KRISTI DANA

KRISTI.DANA@GMAIL.COM


EDUCATION
Brooklyn College, CUNY, Brooklyn, NY; G.P.A. 4.0
M.F.A. in Acting, May 2012
Thesis Topic: The Role of Annie in In the Next Room or the vibrator play by Sarah Ruhl; Advisor:
Professor Judylee Vivier

Emerson College, Boston, MA; G.P.A. 4.0
M.A. in Theatre Education, August 2010
Thesis Topic: Asian Influence on American Theatre Training and Performance: Evolution and
Contemporary Results; Committee: Professor Jacqueline Romeo (chair), Professor Tom Kingdon
(reader)

Pennsylvania State University, University Park, PA; G.P.A. 3.8
B.A. Theatre Arts, Minor Media Studies, May 2001

TEACHING
Long Island University, Post, BFA Acting Program, Adjunct Associate Professor
Beginning Voice, Fall 2014
Introduced students to the anatomy and physiology of breathing, breath support and vocal production
Taught the basics of vocal health and wellness
Guided students in developing greater awareness of the breath
Taught students how to support the breath based on the demands of the text
Assisted students towards an understanding of how to connect the breath to impulse, emotion, and action
Taught a logical and sequential vocal warm-up developed by voice practitioner Chuck Jones, founded in the
work of Kristin Linklater
Introduced methods to release tension and eliminate psychophysical blocks in order to access the breath,
listen and respond organically and in the moment, support the voice with the breath, open the throat and
speak on full, resonant sound, all working towards accessing his or her authentic voice
Incorporated methods and insights from Patsy Rodenburgs The Right to Speak
Guided students to build self-awareness and an understanding of habits in order to make psychophysical
adjustments and assisted them in developing an impulsive, responsive instrument in tandem with production
of a free and resonant sound
Assisted students with proper alignment, direction and economy of motionconcepts of Alexander work
were applied
Taught the International Phonetic Alphabet (IPA), including proper vowel, consonant, diphthong and
triphthong placement with a General American dialect using Edith Skinners Speak with Distinction
Guided students through a comprehensive diction warm-up in order to build muscularity and dexterity in the
articulators
Guided students towards speaking with greater clarity, intention and efficiency and helping them understand
how to own text
Met with students for individual tutorials in order to first assess issues and later to measure progress

The College of Staten Island, CUNY, Adjunct Assistant Professor
Voice and Diction for Performance and Communication, Fall 2013
Introduced students to the anatomy and physiology of breathing, breath support and vocal production
Taught the basics of vocal health and wellness
Guided students in developing greater awareness of the breath
Taught students how to support the breath based on the demands of the text
Assisted students towards an understanding of how to connect the breath to impulse, emotion, and action
Taught a logical and sequential vocal warm-up developed by voice practitioner Chuck Jones, founded in the
work of Kristin Linklater

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Introduced methods to release tension and eliminate psychophysical blocks in order to access the breath,
listen and respond organically and in the moment, support the voice with the breath, open the throat and
speak on full, resonant sound, all working towards accessing his or her authentic voice
Incorporated methods and insights from Patsy Rodenburgs The Right to Speak
Guided students to build self-awareness and an understanding of habits in order to make psychophysical
adjustments and assisted them in developing an impulsive, responsive instrument in tandem with production
of a free and resonant sound
Assisted students with proper alignment, direction and economy of motionconcepts of Alexander work
were applied
Taught the International Phonetic Alphabet (IPA), including proper vowel, consonant, diphthong and
triphthong placement with a General American dialect using Edith Skinners Speak with Distinction
Guided students through a comprehensive diction warm-up in order to build muscularity and dexterity in the
articulators
Guided students towards speaking with greater clarity, intention and efficiency, helping them understand how
to own text
Met with students outside of class time for individual tutorials in order to first assess issues and later to
measure progress

