Vicki Hoskins - PhD Candidate/Andrew Mellon Predoctoral Fellow



MA, Theatre History & Criticism, University of Illinois Urbana-Champaign

BA, Drama, University of California Irvine


Vicki Hoskins is a fifth-year PhD Candidate and Andrew Mellon Predoctoral Fellow at the University of Pittsburgh. Her research focuses on the intersections of gender, sexuality, and desire in contemporary commercial musical theatre. Her dissertation project, titled, “How Playbill Changed the Narrative: Gender Dialogues in Musical Theatre” provides the first scholarly history of Playbill, the largest distributor of playbills in the U.S., and theorizes how playbills are performative objects capable of creating conflicting and disparate pre-narratives to performance.  Additional research interests include global and transnational musicals; gender, feminist, and queer theory; and performances of fan culture such as cosplay and roleplay. Vicki is also a dramaturg, director, and actor. Prior to coming to Pittsburgh, Vicki worked in new play development, serving as a literary manager for the Long Beach Playhouse where she evaluated new plays for their season. She also has worked as a production dramaturg on musicals, plays, dance performances, and devised pieces. At Pitt, Vicki has advised the Redeye Theatre Project for the past three years, served as a judge for Performance Collaborative’s Playwriting Festival, and created dramaturgy workshops for undergraduate students. Vicki also directed Gruesome Playground Injuries for UP Stages in 2016.

As an instructor, Vicki has taught courses and workshops in theatre history, global music drama, theatre appreciation, dramatic literature, dramaturgy, performance, and pedagogy and has received a number of accolades for her teaching including the Elizabeth Baranger Award for Excellence in Teaching. This past summer, Vicki received the Dietrich School of Arts & Sciences Summer Research Grant in addition to the American Theatre and Drama Society Research Award, which allowed her to perform archival research at Playbill’s Manhattan office and printing press.  She has presented her research with the following organizations: American Society for Theatre Research, Association for Theatre in Higher Education, Mid-American Theatre Conference, Comparative Drama, and the Northeastern Modern Language Association.


“This is Not a Moment, It’s a Movement: Why Millennials are Hamiltrash.” Kevin Wetmore, ed. Hamilton: History, Hip-Hop and Politics: Essays on the Afterbirth of a Nation. McFarland and Company, 2018.

“Death is the Wages of Sin: Murder and the True Crime Musical.” Coup de Théâtre, 32 (2018).

“Marketing Musicals: Commercializing the Avant-Garde in Spring Awakening.” Studies in Musical Theatre, 7.3 2013.



“Bloody Bodies: Desire and Disgust in Bonnie and Clyde.” American Society for Theatre Research. Atlanta, GA. November 2017.

“Dreaming of Utopic Possibility: Takarazuka’s Androgyny as Genderless Future.” Association for Theatre in Higher Education. Las Vegas, NV. August 2017. 

“He is Risen: Performing Christ in Musical Theatre.” Association for Theatre in Higher Education. Las Vegas, NV. August 2017.

“Yiddishe Momme and Mammy: Performing Towards (Ideal) Motherhood.” Comparative Drama. Orlando, FL. April 2017.

“Asian Body as Transgressor in Broadway Musical Theatre.” Mid-American Theatre Conference. Houston, TX. March 2017.

“’A Song That Hits You So Hard’: Emotion, Affect, and Silence in Hedwig and the Angry Inch.” Song, Stage, and Screen XI. New York, New York. June 2016.

“Māo: China’s Transnational Adaptation of Cats.” American Society for Theatre Research. Portland, OR. November 2015.

"’This Cold World Will Remember Us’: Death, Performance, and Legacy in Bonnie & Clyde.” Association for Theatre in Higher Education. Scottsdale, AZ. July 2014.

“Marketing Musicals: Commercializing the Avant-Garde in Spring Awakening.” Association for Theatre in Higher Education. Bruce Kirle Memorial Emerging Scholarship Panel in Music Theatre/Dance. Orlando, FL. August 2013.

“Not Smashing Stereotypes: Female Representation and the Male Gaze in Smash.” Northeast Modern Language Association. Boston, MA. March 2013.

“’I Enjoy Being a Girl’: The Asian Female in David Henry Hwang’s Flower Drum Song.” Philadelphia Theatre Research Symposium. Philadelphia, PA. February 2013.