Thomas Riccio

Professor - Arts And Humanities

Professional Preparation

M.F.A. - MFA in Theatre Education
Boston University - 1982
B.A. - English
Cleveland State University - 1978

Research Areas

Areas of Specialization

Performance Studies, Media Performance and Installation; Indigenous Performance; Ritual and Shamanism; Acting, Stage Directing, Dramaturgy, and Theatre Theory, Literature and Criticism.


Narrative of Place, Theatre Communications Group, Summer 2015 2015 - Publication
Dead White Zombies, Dallas TX Article, Theatre Forum, Vol. 45, 66-80, Summer 2014 2014 - Publication
Collective (Re)Creation Reclamation, Reaffirmation, and Redefinition Chapter in Collective Creation in Contemporary Performance, 195-209 Palgrave, 2013 2013 - Publication
Ethiopia and its Double Article, Theatre Forum, Vol. 41, 46-55, Summer 2012 2012 - Publication
Shadows in the Sun: Context, Process, and Performance in Ethiopia Essay, New Theatre Quarterly (NTQ), Vol. 28, Pt. 3, 272-295, August 2012 2012 - Publication
Robot: Ritual Oracle and Fetish In Transforming Culture in a Digital Age, Tartu University, Estonia, 391-396, 2010 2010 - Publication
Orange Oranges One act play in Sojourn Literary Journal University of Texas at Dallas, Autumn 2009 2009 - Publication
Performing Body, Space and Place: Creating Indigenous Performance in Healing Collective Trauma Using Sociodrama and Drama Therapy, Springer Publications, December 2009 2009 - Publication
Rhythm Reality in Rhythm Steps of Africa, Jagielonian University Press, Kracow (in Polish) 2008 2008 - Publication
Performing Africa: Re-Mixing Tradition, Theatre, and Culture Peter Lang Publishing, Berlin and New York. 2007, 244 pages. ISBN 0-8204-8899-2 2007 - Publication


Visiitng Professor
Jishou University [2016–Present]
Visiting Professor
Pondicherry University [2013–2018]
Professor of Performance and Aesthetic Studies
University of Texas at Dallas [2003–Present]
Visiting Professor
University of Dar es Salaam [1999–2018]
Visiting Professor
California Institute of Integral Studies [1997–2018]
Visiting Professor
Korean National University of the Arts [1996–2018]
Associate Professor
University of Alaska Fairbanks [1995–2001]
Department Head
University of Alaska Fairbanks [1995–1999]
Assistant Professor
University of Alaska Fairbanks [1988–1995]
Artistic Director
Organic Theatre Company, Chicago, IL [1985–1988]