The American Academy of Dramatic Arts, Instructor
Voice and Speech I, Fall 2013, Spring 2014, Fall 2014
Introduced students to the anatomy and physiology of breathing, breath support and vocal production
Taught the basics of vocal health and wellness
Guided students in developing greater awareness of the breath
Taught students how to support the breath based on the demands of the text
Assisted students towards an understanding of how to connect the breath to impulse, emotion, and action
Taught a logical and sequential vocal warm-up developed by voice practitioner Chuck Jones, founded in the
work of Kristin Linklater
Introduced methods to release tension and eliminate psychophysical blocks in order to access the breath,
listen and respond organically and in the moment, support the voice with the breath, open the throat and
speak on full, resonant sound, all working towards accessing his or her authentic voice
Incorporated methods and insights from Patsy Rodenburgs The Right to Speak
Guided students to build self-awareness and an understanding of habits in order to make psychophysical
adjustments and assisted them in developing an impulsive, responsive instrument in tandem with production
of a free and resonant sound
Assisted students with proper alignment, direction and economy of motionconcepts of Alexander work
were applied
Taught the International Phonetic Alphabet (IPA), including proper vowel, consonant, diphthong and
triphthong placement with a General American dialect using Edith Skinners Speak with Distinction
Guided students through a comprehensive diction warm-up in order to build muscularity and dexterity in the
articulators
Guided students towards speaking with greater clarity, intention and efficiency and helping them understand
how to own text
Met with students for individual tutorials in order to first assess issues and later to measure progress

Voice and Speech II Sound & Sense, Spring 2014
Reinforced voice and speech training from 1
st
term including accessing the breath, speaking on support, full
vibration and the basics of IPA and the General American Dialect
Introduced students to oral interpretation of heightened text including the use of phrasing, operative words,
and stylistic devices
Taught students the rules for vowel lengths in the General American Dialect and encouraged students to live
in sounds and allow language to work on them
Guided students through exercises from the Michael Chekhov Technique to assist in getting the language in
their bodies and, in turn, allowing for more expressivity in the voice


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Brooklyn College, CUNY, Adjunct Instructor
Introduction to Theatre, STAR Early College High School at Brooklyn College, Spring 2013, Fall 2013, Spring 2014
Introduced select High School Juniors and Seniors to the art and practice of theatre
Taught student all elements of theatre, the responsibilities of each collaborator and the necessity of
collaboration in the theatre
Developed a curriculum based on collaboration and community, asking the students at the end of the
semester to take on the roles of actors, directors and designers
Taught students how to analyze a play and understand dramatic structure
Guided students towards viewing, discussing and writing about theatre analytically, requiring that students
view Brooklyn College productions
Exposed students to select guest artists from the MFA Acting, Design and Directing Programs and provided
them with tours of theatres and facilities

Brooklyn College, CUNY, Teaching Fellow
Acting Workshop 1&2 (Scene Study), Fall 2011
Taught character building and development using script analysis and Laban technique
Emphasized playable actions and tacticsconcepts from A Practical Handbook for the Actor were applied
Required that students do an in-depth analysis of each play, fully understanding the given circumstances
Guided students through listening exercises
Assisted students in finding truth under imaginary circumstances, often using personalization as a way in
Encouraged students to use their bodies and own the space, helping them to find more confidence
Used a comprehensive vocal warm-up, based on the sequence of Chuck Jones, to help students work in a
more released state
Guided students work through two contemporary scenes
Emphasized the importance of clear choices while remaining in an improvisatory state

Introduction to Acting, Spring 2012
Through ensemble building, built a safe atmosphere based on trust, without fear of judgmenttechniques
from Anne Bogarts Viewpoints were explored
Used a comprehensive vocal warm-up, based on the sequence of Chuck Jones, to help students work in a
more released state
Guided students through activities based on the Image and Improvisation concepts of Michael Chekhov
Taught techniques from Uta Hagens Respect for Acting to solidify basic acting challenges
Concepts from A Practical Handbook for the Actor were applied to improvisations, monologues and scenes
Applied both psychological and physical approaches to the creation of characterthe techniques of
Konstantin Stanislavski, Stella Adler and Rudolf Laban were utilized
Students were encouraged to take risks and build self-confidence in working in front of othersstudents
were consistently prompted to see how this could affect all aspects of their lives

