I have worked with young people from 4 to 25 years old, but I have the most experience (and most fun) working with students in grades K-5. My teaching is always centered on process over product, making sure children are growing artistically through the process of engaging in drama education, rather than trying to create a compelling production. My teaching is informed by the principles of Universal Design for Learning, determining the content and process of my classroom based on the abilities, experiences, and interests of the learners in the room.

I have used a wide variety of sources for my teaching: existing theatrical texts, children's literature, and enduring knowledge concepts.

Where I've Taught

Mayer Arts

Lead Teaching Artist

Lyric Arts

Lead Teaching Artist

Ashland Collaborate Theatre

Youth Director/Lead Teaching Artist

Children's Theatre of Madison

Lead Teaching Artist

Autism Society of Minnesota

Hand in Hand Camp Counselor

Steppingstone Theatre

Education Intern

Light Opera Works

Summer Workshop Counselor

Photos of a classroom set-up for a drama camp with the theme "Around the World"


Courses Taught 

Drama For Teaching and Learning

(Archival Images)

Introduction to Theatre and Dramatic Literature

The Tales of Hans Christian Andersen

Introduction to Folklore

My undergraduate teaching is based on the following principles:

  • Universal Design for Learning - what and how I teach is based on a deep understanding of who my students are

  • Everyone can write - all students are served by learning how to communicate their ideas well and all students can write well when they understand the needs of their audience

  • Building metacognition through reflection - students are asked to reflect often on their work to learn how to think about their own learning process

  • Kata - In her book The Director Prepares, Anne Bogart discusses the Japanese concept of kata, engaging in a repeatable, prescribed set of motions in order to let the mind engage in deeper thinking. Bogart compares kata to the work of theatre directors, setting elements of theatre which are less important to the artistic experience (such as where the actor moves) so that in the moment of performance the actor can focus on the more important elements (such as how their character feels). I apply this same notion to teaching: Many of my assignments have a set form and repeat multiple times throughout the semester, which allows students to focus on the deep work of reflecting on class content rather than becoming stuck on the minutiae of formatting.

  • Embodied learning - all content is learned better when it is paired with bodily/sensory engagement and practical application.

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