Additional Information

Workshops, Conferences Presentations and Lectures
  • Great Plains Theatre Conference
    • Conducted workshops in Adaptation, Ensemble Creation, and Archetypes, 2009
  • Director’s Lab Chicago
    • Conducted a weeklong workshop with lectures exploring the topic Myth, Ritual and Stage Directing, summer 2008
  • Free Street Theatre, Chicago
    • Conducted a short, one- day workshop with inter-city school children, 2008
  • Ingenuity Festival, Cleveland, Ohio
    • Zeno, presentation of a conversational robot; scripted half hour monologue and character interactions for nine public festival presentations. 2008
  • NextFest 2007, Los Angeles
    • Zeno and Joey Chaos, presentation of two conversational robots. Developed personality and wrote interactive script for both robots.
  • MIT 5
    • creativity, ownership and collaboration in the digital age. Paper: “Trickster Reality” 2007
  • Dallas Museum of Art
    • UTD/DMA Summer Seminar program Guest lecturer: Creativity (2008),
    • Arts and Technology (2006), African Art 2004.
  • Refresh: International Conference on the Histories of Media Art, Science And Technology Banff New Media Institute, Alberta, Canada
    • paper presentation: World Narrative: The Creation of a New Place? 2005
  • Rhythm And Steps Of Africa, Krakow, Poland
    • Jagielonian University. Conference, Programming Committee; weeklong workshop: Creating Performance at National Theatre School. Paper Presentation: Community of Place and Ideas , 2005
  • International Percussion Festival: Sources and Inspirations
    • Polish National Music Academy, Krakow, Poland lecture: Rhythm Reality 2004
  • International Federation of Theatre Research, Krakow, Poland Jagielonian University. Conference, paper presentation: Body As Text: The Story Dancing of the Yup’ik and Inupiat Eskimo, 2003
  • Arizona State University, Tempe
    • lecture: Performing a Community of Place , 2002
  • International Federation of Theatre Research, Amsterdam
    • World Congress paper presentation: (Re) Inventing Place, Culture And Performance: The New Indigenous, 2002
  • International Puppet Festival, Nairobi, Kenya
    • Conducted a series of workshops sponsored by Edupuppets and The Ford Foundation. Workshops Included: Performance Creation and Presenting the Story of AIDS, 2002
  • National Theatre of Kenya, Nairobi
    • Conducted actor training and Performance Creation, Workshops, 2002
  • University of California Berkeley
    • lecture and workshop on stage direction, 2002
  • College Of Wooster, Wooster, Ohio
    • visiting artist, weeklong workshop: Performance Development. Lectures: African Performance and Ritual; The Indigenous Worldview; Indigenous Aesthetics; and Performance Theory and Studies. Public lecture: Performing Place: The Sprits Dance , Winter, 2001
  • Bilingual Multicultural Education Conference, Anchorage, Alaska workshop: Story Telling, Oral History, and Performance, 2001
  • Out North Theatre, Anchorage, Alaska
    • Workshop: Performance Creation, 2001
  • Fort Yukon School District, Fort Yukon, Alaska
    • lecture and workshop: Creating Alaska Native Performance, 2000
  • Eastern New Mexico State University, Portales