Larry Singer Summer Conservatory
Interim Teacher, Voice for the Actor (Undergraduate and Post-Graduate students), Summer 2014
Taught a logical and sequential vocal warm-up developed by voice practitioner Chuck Jones, founded in the
work of Kristin Linklater
Introduced methods to release tension and eliminate psychophysical blocks in order to access the breath,
listen and respond organically and in the moment, support the voice with the breath, open the throat and
speak on full, resonant sound, all working towards accessing his or her authentic voice
Guided students to build self-awareness and an understanding of habits in order to make psychophysical
adjustments and assisted them in developing an impulsive, responsive instrument in tandem with production
of a free and resonant sound

School of Creative and Performing Arts (SOCAPA)
Voice and Speech, Acting Technique, Ensemble Building, On-Camera Audition Technique, Scene Study, Shakespeare, Laban Character
Building, Showcase Preparation (ages 13-18), Summer 2011-2014

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Guided students through a comprehensive vocal warm-up based on the sequence of Chuck Jones, including a
diction section
Assisted students in finding ways to release tension, connect to the breath and discover awareness of the
body and habits
Taught students the importance of objective, tactics, making clear and bold choices, and point-of-view
Led students through activities based on the concepts of Viewpoints to build trust, acceptance and ensemble
Guided students through activities based on the Image and Improvisation concepts of Michael Chekhov
Taught audition techniques for television, film and commercials and helped students build confidence in the
transition from stage to screen
Emphasized script analysis techniques and guided students through scene work
Taught students Laban Movement Dynamics and outside-in character building
Handpicked scenes to highlight students abilities and directed scenes for their final showcases

Acting Out!, Brooklyn, NY
Acting Technique, Breakthrough Class (ages 11-12), Fall 2013 Spring 2014
Used Viewpoints and other Ensemble building exercises to build trust and breakdown barriers
Taught Improvisation exercises to promote spontaneity and creativity
Guided students through activities based on the Image and Improvisation concepts of Michael Chekhov
Incorporated many acting techniques and constantly urged students to break down the walls of the pre-teen
years
Used voice and speech work to help students push beyond watching the self and move towards an open and
vulnerable state in the work
Prepared students who will audition for performing arts high schools

Lights, Camera, Action! (ages 9-14), Fall 2013
Helped students gain confidence slating and being in front of the camera
Taught students audition technique for Commercials, TV and Film, including opportunities to receive and
take adjustments
Helped students transition from the medium of stage to screen
Guided students in writing and shooting their own 2-minute TV scenes Sci-Fi/Fantasy, Single Camera
Comedy and Crime Dramas were explored
Using devised work, guided students in the creative process of creating and filming an original screenplay

On-Camera Technique (ages 9 and up), August 2013
Helped students gain confidence slating and being in front of the camera
Taught students audition technique for Commercials, TV and Film, including opportunities to receive and
take adjustments
Helped students transition from the medium of stage to screen

Private Monologue Coaching (ages 10-13), October 2012 January 2014
Coached students in preparation for Middle and High School Drama Program auditions
Guided students through warm-ups to allow for greater freedom of expression and play
Taught the basics of technique including objective, tactics, beats to help students gain greater specificity
Assisted with voice, diction and movement and guided students towards a deeper psychophysical connection

Substitute, Acting Technique (ages 13-18; adults), April 2013; November 2013
Reviewed psychological, inside-out character analysis techniques
Guided students through an exploration of outside-in character work using Laban movement technique
Asked students to write and act a line of text corresponding to a chosen portrait, incorporating the Laban
effort/actions in order to build a character
Students were able to identify and physicalize Laban dynamics and effort/actions and discover a character's
qualities utilizing Laban movement
Led improvisation exercises to help students build spontaneity and trust


