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I come from a long line of accessible educators and researchers and thus, connection, expression, and communication are my greatest passions. Theatre and accessible education are inextricably bound to one another through a common purpose. Theatre skills at their core are the practices of connection, expression and communication. Drama is inherently student-centered and accessible; for example, explorations using story, creative, and process dramas invite all participants to not only see themselves in the worlds that they are playing in, but to also make sense of the world at large.

When building a learning community, my focus is on each individual student and what they bring to the table. As a constructivist educator, I am passionate about weaving different threads together to develop a creative, bold, and robust classroom, which is guided by student ideas, contributions, and each individual's diverse abilities. In my pedagogy, I am constantly grappling with how theory entwines into practice as I bring young people together to explore, experiment, and engage. 

Areas of Focus: 

Accesible Education 

Critically Oriented Drama Education 

Theatre for the Very Young 

Arts Based Civic Dialogue

Theatre for Young Audiences 

Arts Integration 

Sensory-Rich Educational Experiences to Make Learning Personal

Work Samples

Feminist Theatre, Playwriting, and Laura Gunderson's "The Revolutionists"

High School Commedia Unit Plan

Therapeutic Drama Camp for Neurodivergent Secondary Students

(Made in Collaboration with Sofia Lindgren Galloway) 

High School Stage Management DBP Lesson 

(Made in Collaboration with Kylie Flectcher and Erin Maitland)

Middle School Devised Theatre Residency Map

Matilda: The Musical

TYA Wrap Around Programming 

(Made in Collaboration with Sofia Lindgren Galloway and Erik Lane for Wheelock Family Theatre)

Young white woman with dark hair and a black shirt standing above young boy playing with paint
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