crisis of Individualism in David Greig’s Oedipus the Visionary.” Text & Presentation, 2015, vol. 12, 2016, pp. 70-86. (Page Proofs)