Faculty profile

Toby Malone

Assistant Professor
Dramaturgy, Theatre History, and Criticism


Hewitt 13

Office hours

Monday, Wednesday, Friday 10-11 am

Tuesday, Thursday 11 am-12 noon

Toby Malone is a classically-trained new play development and production dramaturg from Perth, Western Australia.  He is a graduate of the University of Western Australia (BA Honors, Theatre Studies) and the University of Toronto (PhD, Drama), and has worked with theatres around the world as a dramaturg and actor.  Past credits include productions in Australia (the Hole in the Wall Theatre; Barking Gecko; Shakespearience; the Australian Shakespeare Company), Scotland (Poorboy Theatre Company), the United States (Arizona Theatre Company), and Canada (Soulpepper Theatre, the Stratford Festival of Canada, the Shaw Festival, Canadian Stage).  Toby most recently spent four years as a post-doctoral fellow at the University of Waterloo, in Waterloo, Ontario.  

In addition to his position at SUNY Oswego's Theatre Department, Toby is a Faculty Resident Mentor at Hart Hall's Global Living and Learning Center, and is Faculty Advisor to Oswego's champion men's and women's rugby teams.


Toby has had work published in Shakespeare Survey, Literature-Film Quarterly, Canadian Theatre Review, the Routledge Companion to Dramaturgy, as well as chapters in several collections. He is currently text editor for the first-ever fully annotated modern edition of the Anonymous c.1594 play The True Tragedy of Richard the Third, forthcoming in late 2018 from the Queen’s Men’s Editions.  He is Story Editor and text consultant for the Kill Shakespeare comic book series; has developed a hybrid First Quarto/First Folio Hamlet mash-up called The Hamlet Variorum; is video dramaturg for the Stratford Festival/Canadian Broadcasting Corporation's cinema-to-television cutdowns, and his book, Adapting ‘War Horse’: Cognition, the Spectator, and a Sense of Play was released by Palgrave Macmillan in 2016. Toby’s scholarship centers on dramaturgy, performance texts, adaptation theory, and Shakespeare.

Toby is also head of SUNY Oswego's Dramaturgy Hub project, which is a practical, functional online research repository for in-rehearsal research support, in-production promotion, and post-production archival.  These are developed in close consultation with the play's director, and features a spotlight on student research. 

Sample Dramaturgy Hubs:

Not Someone Like Me 


Boeing Boeing 

Clybourne Park 

Henry the Sixth, Part One




  • Malone, Toby and Christopher J. Jackman. Adapting War Horse: Cognition, the Spectator, and a Sense of Play. Palgrave Macmillan, London, 2016.


  • Malone, Toby. ““Distract parcels in combined sums”: the Stratford Festival Archives’ Stage-Managerial Collections.” Canadian Theatre Review 156 (October 2013): 64-71.
  • Malone, Toby. “Behind the Red Curtain of Verona Beach: Baz Luhrmann’s William Shakespeare’s Romeo + Juliet.” Shakespeare Survey 65, 2012: 398-412.
  • Malone, Toby. “‘A dog, a rat, … a cat to scratch a man to death!’: Olivier’s Richard III and Popular Cultures.” Literature/Film Quarterly 37(2), 2009: 415-426.
  • Roberts-Smith, Jennifer, Shawn DeSouza-Coelho, and Toby Malone. “Staging Shakespeare in Social Games: Towards a Theory of Theatrical Game Design.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 9 (3), 2016.


  • Malone, Toby. “Populating Film-Worlds: Quoting Shakespeare on the Twentieth-Century Screen.” Shakespeare and Quotation. Ed. Julie Maxwell and Kate Rumbold. Cambridge: Cambridge UP. (At press, expected June 2018).
  • Malone, Toby. “Digital Parallel-Text Approaches to Performance Historiography.” Shakespeare’s Language in Digital Media: Old Words, New Tools. Janelle Jenstad, Mark Kaethler, and Jennifer Roberts-Smith, eds. Abingdon: Routledge, 2018. 105-123.
  • Malone, Toby. “Parallel-Text Analysis and Practical Dramaturgies.” The Routledge Companion to Dramaturgy. Ed. Magda Romanska. London: Routledge, 2014. 448-55.


  • Malone, Toby, text editor. The True Tragedy of Richard the Third, Modern Language Edition. Queen’s Men Editions/Internet Shakespeare Editions. Broadview Press, contracted (expected release 2018, with Jennifer Roberts-Smith, performance editor)
  • Malone, Michael J., OAM. Simmo: A Biography of Ray Simpson, VC, DCM, One of Australia’s Greatest Soldiers. Ed. Toby Malone. Perth: Imprimatur Books, 2015.


  • Kill Shakespeare: Gods Stand Up. Story writer, Comic book edition, Kill Shakespeare: Backstage Edition. San Diego: IDW Publishing, 2015. 311-317.