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The Proprietors Theatre Company
Young Proprietors Acting Workshop (ages 11-18), May 2013
Through ensemble building, built a safe atmosphere based on trust, without fear of judgmenttechniques
from Anne Bogarts Viewpoints were explored
Guided students through a vocal warm-up, based on the sequence of Chuck Jones, to help students work in a
more released state
Guided students through exercises emphasizing listening, being in the moment and working off of impulse
Taught the basics of script analysis
Guided students through an exploration of outside-in character work using Laban movement technique
Asked students to write and act a line of text corresponding to a chosen portrait, incorporating the Laban
effort/actions in order to build a character

T. Schreiber Studio and Theatre, Youth Conservatory Instructor
Voice for the Actor (ages 14-18), Spring 2013
Taught students the basic anatomy of the voice
Guided students through a comprehensive vocal warm-up based on the sequence of Chuck Jones, including a
diction section
Assisted students in finding ways to release tension, connect to the breath and discover awareness of the
body and habits
Introduced students to the concept of vocal honesty and led discussions regarding common actor challenges
Guided students through the basic concepts of the Alexander Technique and incorporated these into the
vocal warm-up and further exercises to release the back-body
Led students through explorations of sound on full vibration and muscularity of language using heightened
text

Bishop Connolly High School, Fall River, MA
Using Laban to Create Character (grades 10-12), April 2010
Created a lesson plan using the Understanding by Design structure
Co-taught a one-day workshop to the Introduction to Theatre class
Emphasis on character-building stemming from physicalization
Asked students to write and act a line of text corresponding to a chosen portrait, incorporating the Laban
effort/actions in order to build a character
Students were able to identify and physicalize Laban dynamics and effort/actions and discover a character's
qualities utilizing Laban movement

Boston Childrens Theatre, Boston, MA
Character Movement Workshop (ages 13-18), April 2009
Taught a one-day intensive using Laban movement techniques to emphasize character-building stemming
from physicalization
Led an extensive warm up and introduced the concept of tableau building
Guided students through various exercises to help them form a basic understanding of taking up and owning
space on stage

Kentucky Classical Theatre Conservatory, Lexington, KY
Scene Study: Contemporary and Shakespeare (ages 13-18), Summer 2008
Taught and in-depth 3-week scene study class focusing on scenes from A.R. Gurneys What I Did Last Summer
and Shakespeares As You Like It
Contemporary: taught script analysis including the understanding of beats, actions/objectives and tactics
Shakespeare: focused on using and owning the language, incorporating literary elements

TVI Actors Studio, New York, NY
The Business of Acting; Commercial Audition Preparation, 2004-2008
Sole representative of TVI Actors Studio at the 2008 Southeastern Theatre Conference (SETC)

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taught Business of Acting and Commercial Preparation to hundreds of students
Co-taught Business of Acting and Commercial Preparation at the Kennedy Center American College Theatre
Festival (KCACTF)
Taught Business of Acting at TVI, NY to Summer Program college students, parents of the Youth National
Actors Intensive (YNAI) and to adults from all over the world attending the National Actors Intensive (NAI)

CERTIFICATIONS IN PROGRESS
Miller Voice Method (mVm), Scott Miller
Fall 2014 Teaching Assistant Michael Chekhov Studios

Michael Chekhov Technique Michael Chekhov Association (MICHA)
2014 Teacher Training The Dynamics of Space in Relation to Full Body January 2-5, 2014; Ted Pugh,
Fern Sloan
2014 International Michael Chekhov Workshop & Festival June 29-July 5, 2014; Joanna Merlin, Ted Pugh,
Fern Sloan, David Zinder, John McManus

Alba Method for Emotions (Teachers: Rocco Dal Vera and Anne Schilling) Certification Level 1
2014 30-hour Training Course June 16-27, 2014