    • Workshop: Creating Place-Based Performance, 2000
  • International Festival of Theatre & Marionettes, Burkina Faso
    • Week long workshop: Indigenous Performance Development , Included participants from Ivory Coast, Burkina Faso, Congo, Ghana, Togo, and Mali, 2000
  • Tanzania Theatre Center, Dar es Salaam
    • Week long workshop on performance development and stage directing, 1999
  • Word And Action: Round Festival, Dorset, England
    • lecture and Weeklong workshop: creating ritual performance , 1998
  • Helsinki Institute of Art and Media, Finland
    • lecture and three-day workshop: cross-disciplinary creation, 1998
  • Turku School of Art and Communication, Turku, Finland
    • lecture and three-day workshop: creating community-based performance , 1998
  • New York University
    • Lecture: Performing Place and panel discussion with Lee Breuer and Richard Schechner, 1997
  • Smith College, Northampton, MA
    • lecture and workshop: creating indigenous performance , 1997
  • American Community Theatre Festival Northwest, Haines, Alaska, workshop: Performance
    • Development: Realizing Community Potential, 1997
  • Sogang University, Seoul, Korea
    • lecture: Shaman as Performer, for Religious Studies Department,1996
  • Mount Holyoke College, North Hadley, MA
    • lecture: Personhood Performance and workshop on creating place-based performance, 1996
  • CIIS, California Institute of Integral Studies, San Francisco
    • public lecture: Performance and Therapy and workshop: indigenous performance and drama therapy. annually 1995, 1996, 1997
  • San Francisco State University
    • lecture: Eskimo Masks: Eyes of the Spirit, 1996
  • City College of San Francisco
    • lecture presentation on creating indigenous performance, 1996
  • Dramatiska Institutet, Stockholm, Sweden
    • lecture: African Performance and the Performance of Place , National Theatre Institute, 1995
  • Västanå Teatern, Munkfors, Sweden
    • public lecture and weeklong workshop with Swedish Folk Theatre, 1995
  • Riksteatern (National Theatre), Stockholm, Sweden
    • public lecture: Performance Evolutions: Tradition Meets Media ,1995
  • Shikasta Teatre, Stockholm, Sweden
    • Week long workshop with international/multi-cultural Theatre company, 1995
  • IDEA 95,International Drama In Education Assoc., Brisbane, Australia
    • Paper presentation and workshop: Re-Imagining Indigenous Performance, 1995
  • Cleveland Public Theatre, Cleveland, Ohio
    • Week long workshop: Performance of Place, 1994
  • Tampere International Theatre Festival, Tampere, Finland
    • lecture: (Re)Creating Indigenous Performance, 1993
  • Perseverance Theatre, Juneau, Alaska
    • Workshop: Alaska Native Performance, 1993
  • Kuskokwim College, Bethel, Alaska
    • lecture and workshops: Alaska Eskimo Performance: Re-Discovery Of Tradition, 1992
  • Northwest Drama Conference, La Grande, Oregon
    • workshop: Performance Styles and Traditional Alaskan Eskimo, 1992
  • American Theatre In Higher Education Convention, Seattle, WA
    • paper and workshop: Director From The Spirit World: The Alaskan Eskimo Shaman, 1991
Honors, Awards, and Activities