  • “Permanent Exchange? When Study Abroad Turns into Immigration.” Global Awareness Conference, Hart Hall Global Learning and Living Center, Hart Hall, Oswego (November 3, 2017)
  • “The Problem with Prompt-books, or the Problem with TEI? Tagging Time and Space.” (With Jennifer Roberts-Smith and Mark Kaethler). Canadian Society for Digital Humanities / Société canadienne des humanités numériques Conference, Toronto, ON (May 29, 2017)
  • “Cuts, Cuts, Cuts: Adapting the Stratford Festival Film Adaptations for Television.” Adapting Shakespeare: Contemporary Theory and Practice workshop. Shakespeare Association of America Conference, Atlanta, GA (April 6, 2017)
  • “‘Airs Fae Heaven / Blasts Fae Hell’: The Road to the Hamlet Variorum”. World Shakespeare Congress, King’s College, London, UK (August 5 2016).
  • “Managing Dramaturgical Data: the Stratford Festival Prompt-Books.” Research Data Management Conference 2015, University of Waterloo, Waterloo, ON (October 22, 2015).
  • ““Words, Words, (Key)words”: a Consideration of SEO Data and Academic Search Terms in Shakespeare Quarterly usage, 2004-2013.” Shakespeare Association of America Conference, Vancouver, BC (April 2, 2015)
  • “Digital Dramaturgy: Textual Archives and Game-Based Learning Environments at the Stratford Festival, Canada.” (co-authored with Jennifer Roberts-Smith), Re-Imagining Dramaturgy: The Future of Dramaturgy one-day symposium, New York City, NY (October 17 2014)
  • “Dramaturgy in the Archives: the Stratford Festival Prompt-Book Collection.” University of Waterloo Department of English Renaissance Workshop, Waterloo, ON (October 3 2014)
  • “Here We Are Now, Entertain Us:” Dramaturgy, the Theatre, and an Audience Full of Critics.” Fluxible: A User Experience Event, Kitchener, ON (September 14 2014)
  • “Shakespeare Cited/Sited/Recited: Kill Shakespeare and the Winter of Hamlet’s Discontent.” Shakespeare Association of America Meeting, Toronto, ON (28 March 2013)
  • “‘Thus Garrick did’: Dramaturgy as Secondary Authorial Presence.” Shakespeare Association of America Meeting, Chicago (2 April 2010)
  • “Josephine Tey's The Daughter of Time as Source for Olivier's Richard III.” Shakespeare Association of America Meeting, Washington, DC (9 April 2009)
  • “Staging the Archive: Production Dramaturgy and the London Theatres Bibliography.” Renaissance Society of America Meeting. Los Angeles (March 2009)
  • “Re-Interpreting the Re-Interpretations: Olivier, McKellen, and the Case of Bosworth.” British Graduate Shakespeare Conference, Shakespeare Institute, Stratford-on-Avon, UK (July 2007) 

Performances and exhibitions


  • Not Someone Like Me, SUNY Oswego (Dir. Mya Brown) (2018)
  • Hamlet Driftwood Theatre Group (Dir. D. Jeremy Smith) (2015)
  • Henry the Sixth, Part One uWaterloo Drama (Dir. Jennifer Roberts-Smith) (2015)
  • The Tempest Driftwood Theatre Group (Dir. D. Jeremy Smith) (2014)
  • King Lear Stratford Festival (Dir. Antoni Cimolino) (2014)
  • A Midsummer Night’s Dream Stratford Festival (Dir. Chris Abraham) (2014)
  • R3: Richard III uWaterloo Drama (Dir. Jennifer Roberts-Smith) (2013)
  • Memorial Next Step Productions, Next Stage Festival (Dir. D. Jeremy Smith) (2012)
  • Endgame Soulpepper Theatre Company (Dir. Daniel Brooks) (2012)
  • A Midsummer Night’s Dream Driftwood Theatre Group (Dir. D. Jeremy Smith) (2012)
  • Kill Shakespeare (world premiere) Young Centre for the Performing Arts (Dir. Derek Boyes) (2012)
  • Macbeth Driftwood Theatre Group (Dir. D. Jeremy Smith) (2011)
  • Exit the King Soulpepper Theatre Company (Dir. Albert Schultz) (2011)
  • A Midsummer Night’s Dream Soulpepper Theatre Company (Dir. Rick Roberts) (2011)
  • Death of a Salesman Soulpepper Theatre Company (Dir. Albert Schultz) (2010)
  • Twelfth Night Driftwood Theatre Group (Dir. D. Jeremy Smith) (2010)
  • Waiting for the Parade Soulpepper Theatre Company (Dir. Joseph Ziegler) (2010)
  • Oh What a Lovely War Soulpepper Theatre Company (Dir. Albert Schultz) (2010)
  • The Comedy of Errors Driftwood Theatre Group (Dir. D. Jeremy Smith) (2009)
  • King Lear Driftwood Theatre Group (Dir. D. Jeremy Smith) (2009)
  • Romeo + Juliet Driftwood Theatre Group (Dir. D. Jeremy Smith) (2008)


  • Driftwood Theatre Group, Toronto (2008-2015)
  • Soulpepper Theatre Company, Toronto (2010-2012)


  • Complete List Available on Request.


Ph.D, Drama, University of Toronto, Canada, 2009

BA (Hons), Theatre Studies and English, University of Western Australia, Australia, 2001

Classes taught

  • THT 110 - Introduction to Theatre
  • THT 334 - Production Dramaturgy
  • THT 364 - Western Theatre History I

Independent Studies

  • Dramaturgy