PROFESSIONAL COACHING
Vocal/Text Coach, Liz Lerman LLC
Healing Wars, presented at Montclair State Universitys Alexander Kasser Theater, created and directed by Liz Lerman, Fall 2014
Privately coached 3 professional dancers and 1 war veteran, working on projection, resonance, clarity and
vocal expressivity with specific focus on heightened language
Provided notes and feedback in rehearsal
Attended dress rehearsal and provided notes and feedback

Vocal Coach, Soho Rep
Marie Antoinette by David Adjmi, directed by Rebecca Taichman, Fall 2013
Privately coached the child actor (role of the Dauphin), focusing specifically on greater breath support in
order to project more fully and find a fuller, more resonant sound
Guided the child actor through vocal warm-ups and exercises with the text in order to marry the breath,
emotion, and intention
Attended numerous rehearsals and provided the actor, her wrangler and parents with notes
Attended tech rehearsals and assisted the actor with the transition from rehearsal space to stage
Per the request of director, took notes for other actors during technical rehearsal and for all actors during the
first preview
Per the request of the director, spoke to the entire cast twice in regards to dead spaces in the theatre, staying
on support, using clear articulation and pushing through to the ends of thoughts in order to be understood in
a deceiving space due to its seemingly intimate relationship with the audience

Production Vocal and Text Coach, The College of Staten Island, CUNY
A Streetcar Named Desire by Tennessee Williams, directed by Professor Maurya Wickstrom, Spring 2014
Ran a vocal rehearsal, providing the cast with a short and comprehensive voice and diction warm-up and
assisted them with complicated thoughts in their text
Provided multiple individual tutorials with every cast member, guiding them individually based on the needs
and demands of the text
Attended numerous rehearsals, taking notes and providing suggestions on greater breath support, clarity with
the text, and diction

Production Vocal and Text Coach, The College of Staten Island, CUNY
Arms and the Man by George Bernard Shaw, directed by Professor Lee Papa, Fall 2013
Attended the first read through and assessed the voice and diction of each cast member

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Ran a vocal rehearsal, providing the cast with a short and comprehensive voice and diction warm-up, guiding
them through the basic sounds of the General American Dialect and assisting them with complicated
thoughts in their text
Provided individual tutorials with every cast member, guiding them individually based on their needs and
demands of the text
Attended numerous rehearsals, taking notes and providing suggestions on greater breath support, clarity with
the text, diction and assistance with the General American Dialect
Attended technical rehearsals and provided notes for the actors

New York Shakespeare ExchangeSonnet Project
Shakespeare Text Coach, April 2013
Guided actor through a personal coaching session on Shakespeares sonnet #38
Assisted the actor with sonnet structure including operative words, antithesis and moving through thoughts
Assisted the actor in finding ways to personalize and activate the material
Worked with the actor during the project to remain clear in intention and grounded in the process

Private Coaching Voice & Speech for the Actor
Private Vocal Coach, Voice and Speech; General American Dialect, Spring 2013-Present
Evaluated student needs and concerns via discussion
Met with and guided student through a detailed relaxation exercise
Guided students through the Chuck Jones warm-up, helping them to understand the connection between
tension, access to the breath and vulnerability
Answered student questions post-session and offered suggestions on how and when to continue the warm-up
until the next session
Assisted students with vowel and consonant placement, helping the students to understand trouble sounds
Guided students through the General American Dialect and IPA work

TVI Actors Studio, New York, NY
Career Consultant - TVI provides actors with a center to focus on the business in addition to receiving acting training with industry
professionals, 2004-2008
Assisted beginner actors in enrolling in courses to help them acquire basic acting skills
Auditioned all clients with experience and built an appropriate curriculum to match their needs
Held extensive goal setting meetings with clients and checked in regularly to follow up on
their progress
Worked closely with clients on choosing headshots, resume perfection and cover letter
writing
Assisted clients in understanding the basics of the industry including:
O How and when to obtain agent representation
O How to contact casting directors and appropriate follow up
O How to find and what to prepare for auditions
O The details of joining actors unions

CONFERENCES
Voice and Speech Trainers Association (VASTA), 2013
Co-authored and presented the paper Personal and Vocal Journey: Chuck Jones with Professor Judylee Vivier,
Head of MFA Acting, Brooklyn College, CUNY

Voice and Speech Trainers Association (VASTA), 2015
Assistant Conference PlannerAssistant to Professor Pamela Prather, SUNY Purchase, Director of Annual
Conferences.