Watermill Arts Center, NY

            Three week residency, February 2016


Fulbright Senior Specialist

            Tribhuvan University, Kathmandu, Nepal, (time table under negotiation)

Assist in development of Performance Studies curriculum and performance project with Mandala and One World Theatre.


Halka Artists Residency, Istanbul, Turkey

            Month long residency, Spring 2014


Professor of the Year, Victor Worsfold Award

University of Texas at Dallas 2010


Special Faculty Development Award, University of Texas at Dallas

Research and Travel to Addis Ababa, Ethiopia, 2009


Featured Artist, inALL THE WORLD’S A STAGE”, gallery video exhibit

The Dallas Museum of Art, Fall 2009

  • Distinction Prize in Playwrighting, Alexander S. Onassis Foundation
    • International Cultural Competition Prizes, (15,000 Euro) for the play Inuit, Fall, 2006
  • Artist In Residence, Institute of Arctic Biology, Toolik International Science Research Station, Brooks Range, Alaska, Summer, 2003
  • Excellence In Teaching Award, College of Liberal Arts, University Of Alaska Fairbanks, April, 2001
  • Asian Pacific Performance Exchange Fellowship, UCLA
    • Ford Foundation sponsored Six-week intensive intercultural workshops, exchanges, and development projects; Included traditional and contemporary artists from Vietnam, Thailand, China, Japan, Indonesia, Tibet, India, Korea, and the USA. July-August 1999
  • Career Opportunity Grant, Alaska State Council on The Arts
    • To conduct workshops in Kenya and Tanzania August 1999
  • Career Opportunity Grant, Alaska State Council on the Arts
    • to conduct workshops in England, August, 1997
  • Travel Award, British Arts Council, London
    • to conduct workshops in England, August, 1997
  • Finnish Arts Board Travel Grant, Helsinki
    • to conduct workshops and lectures at the Helsinki Art Institute Grant, Finland, March, 1997
  • University of Alaska Museum Service Award, Fairbanks
    • for service to the museum, May 1996
  • Swedish Writers Institute Travel Award, Stockholm
    • for travel, workshops, and lectures, August, 1995
  • Career Opportunity Grant, Alaska State Council on the Arts
    • to attend rehearsals in Germany and conduct workshops/lectures in Sweden. August, 1995
  • Cultural Hero of the Sakha people, an honor bestowed by the Minister of Culture, Republic of Sakha
    • (central Siberia) for cultural and performance work with the Sakha National Theatre.
  • !Xuu And Khwe Cultural Trust Grant, Kimberly, South Africa
    • for research and documentation of traditional Bushman healers, May-June, 1994
  • Northern Cape Association Project Grant, Kimberly, South Africa
    • to conduct theatre workshops with the !Xuu and Khwe Bushmen, May, 1994
  • USIS Special Projects Award, Lusaka, Zambia
    • United States Information Service, salary and housing support, Lusaka, Zambia March, 1994
  • Republic of Zambia Arts Award, Department of Culture, Lusaka, Zambia to support the Litooma
    • Project, theatre workshops with Zambian tribal groups, March, 1994
  • British Council Artist Award, Lusaka, Zambia
    • to support the production of Imipashi, April, 1994
  • NORAD (Norwegian Foreign Aid) Production Grant, Lusaka, Zambia
    • to support Imipashi rehearsals and performance, March, 1994
  • SIDA Project Grant (Swedish Foreign Aid), Lusaka, Zambia
    • to support the Zambian national tour of Imipashi, February, 1994
  • Embassy of The Netherlands Grant, Lusaka, Zambia
    • for documentation and tour of Imipashi, April 1994
  • Finnita & The Finish Volunteer Service Project Grant, Lusaka, Zambia
    • to support the Litooma project, February-May, 1994
  • Alaska State Council on The Arts Travel Grant
    • to Natal, South Africa to develop an indigenous theatre program at the Univ. of Zululand, Summer 1993
  • Dancing Bear—Doyon Native Corp. (Athabaskan Indian), Fairbanks
    • award in recognition of work with Tuma Theatre and Alaska Native Performance. Spring, 1993
  • Travel to Collections Grant, National Endowment for The Humanities , travel to conduct research at the
    • Jesup Collection, Museum of Natural History, NYC, August, 1992
  • Cross-Cultural Faculty Development Grant, Mellon Foundation
    • travel to conduct research in numerous Alaskan Eskimo and Indian villages, Autumn, 1992
  • Mellon Foundation Travel Grant
    • to conduct Alaska Native Performance workshops at Perseverance Theatre, Juneau, November, 1992
  • Alaskan Native Studies Travel Grant, University Alaska-Fairbanks travel to numerous Alaska Native
    • villages to study Yup'ik, Siberian Yup'ik, King Island, & Inupiat Eskimo performance tradition 1989 To 1991
  • Mellon Foundation Travel Grant
    • to Seattle for museum research and conference attendance July-August, 1991
  • National Endowment For The Humanities, Summer Institute
    • “Myth, Memory & History: Sources For Writing American Indian History”. Newberry Library, Chicago. Six-week Summer Institute 1990
  • Theatre Communications Group Observership, NYC
    • Travel observership to Los Angeles and San Francisco Theatres, March 1988
  • Goethe Institute, Internationales Forum Junger Buhnenangehorig, month long intensive voice,
    • movement, and directing workshops in Berlin. A part of Berlin’s Theatertreffin Festival, Spring, 1987
  • A.T.&T. Directing Award, NYC
    • Salary and travel funds to apprentice with Robert Whitehead for the premiere and Broadway production of Lillian (with Zoe Caldwell), Spring, 1986
  • Teatro Di Roma Directing Award,
    • support and salary to direct at the National Theater of Italy January-March, 1984
  • Best Direction, Cleveland Critic's Circle Award
    • for End Of The World, 1985
  • New Director's Project, New York Theatre Workshop
    • Selected from a national competition as one of America’s most promising new directors. Award provided funds for an off-Broadway production. Cast Included David Hyde Pierce. Fall, 1984


  • Performing Africa: Re-Mixing Tradition, Theatre, and Culture
    • Peter Lang Publishing, Berlin and New York. 2007, 244 pages. ISBN 0-8204-8899-2
  • Reinventing Traditional Alaska Native Performance
    • Mellen Press, Lewiston, NY, 2003, 329 pages. ISBN: 0-7734-6987-7

