Other Theatres: Guthrie Theater: Roxanne, Cyrano de Bergerac; Marina/Antiochus’ Daughter, Pericles; Oregon Shakespeare Festival - 5 seasons: Rosaline, Love’s Labour’s Lost; Belle, Disney’s Beauty and the Beast; Ophelia, Hamlet; Cinderella, Into the Woods; Polly Potter, The Cocoanuts; Octavia, Antony and Cleopatra; Folger Theatre, Marina, Pericles; Chicago Shakespeare Theater, Princess of France, Love’s Labour’s Lost; Music Theatre Wichita, Lady of the Lake, Spamalot; Spinning Tree Theatre: McQueen, Ain’t’; Player 1, Shipwrecked!; Kansas City Repertory Theatre: Urchin, Audrey u/s, Little Shop of Horrors; Player/Catherine u/s, Pippin; Coterie Theatre: Gertrude McFuzz, Seussical the Musical; Andrea Devereaux, Once On This Island; American Heartland Theatre, Christine Scott, Murder by the Book

Off-Broadway: New Victory Theater, Serena, Lucky Duck

Training: Bachelor of Fine Arts in Theatre Arts, Stephens College

Member, Actors’ Equity Association

Teaching Philosophy 

Sandford Meisner said that the art of acting “is the ability to behave absolutely truthfully under the imaginary circumstances.” That might sound like a simple task in theory but in practice, it proves to be quite the challenge! This challenge is one I’m delighted to undertake with students as an Acting I teacher. 

Among many other things, the craft of acting requires great empathy, vulnerability, curiosity about oneself and one’s surroundings, keen observational skills, and a great deal of listening. In this course, students will work to develop and hone these very necessary skills through a variety of exercises, text work, and creative exploration, as well as both individual and partnered scene work. Students will work towards mastery of their unique physical and emotional capabilities as well as learn how to establish trust and a working vocabulary with their fellow classmates and scene partners. This work will provide the students with the necessary tools to learn how to craft an acting process that will allow them to create fully-realized characters on stage in a way that is not only repeatable, but physically and emotionally safe. 

This business of learning how to live truthfully in imaginary circumstances can often be trying and sometimes quite frustrating, but in my opinion, it should never feel burdensome, demeaning, or discouraging to those who dare to undertake this noble task. At the end of the day, learning how to become adept storytellers is a process of self-discovery I feel should always be filled with freedom and joy at its heart. It’s my personal belief that every student has within them the means to realize their artistic potential, and it’s my job--and utter delight-- as an instructor to provide them with a safe, encouraging, and positive environment that will allow them to do just that. Let’s play!