PUBLICATIONS IN PROGRESS
The Voice and Speech Review

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The Value of Mentorship: Personal Journeys Inspired by the Teaching Philosophy of Chuck Jones, co-authored
with Professor Judylee Vivieressay submission request by the Editor-in-Chief of the Voice & Speech Review at the
2013 VASTA Conference. Publication date TBD.

AWARDS & GRANTS
Membership Enrichment Grant (MEG II), VASTA, Awarded Fall 2014 To act as Host to Voice Practitioner Marya
Lowry - 2-day Roy Hart Voicework Intensive at Brooklyn College, CUNY, January 24 & 25, 2015

Brooklyn College, CUNY Teaching Fellowship, 2011-2012

PROFESSIONAL DEVELOPMENT
Miller Voice Method - mVm is an acting technique by way of breath and voice. It is athletic, kinesthetic and integrative in focus.
Assisted in organization of Intensive Weekend Workshop with Scott Miller, Professor, NYU MFA Acting,
held at Brooklyn College, CUNY, January 2014
Attended a 6-week course taught by Scott Miller April May, 2014

Roy Hart Extended Voice Work Marya Lowry, Professor, Brandeis University
Attended a 1-night workshop, hosted by the Michael Chekhov Association (MICHA) International
Workshop

Physical Voice in the Moving Body - Patricia Bardi
Attended a weekend workshop, hosted by Brooklyn College, CUNY April, 2014

ARTISTIC DIRECTING/PRODUCING
Producing Artistic Director, The Proprietors Theatre Company, Hudson, NY, April 2012-July 2013
Formed the Proprietors Theatre Company in response to artistic growth of hometown community
Accepted as a member of Fractured Atlas, a non-profit arts service organization
Created the mission to focus on works of women playwrights, classical theatre and offer youth theatre
education
Promoted the companys launch at Hudson Pride Weekend, 2012
Created and published company website
Purchased rights and organized a staged reading and launch party at Basilica Hudson, the premiere events
venue in Hudson, NY
Worked with a graphic designer to create promotional materials for the staged reading/launch party
Organized, with the assistance of Associate Producer, all aspects of the staged reading/launch party including
marketing, promotion, event planning, rehearsals and overall vision for the evening
Raised $1400 for the company via a Kickstarter Campaign
Organized and Co-Taught the Young Proprietors Acting Workshop (ages 13-18)
Planned and produced The Proprietors first full professional production - This by Melissa James Gibson in
July 2013
O Worked with a graphic designer to create promotional materials for the staged reading/launch party
O Organized numerous aspects of the staged reading/launch party including marketing, promotion,
event planning, rehearsals, props, housing, travel and overall vision for the evening
O Hired the director, assistant director/stage manager, designer, and worked with the director to cast
the show
O Paired with four Hudson antique stores and featured their merchandise as part of the set

DIRECTING
Emerson College, Boston, MA
Assistant Director, Into the Woods, Spring 2010
Assistant Director to Professor Scott LaFeber, accomplished director and former Broadway actor

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A main stage musical, Into the Woods was presented at Emersons Cutler Majestic Theatre, a 19
th
Century
Broadway style theatre that seats 1,200
Recorded extensive rehearsal notes and assisted the Director with notes during final runs

