He is the author of two books: Contemporary Latina/o Theater: Wrighting Ethnicity (Southern Illinois University Press, 2008), and the Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama (University of Michigan Press, 2024, available open access thanks to UC Davis and the TOME initiative). His current scholarly work combines continued consideration of Latine theatre and performance with new thinking on writing and performance that explores expanded (experimental, creative, performative?) critical writing in relation to performance.

His more than 30 articles and book chapters include: “Considering Diasporican Drama,” in the Routledge Companion to Latine Theatre and Performance; “The Invisible Labor of Setting the Stage,” Journal of Dramatic Theory and Criticism; “If Writing…” in CorpoGrafias; “The Latinx, Indigenous, and the Americas Graduate Class: Geography, Pedagogy, and Power” in Theatre Journal; “Zoot Suit: Event, Moment and Possibility” in Aztlán; “Shift2” in Theatre, Performance and Theories of Change; “Thinking the Space(s) of Historiography: Latina/o Ethnicity Theatre” in Theatre/Performance Historiography: Time, Space, and Matter; and “Neoliberalism, Historiography, Identity Politics: Toward a New History of Latino Theatre,” co-authored with Patricia Ybarra, in Radical History Review. His essay “Marisol, Angels, and Apocalyptic Migrations” won the 2001 Amy and Eric Burger Theater Essay Contest.

Recipient of a UC MEXUS faculty grant, a Davis Humanities Institute Fellowship, a Japan Society for the Promotion of Science Visiting Fellowship, and a Beta Kappa Northern California Association Teaching Excellence Award. He has also been an international invited faculty for the Doctorado en Estudios Artísticos in the ASAB Facultad de Artes at Francisco José de Caldas Universidad Distrital in Bogotá, Colombia.

His creative research includes writing for performance and dramaturgy. This work in progress includes 9 Papyri: Writing Performance in which he explores the embodied practice of writing (on papyrus) and a full-length play, Warikiru, a play exploring connections and reactions to loss. He was the creator and performer of Performance/Theory Lab A Series of Serious 22 22 Minute Events and has collaborated with choreographer David Grenke on several dance theater pieces including In the Space Provided and Low Flying Planes. His dramaturgical experience includes Somewhere in the Pacific (Manbites DogTheater), Electricidad (Sacramento Theatre Company), A Dream Inside Another (Sideshow Physical Theatre), Collapse (Sideshow Physical Theatre), and Oklahoma (UC Davis Theatre and Dance) and he has engaged UC Davis undergraduate students in two national theater projects, 365 Days/Plays and Every 28 Hours. 

At UC Davis he has served as Chair of the Department of Theatre and Dance and the Graduate Group in Performance Studies as well as several positions within the Academic Senate including Vice Chair of the Division, Chair of Undergraduate Council, and Chair of Affirmative Action and Diversity. Previously on the Board of the Comparative Drama Conference, he has also served as Treasurer for the Association for Theatre in Higher Education (ATHE) as well as for Conference Planner and Focus Group Representative for the ATHE Latina/o Focus Group (now the Latinx, Indigenous and the Americas Focus Group). He was a collaborative author as a member of the Latinx Theatre Commons Circle of Scholars for the Wallace Foundation Planning Grant, has served on the boards of Theatre Survey and Text and Presentation: The Comparative Drama Series and as a play reader for the Bay Area Playwriting Festival.