Articles, Chapters, and Reviews

  • Performing Body, Space and Place: Creating Indigenous Performance
    • Chapter @ Healing Collective Trauma Using Sociodrama and Drama Therapy, Springer Publications, December 2009
  • Orange Oranges
    • One act play @ Sojourn Literary Journal, University of Texas at Dallas, Autumn 2009
  • Rhythm Reality
    • Chapter @ Rhythm Steps of Africa, Jagielonian University Press, Kracow (in Polish) 2008
  • Follow the Grey Giants
    • Puppet Notebook (UK) Issue 6, Summer, 2006
  • Kenya’s Community Health Awareness Puppets
    • PAJ, Performing Arts Journal, (vol. 76), January, 2004
  • Body as Text: Inupiat and Yup’ik Story Dancing, Conference Proceedings, Int’l Theatre Institute, Krakow, Poland, 2004
  • Museum Collections
    • Encyclopedia entry: Shamanism: An Encyclopedia of World Beliefs, Practices, and Culture, ABC-CLIO, Publications, 2004
  • African Theatre in Performance (book Review)
    • Theatre Journal, Johns Hopkins Press, (vol. 54 # 3) October, 2002
  • Tanzanian Theatre: From Marx to the Marketplace
    • The Drama Review (TDR), New York Univ., MIT Press, (#T169) Spring, 2001
  • Reimagining Yup’ik and Inupiat Performance
    • The Northwest Theatre Review, (vol. 7), 1999
  • War Cries (book review)
    • American Indian Culture and Research Journal, UCLA (vol. 22, 2), Spring, 1998
  • The Shape of Ritual
    • The Round Organ, UK, (#7) April, 1998
  • Making a New Story with the !Xuu and Khwe Bushmen
    • Theatre Forum, UC San Diego, (#10) Winter/Spring, 1997
  • Politics, Slapstick and Zulus on Tour
    • The Drama Review (TDR), New York Univ., MIT Press, (#T152) Winter, 1997
  • Trickster by Trade: Thomas Riccio on Indigenous Theatre
    • An Interview by Dale Seeds. The Drama Review (TDR), New York Univ., MIT Press, (#T-152) Winter, 1997
  • Today We Sing: !Xuu and Khwe Bushmen Healers See the Sickness Shaman's Drum magazine, Summer, 1996
  • In Zambia, Performing the Spirits
    • Theatre Forum, UC San Diego, (#8) Winter/Spring, 1996
  • Emandulo: Process and Performance in a Changing South Africa Theatre Research International,
    • Oxford Univ. Press, (vol. 19 #3) Autumn, 1994
  • A Message from the Eagle Mother: The Messenger's Feast of the Inupiat Eskimo
    • The Drama Review (TDR), New York Univ., MIT Press, (#T137) Spring, 1993
  • Alaskan Eskimo Theatre: Performing the Spirits of the Earth
    • Theatre Topics Johns Hopkins Press, (vol.1) Spring, 1991
  • Is Chicago Theater Hot or Not?
    • Facets Features, Chicago, January, 1988
  • Trying to get objective and a few ideas about performance art & other things
    • P-FORM, Randolph Street Gallery, Chicago, (Vol.2 No. 2) April/May, 1987
  • A.R.T. Newsletter
    • American Repertory Theater, Harvard University. Numerous program notes, articles and interviews with Carlos Fuentes, Robert Aluetta, Lee Breuer. 1980-82
  • Curtain Times
    • The Cleveland Play House, Numerous program notes, study guides, articles and interviews with Arthur Kopit, Zoe Caldwell and Robert Whitehead, 1985-86
  • The Daily Free Pres
    • Boston University, Theater Critic, 1980-82


  • Some People
    • Produced, Project X, premiered at WaterTower Theatre’s out of the Loop Festival and subsequent run at the GreenZone Theatre, 2009
  • So There
    • Produced, Project X at Festival of Independent theatres, Dallas, Summer 2008
  • Orange Oranges
    • Produced, Project X at Festival of Independent theatres, Dallas, Summer 2008
  • Regina
    • A Video Short in post production. Produced by Litooma, 2008
    • Premiere, Oh Yeah Festival, Dallas
  • Inuit
    • Distinction Prize awarded by Alexander S. Onassis Foundation, International Playwrighting Competition, Fall, 2006
    • Staged Reading, Great Plains Theatre Conference, Omaha, NE 2008.
  • Alpha Male
    • Full Length, Produced Story Lab, University of Texas at Dallas, Fall, 2006
  • There Is Never A Reference Point
    • produced, Story Lab, University of Texas at Dallas and South Side on LaMar with Project X, Spring, 2006.
    • Inspired by life and writings of Jamie Dakis, a woman diagnosed with multiple personality disorder.
  • Kartasi
    • produced, Story Lab, University of Alaska Fairbanks, Spring, 2003, and University of Texas at Dallas, Fall 2004
  • Yahoo Nation
    • produced, University of Alaska Fairbanks, Spring, 2001
    • Stage Reading, Last Frontier Theatre Festival, 2001
  • Comeback Fur Elvis
    • (a musical version of Rubber City), produced, The Kleist Theatre, Frankfurt/Oder, Germany 1995-6 (in Repertory)
  • Rubber City
    • produced, The Organic Theatre Company, Chicago, Fall, 1985
  • Cathode Ray
    • A Monodrama, Completed Summer, 1996
    • Stage Reading, Cleveland Public Theatre 1996
    • Produced as a video, Wired
  • Tricks
    • Produced, Cleveland State University 1979
    • Produced, The Dive, NYC 1984