Kentucky Classical Theatre Conservatory, Lexington, KY
As You Like It, Summer 2008
Directed 15 students in an outdoor production at Thoroughbred Park in downtown Lexington
Directed the students using two portions of the park, asking the audience to travel with them from the Duke
Fredericks Court to the Forest of Arden
Employed dual casting for the roles of Rosalind and Celiathe characters transformed upon entering the
Forest

AUDITION READER
One Life to Live, New York, NY, 2007-2008
Hired as a reader by the Assistant Casting Director
Reader for multiple Casting Director sessions and a major Producers session

SERVICE
Host and Moderator, Bronx Early College Academy (BECA)/August Wilson Program Visit to Brooklyn College, Fall
2013
Chosen by the Dean, School of Visual, Media & Performing Arts to act as both a host and moderator for
BECAs visit to Brooklyn College
Guided students through tours of the Whitman Stage and the New Workshop Theatre, offering them insights
into the Brooklyn College Theater Program
Acted as the moderator and facilitated an active conversation about the training and life of a theatre artist
between students and Brooklyn College Theater MFA and BFA students

Host and Moderator, Fordham Arts, Brooklyn Theatre Arts, & Brooklyn School for Music and Theatre Visit to
Brooklyn College, Spring 2014
Chosen by the Dean, School of Visual, Media & Performing Arts to act as both a host and moderator for
Fordham Arts, Brooklyn Theatre Arts, & Brooklyn School for Music and Theatres visit to Brooklyn College
Guided students through tours of the Whitman Stage and the New Workshop Theatre, offering them insights
into the Brooklyn College Theater Program
Acted as the moderator and facilitated an active conversation about the training and life of a theatre artist
between students and Brooklyn College Theater MFA and BFA students

Co-organizer and Performer, Uniting STAR Early College and the Brooklyn College Theater Department, Fall 2013
Co-organized a staged reading of God of Carnage by Yasmina Reza for the STAR Early College High School
Program at Brooklyn College
Coordinated with fellow Intro. to Theatre Professor to unite the STAR program and the Theatre program
Recruited two MFA Acting students to be in the cast via the Artistic Director of the Brooklyn College
Theater Department
Coordinated and participated in rehearsal and Staged Reading for STAR students during class time as a way
to expose students who have little access to live theatre

President, Graduate Theater Organization (GTO), Brooklyn College, September 2011 May 2012
Awarded the Most Active Club by the Graduate Student Organization under personal leadership
Responsible for organizing and orchestrating the Brooklyn College Theater Department 2012 Awards
Ceremony150 attendees
o Oversaw and delegated on all aspects including catering, awards, design displays, decorations, order
of events, script and volunteers
o Liaison to the Alfred Drake Awards Recipient, playwright and Tony nominee Sarah Ruhl

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o Wrote and received a grant from the Brooklyn College Graduate Student Organization for $750
towards the ceremony
Wrote and received a grant from the Brooklyn College Graduate Student Organization for $1000 towards the
2012 MFA Actors Industry Showcasefunds were used to pay for the theatre space
Co-organized the MA/GTO Colloquium: Navigating Professional Theater: Your Map to Success and acted
as moderator for the panel on theatre unions
Organized and oversaw all opening night receptions
Organized and facilitated all club meetings

Co-Secretary, Graduate Theater Organization (GTO), Brooklyn College, September 2010 May 2011
Recorded and distributed minutes for meetings
Assisted in the coordination and execution of Brooklyn College Theatre opening night receptions and in the
Closing Reception for the Gershwin Theatre
Organized and co-taught a business of acting workshop for theater students

PROFESSIONAL AFFILIATIONS
Member of Voice and Speech Trainers Association (VASTA), 2013-Present
Member of Actors Equity Association (AEA), 2006-Present
Member of American Federation of Television and Radio Artists (AFTRA), 2005-Present
Member of Screen Actors Guild American Federation of Television and Radio Artists (SAG-AFTRA), 2012-Present

APPRENTICESHIPS
Actors Theatre of Louisville Acting Apprenticeship, 2001-2002
Berkshire Theatre Festival Acting Apprenticeship, Summer 2001

