Jennifer A. Kokai

Zombie Thoughts addresses the topic of Generalized Anxiety Disorder set in a video game world. Co-written with a then nine-year-old Oliver Kokai-Means, the play was first commissioned and developed by small professional company Plan-B Theatre in Salt Lake City and toured to 10,232 elementary students at Title I institutions (high economic need) with the support of a grant from the NEA in 2018. The audience is introduced to the formal diagnosis and symptoms of anxiety disorders (which in kids looks like combativeness and is often misinterpreted by educators as willful disobedience), and therapeutic coping mechanisms. The play was vetted by a licensed therapist. Ballet for Aliens was co-written with both Oliver Kokai-Means and new playwright, then twelve-year-old Gerard Hernandez, about Gerard's experience as a youth with Crohn's Disease. Gerard was a ballet dancer through his childhood, though his health often made this difficult, and the piece required formal ballet movement, so the production was co-created with highly regarded dance company Ballet West's Peter Christie, their education director. A portion of this play was presented to the Utah Legislature in 2022 to argue for the importance of funding the arts in elementary schools. Zombie Thoughts and Ballet for Aliens have gone on to be produced across the United States and internationally by school groups, universities, and professional tours of varying theatre sizes. This volume offers both plays and an introduction by Kokai and the youth playwrights, which contextualizes efforts for theatrical interventions in youth mental health.

Writing in a time of heightened political anxiety–and when accusations of nationalism, authoritarianism, and proto-fascism have increasingly divided Americans into factions– the authors use their influential performance studies-based ‘tourist as actor’ framework to unpack the ways that Disney parks and their guests co-create performance of implicit Americanness in the 21st century. This book argues that the roles that guests choose to perform-- accepting, declining, negotiating, or overwriting scripts offered to them by the Disney theme park experience-- ultimately reveals much about the nature of the contemporary United States. Focusing primarily on Walt Disney World in Florida, and using case studies on music, geography and ecology, sports, families, and politics, these chapters illuminate the always complicated and often contradictory presentations and performances of America within Disney parks in the deeply contested twenty-first century.

Drawing on cultural associations with bodies of water, the spectacle of pretty women, and the appeal of the concept of “family-friendly” productions, performative aquatic spectacles portray water as an exotic fantasy environment exploitable for the purpose of entertainment. In Swim Pretty, Jennifer A. Kokai reveals the influential role of aquatic spectacles in shaping cultural perceptions of aquatic ecosystems in the United States over the past century. Examining dramatic works in water and performances at four water parks, Kokai shows that the evolution of these works and performances helps us better understand our ever-changing relationship with the oceans and their inhabitants. Kokai sorts the regard for and harnessing of water in aquatic spectacles into three categories—natural, tamed, and domesticated—and discusses the ways in which these modes of water are engaged in the performances. Ultimately, this study links the uncritical love of aquatic spectacles to a disregard for the rights of marine animals and lack of concern for the marine environment.