Devised Plays and Performances

  • Pipedreams
    • produced, The Fairbanks Drama Association, Fairbanks, Alaska. Developed from community oral histories relating to the building of the Trans-Alaska Pipeline. November-December, 1997, and at Out North Theatre 1999 and Edward Albee Playwrights Conference, 2001
  • Twelve Moons
    • produced, The Korean National University of the Arts, Seoul, Korea, Fall 1996
  • Inua
    • produced, Tuma Theatre, Fairbanks, Alaska, Winter, 1995
  • Imipashi
    • produced, The Center For The Arts, Lusaka, Zambia. National tour Winter-Spring, 1994
  • Makanda Mahlanu
    • produced, The Natal Performing Arts Council, Durban, South Africa. Zululand and Natal tour, Fall, 1993
  • Sardaana
    • produced, The Sakha National Theatre, Yakutsk, Russia (Siberia), Summer 1993
  • The Eagle's Gift
    • produced, Tuma Theatre, Fairbanks, Alaska. Winter, 1993
  • Shadows from the Planet Fire
    • produced Metamorphosis Theatre, St. Petersburg, Russia, Summer, 1992
  • Emandulo
    • produced, The Natal Performing Arts Council, Kwasa Group, Durban, South Africa, spring, 1992
  • The Child From The Sea
    • produced, Tuma Theatre, Fairbanks, Alaska. Winter, 1992
  • Qayaq: The Magical Man
    • produced, Tuma Theatre, Fairbanks, Alaska, winter, 1991

Performance Adaptations and Immersions

  • The Cabinet of Dr. Caligari
    • From the 1920 silent film. a performance immersion. Produced, Story Lab, the University of Texas at Dallas, 2008
  • Dada DMA
    • From the Dadaist writings, Produced, Dallas Museum of Art, 2005
  • Little Caesar
    • from the novel and 1930 film, produced, The Organic Theatre Company, Spring, 1988
  • Betawulf
    • from the Old English epic poem, produced, The Organic Theatre Company, Winter, 1986, and The Cleveland Laboratory Theatre, Summer, 1980
  • The Decameron
    • from Boccaccio, produced By Boston University, 1980 (Featuring Jason Alexander)
  • Tom Jones
    • from the Henry Fielding novel, produced, The Cleveland State University, Winter, 1978, and the Berea Summer Theatre, Baldwin-Wallace College, Summer, 1978