INTERNSHIPS
Bowling/Miscia/Lubbe Casting, Summer 2007
Acted as liaison between talent agencies and casting in order to facilitate the audition process;
organized submissions, maintained files, coordinated sessions and assisted in running auditions

ACTING AEA; SAG-AFTRA

NEW YORK THEATRE
Four Edges Palmer The Culture Project (workshop & staged reading)
Memoriam Hannah Resonance Ensemble (staged reading)
The is Not the End Cal Upstream Artists Collective (staged reading)
Armor of Wills Beth The Beggars Group/Horse Trade
Sagittarius Ponderosa Mom Upstream Artists Collective (staged reading)
Death Comes for the Therapist Jeanine Vital Theatre Co. (Vital Signs Festival)
KtP Alicia Stages 5150
Dog Lovers Missy Manhattan Comedy Collective
As Angels Watch Mary Rebel Theatre Co. (staged reading)
REGIONAL THEATRE
Snapshot: Thrift of the Magi Tina Actors Theatre of Louisville (Humana)
Goodnight Desdemona Juliet Actors Theatre of Louisville
A Christmas Carol Fezziwig Guest Actors Theatre of Louisville
The Processional Fay Actors Theatre of Louisville
Anton in Show Business Lisabette Dreamcatcher Repertory Theatre
Alice in Wonderland Queen of Hearts Berkshire Theatre Festival
Just So Stories Zebra/Crocodile Berkshire Theatre Festival
Or, Aphra Behn The Proprietors Theatre Company (staged reading)
UNIVERSITY THEATRE
A Bright Room Called Day Agnes Eggling Brooklyn College
Julius Caesar Cassius Brooklyn College

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In the Next Room or the vibrator play Annie Brooklyn College
Household Accounts (by Bill C. Davis) Barbara Brooklyn College (Playwright in Res. staged reading)
Vendetta Chrome Mrs. Bosworth Emerson Stage
Show and Tell Gail Penn State University
A Midsummer Nights Dream Hippolyta Penn State - Shakespeare at the Palmer
TELEVISION/FILM
All My Children U/5 (multiple) ABC
The Sonnet Project (Sonnet #71) Principal New York Shakespeare Exchange
Hike Principal CCNY Graduate Film
TRAINING
Brooklyn College, CUNY, MFA Acting, 2012
Acting
Voice
Diction/Dialects
Alexander Technique
Michael Chekhov
Butoh
Stage Combat
Mark Blum, Mary Beth Easley, Jim Jack, Gary Cowling
Judylee Vivier, Francine Zerfas
Charlotte Fleck
Laura Smith
Ragnar Friedank
Ian Wen
Michael Chin
Shakespeare Intensive Andrew Wade
Emerson College, MA Theatre Ed. Robbie McCauley, Maureen Shea, Sarah Hickler
Penn State University, BA Theatre Charles Dumas, Jane Ridley, Dan Carter
Michael Chekhov Association Joanna Merlin, Ted Pugh, Fern Sloan, David Zinder, John McManus
Miller Voice Method Scott Miller
Alba Method for Emotions Rocco Dal Vera, Anne Schilling
2013 VASTA Conference Master Class Andrew Wade, Andrea Haring
Actors Theatre of Louisville Anne Bogart & SITI Co. Viewpoints and Suzuki
Berkshire Theatre Festival E. Grey Simons Suzuki Technique
Deena Levy Theatre Studio, NYC Deena Levy Scene Study
New York Shakespeare Exchange Erik Andrews Michael Chekhov Technique
SPECIAL SKILLS
Dialects: RP, Cockney, Popular London, French, Irish; IPA; Voice and Diction Coach; Basic Pass in Unarmed Combat by the SAFD, 2012;
Whistling; Dance: Tap (15 yrs), Hip-Hop (Intermediate); Yoga (Intermediate); Choir Soprano