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  3. Sarah Mullan

  • Sarah earned a BA in Drama and English and an MA in Theatre and Performance at Queen’s University Belfast, and completed a PhD at Queen Mary, University of London with a thesis that examined lesbian performance in London since 1992 and the emergence of queer epistemologies during this period. Sarah joined the Drama department at the University of Northampton in 2017.

    Sarah was a convenor of the International Federation of Theatre Research’s Queer Futures Working Group from 2014 – 2018 and currently sits on the University of Northampton’s Research Ethics Committee.  

    Sarah’s research focuses on the intersections between performances of identity and the ideological and material contexts in which they take place. Sarah’s work has examined representations of gender and sexuality within fringe theatre, London’s West End, and queer clubs; current research expands on this to consider the materialist practices and politics of theatrical institutions and how these inform cultural understandings of performance venues.

    • DRA1022 Histories and Cultures of Theatre
    • DRA2030 Professional Practices1
    • DRA2001 Specialist Study
    • DRA3031 Professional Practices 2
    • DRA3030 Independent Research Project
    • DRA3033 Socially Engaged Practices and Applied Performance
    • DRA4001 Adaptations
    • Gender and Sexuality in Performance
    • Feminism and Performance
    • Queer Theatre and Performance Practices
    • Cultural Politics of Representation and Reception
    • Historiography, The Archive, and Marginalised Identities
    • Contemporary Performance Practices
    • Cultural institutions

    Sarah welcomes applications from potential doctoral students interested in any of the areas of the above research.

  • For publications, projects, datasets, research interests and activities, view Sarah Mullan’s research profile on Pure, the University of Northampton’s Research Explorer.

    • (with Catriona Fallow) ‘The Royal Court in the Wake of #MeToo’ in Performing #MeToo: How Not To Look Away.  (London: Intellect, forthcoming)
    • ‘Lois Weaver’ and ‘Peggy Shaw’ in The Methuen Drama Encyclopaedia of Modern Theatre, ed. by Colin Chambers. (London: Methuen, forthcoming)
    • Book Review of ‘Rape on Contemporary Stage’ by Lisa Fitzpatrick. Contemporary Theatre Review, 29:1 (2019), pp.98-99.
    • Book Review of ‘Theatre & Feminism’ by Kim Solga. Performance Ireland (2017)
    • ‘Queer Anachronisms: Reimagining Lesbian History in Performance’ in Queer Dramaturgies: International Perspectives on Where Performance Leads Queer, ed. by Alyson Campbell and Stephen Farrier (London: Palgrave Macmillan, 2015), pp. 244 -256.
    • ‘Post-lesbian? Gendering Queer Performance Research’, Theatre Research International, 40.1 (2015), pp. 100-103.
    • Book Review of ‘TRANS(per)FORMING Nina Arsenault: an Unreasonable Body of Work’ ed. by Judith D. Rudakoff. New Theatre Quarterly, 31 (2015), pp. 90-90.