News Articles

Professor Travels to India, Nepal to Study Traditional Performance
Thomas Riccio, professor of performance and aesthetic studies in the School of Arts and Humanities, recently visited Nepal and India to deepen his research on indigenous performance. “My visit to India and Nepal showed that the peoples of the two nations have sustained their ancient traditional and indigenous performance expressions into this century,” said Riccio.Riccio said that some customs, however, are threatened with extinction due to globalization and environmental challenges. In Nepal and India, Riccio lectured at Tribuvan University, which is the national university in Nepal’s cities of Pokhara and Katmandu, where he also held a workshop for the Mandala Theatre.
Prof Presents Third Play in Original Drama Series
Arts & Humanities Professor Thomas Riccio’s newest play, Some People, will premiere at WaterTower Theatre’s “Out of the Loop” Festival on March 11. The cast is comprised almost exclusively of UT Dallas students and alumni. Some People is the third installment of the Simulations series dealing with life in and around the Dallas area. It will be performed three times at the WaterTower Theater and then transfer to the Project X Theatre for a three-weekend run. Some People takes a surrealistic journey into the subconscious of the house next door. In an ordinary Dallas suburb, a husband, wife and child one day find that they live in a house that has come to life. It begins when Frank, the father and a software systems analyst with an anger management issue, begins to hear the voice of the Narrator. The Narrator has come to synchronize the house in order to make all the family’s dreams come true. In order to do so, the world shifts into another dimension where time, space and reality become negotiable.
The Weirdest Theatre Mind in Dallas
It's the Monday after closing night, and the director is cleaning up the last set pieces from his performance space. There are video-game consoles stacked in the bathroom, disconnected security cameras hanging from the ceiling, and a pair of blank-loaded pistols that, thankfully, he just a moment earlier removed from the coffee table and boxed up. There's a pounding at the door now and the director answers it, thinking it's his production manager coming back to retrieve something he forgot. It's not. It's seven Dallas police officers. Three of them have guns drawn. And they appear very confused that standing there in the doorway of a notorious West Dallas crack house is not the just-as-notorious drug dealer they were hoping to find but a confused-looking theater director, wondering what's happening. "Hi," the director says calmly. "What can I do for you?" "Y'all can go on in and wander around. The show will start soon," Lori McCarty, the producing director of T.N.B., says to the crowd as she opens the twin glass doors. The audience shuffles from the patio into the dining room. From there they move either into the den, where a white man in a ski mask stands in the corner working a small DJ table, or the kitchen, where a black woman is tidying up and tending to a Crock-Pot of greens. Every room has a projector streaming footage from the security cameras in the other three rooms. An audience member is sitting on a stool when a black man in a ski mask slams the door next to her open and shut, and then falls against it sobbing. She freezes mid-squat with her eyes wide and lips pulled down, in a what-the-hell-am-I-supposed-to-be-doing frown. The man runs past her to the window, slipping on the carpet, and crushes open the venetian blinds. That's Spooky. He's our hero. Spooky starts yelling at Roosevelt, the white man in the other room. We quickly learn that they are twin brothers. The brothers yell back and forth, and where Spooky is angry, Roosevelt is cartoony. He flops around the rooms like Cosmo Brown in Singin' in the Rain and calls Spooky "Paula Deen" whenever he says "nigga." The crowd doesn't know yet why Spooky is so angry or what he fled before he ran into this house, but they're all clutching beer bottles or plastic cups of wine and staring either at him or his image on the screen, and occasionally each other.
U.T. Dallas Expands Its Theatre Program With Appointment of Educator-Director Riccio
RICHARDSON, Texas (June 16, 2003) - The University of Texas at Dallas (UTD) is expanding its theatre program for the 2003-04 academic year with the hiring of Thomas Riccio, who is widely recognized for his work on multicultural theatre projects as both an educator and a director.

Riccio is joining UTD as a professor of theatre, and starting in late August, he will begin working with other arts faculty at the university in the areas of theatre, music and dance to build a performance program that will be incorporated into the overall interdisciplinary goals of UTD's School of Arts and Humanities. He also will help develop new curriculum and will meet with Dallas area theatre leaders in an effort to bring unique cultural productions to the Metroplex.
Kartasi, a Collaborative ‘Phantasm,’ To Open At U. T. Dallas on Nov. 5
RICHARDSON, Texas (Oct. 5, 2004) —Kartasi, written and directed by Thomas Riccio, will open at The University of Texas at Dallas (UTD) University Theatre on Friday, Nov. 5, at 8 p.m. The innovative and highly experimental show will run until Nov. 14, with performances at 8 p.m. on Fridays and Saturdays and at 2:30 p.m. on Sundays. 

According to Riccio, professor of performance studies at UTD, Kartasi is the first of many, upcoming collaborations between UTD’s performance area and the university’s Institute for Interactive Arts and Engineering.