PROCESS:
My commitment to storytelling began while growing up in Lansing, Michigan’s robust theatre community, which gave me experience in all aspects of theatre creation onstage and behind the scenes. This experience laid the groundwork for my what I bring to dramaturgy.
Over time, I realized my enjoyment and skill for theatre research and writing: In undergrad at Michigan State University, I spent several years working at Wharton Center for Performing Arts as a Marketing and Communications Intern, where I assisted with the marketing of six Broadway shows per season to college students and local residents. In addition to the marketing and organizational skills I gained from this position, I was also granted
press credentials to watch and write reviews on the touring Broadway productions that came.
In May, I received my Master of Fine Arts in Theatre (Dramaturgy concentration) from Columbia University. In my second year of grad school, an act of personal initiative resulted in me being hired as the Dramaturg for the New York City Center and subsequent Broadway revival of Parade. Working under the instruction of Director Michael Arden, I researched and wrote a 50-page dramaturgy packet that was distributed to the entire cast and creative team, in addition to being present at rehearsals and having my knowledge called on to inform directing, choreographic, costume, and technical elements.
While the entire Parade process was formative, the most valuable lesson I learned from it was, “What matters more than the art you make is how you make it.” This concept prompted the topic of my graduate thesis, which was on the use of inclusive practices in theatre rehearsal processes, specifically in the fields of DEI, intimacy, and accessibility. I consider dramaturgy to be the art of storytelling, and my biggest passion is creating and telling stories that foster empathy and encourage knowledge and acceptance across differences. I’ve experienced firsthand how a piece of theatre can allow for a truly transformative experience of healing and education. However, I believe that to achieve this kind of impact for audiences, the feelings of safety and inclusion must first be genuinely constructed, implemented, and felt in the entire creation process.
PROCESS:
My commitment to storytelling began while growing up in Lansing, Michigan’s robust theatre community, which gave me experience in all aspects of theatre creation onstage and behind the scenes. This experience laid the groundwork for my what I bring to dramaturgy.
Over time, I realized my enjoyment and skill for theatre research and writing: In undergrad at Michigan State University, I spent several years working at Wharton Center for Performing Arts as a Marketing and Communications Intern, where I assisted with the marketing of six Broadway shows per season to college students and local residents. In addition to the marketing and organizational skills I gained from this position, I was also granted press credentials to watch and write reviews on the touring Broadway productions that came.
In May, I received my Master of Fine Arts in Theatre (Dramaturgy concentration) from Columbia University. In my second year of grad school, an act of personal initiative resulted in me being hired as the Dramaturg for the New York City Center and subsequent Broadway revival of Parade. Working under the instruction of Director Michael Arden, I researched and wrote a 50-page dramaturgy packet that was distributed to the entire cast and creative team, in addition to being present at rehearsals and having my knowledge called on to inform directing, choreographic, costume, and technical elements.
While the entire Parade process was formative, the most valuable lesson I learned from it was, “What matters more than the art you make is how you make it.” This concept prompted the topic of my graduate thesis, which was on the use of inclusive practices in theatre rehearsal processes, specifically in the fields of DEI, intimacy, and accessibility. I consider dramaturgy to be the art of storytelling, and my biggest passion is creating and telling stories that foster empathy and encourage knowledge and acceptance across differences. I’ve experienced firsthand how a piece of theatre can allow for a truly transformative experience of healing and education. However, I believe that to achieve this kind of impact for audiences, the feelings of safety and inclusion must first be genuinely constructed, implemented, and felt in the entire creation process.
