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BIO for PRINT

DR. JO MICHAEL REZES is a theatremaker, scholar, actor (AEA), and educator in Greater Boston dedicated to the development of new works featuring fabulously grotesque aesthetics. Acting credits: Rocky Horror Show (Entropy Theatre); Nosferatu, The Vampyr (Sparkhaven Theatre); The Inheritance (SpeakEasy Stage Co. — US Regional Premiere; Elliot Norton Award, Outstanding Ensemble); Things I Know to Be True (Great Barrington Public Theater — Berkshire Theater Critics Award Nominee, Outstanding Supporting Actor). Directing: Trans [Plays] of Remembrance (HowlRound.TV); Cloud 9 (AD, Central Square Theater — Elliot Norton Award, Outstanding Direction); The Interrobangers (Tufts University); The Rocky Horror Show (Central Square Theater), Let's Misbehave (Pansy Rampant Productions). Jo instructs gender and performance courses across the country, and has a TEDTalkA Playful Exploration of Gender Performance, available online. Jo is writing a book called Fractals: Nonbinary Acting Methods and facilitates workshops on the subject. Rezes is dedicated to inclusive performance pedagogy beyond binary constructions and embraces queer aesthetics, sensation, and experience over final product. Having held teaching appointments at Boston College, Emerson College, and Harvard University, Rezes currently serves as the Associate Director of Education at The Theater Offensive—leading their nationally recognized True Colors programs for LGTBQIA+ youth. Rezes is proud Vassar College alum and holds a Ph.D. in Theatre & Performance Studies from Tufts University.

Portrait by Nile Scott Studios
ABOUT

My name is Jo Michael Rezes (/rez/•/iz/, Hungarian pronunciation: rÉ›zɛʃ), a queer performance studies scholar and public humanities writer of food culture, chronic illness, and the sensory aesthetics of humor. My teaching on contemporary performance was given the Outstanding Contributions to Undergraduate Education Award by the Tufts University Graduate School of Arts & Sciences in 2021. There, I instructed ten (10) sections of Introduction to Acting and Public Speaking combined. Also at Tufts, I designed original courses Creativity in Crisis and Camp and Popular Media (first as a Robyn Gittleman Teaching Fellow and then twice more as a Visiting Lecturer for the Experimental College). I have also taught seven (7) sections of Introduction to Theatre at Boston College and currently teach Gender Inclusive Pedagogy, Devised Theatre, and Disability Justice for Theatre Education as an Affiliated Faculty member in Emerson College's Applied Theatre & Theatre Education graduate programs—where I have chaired three (3) thesis projects.

As a Dissertation Fellow in the Center for the Humanities at Tufts, I completed my dissertation project, now monograph-in-process, Tastes Like AIDS: Sweet Aesthetics, Bitter Humor, and Viral Performances of HIV/AIDS, which centers taste—both literal and metaphorical—as it structures cultural understandings of HIV/AIDS across performance, media, and food cultures. Drawing from queer studies, performance studies, affect and sensory studies, food studies, and disability studies, the project argues that HIV/AIDS has been repeatedly imagined through sensory metaphors of flavor, particularly sweetness and bitterness, which shape racialized and queerphobic discourses about contagion, intimacy, and the body. Rather than only treating taste as a descriptor of aesthetic discernment, this dissertation positions taste as an embodied method which organizes public encounters with HIV/AIDS across archival ephemera—from social media to film and television, theatre, installation art, ‘zines, legal records, and culinary practices. I have published this writing in Queers at the Table and the cover chapter of Sicks Jokes: Visual Histories of Health, Humour & the Body. From this research, I am developing a play, a literary nonfiction trade book on AIDS discrimination in food service, and a cookbook.

 

I wrote the book, music, and lyrics of an original, two-hander musical called The Gospel According to Susan, supported by the Emerson College Affiliated Faculty Development Fund, which critiques the gendered tropes of serial killers in TV, film and theatre. My writing on transgender inclusion and gender expansion in the theatre is featured in Milestones in Queer US Theatre and The Methuen Drama Book of Trans Plays, Volume 3: Young Adult Edition. I also offer my Nonbinary Acting Methods workshop series, which began Spring 2022, supported in part by a City of Boston Mayor's Office of Arts and Culture Grant as I develop my book, Fractals: Nonbinary Acting Methods. I am a first-generation college graduate, the child of the greatest fireman to have ever lived and a lawyer who never needed a law degree, the middle child between two sisters, and a juggler.

Jo Michael Rezes delivers the standout performance of the production. Their singing, acting, and prop work are exceptional. They thoroughly chew each scene at least 10 times before swallowing. If you choke on it, it’s your own fault.”

 

Kitty Drexel, New England Theatre Geek

"...every word, gesture and movement were right on target, perfectly timed and delivered for maximum effect, full of emotion, passion and humor. The success of the whole show was riding on...cardigan-clad shoulders, and [Rezes] came through magnificently.'

 

Rick Epstein, NJ.com

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"...Rezes plays the young [person] with gender identity struggles and [their] utter sincerity playing this scene makes them a standout in the play."

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J. Peter Bergman, The Berkshire Edge

"Trauma is the driving force behind Orlok’s actions throughout the play...These remarks are the Count’s twisted attempt at seduction, but Jo Michael Rezes injects them with sympathetic vulnerability."

Chloe Hyman, HowlRound Theatre Commons

CONTACT

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jmrezes@gmail.com

(908) 752-5475

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© 2026 by JO MICHAEL REZES

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