Laura Menzie is a Visiting Lecturer in the Department of Theater at Skidmore College. She holds an M.F.A. from the University of Houston and a B.A. in Theater from Clark University. Her certifications include being a Certified member of the Society of American Fight Directors, specializing in unarmed combat, single sword, and rapier/dagger techniques. Education: M.F.A., University of Houston B.A., Clark University Research/Teaching Interests: Laura focuses on Shakespearean performance, theater pedagogy, and collaborative devising practices. She emphasizes reimagining traditional texts and empowering students to engage deeply with dramatic material. Her work spans classical roles (e.g., Juliet, Ophelia) and modern reinterpretations like Modern Chalk Circle , a reworking of The Caucasian Chalk Circle . Awards: No scientific or academic awards explicitly mentioned. Advising & Grants: No formal advisees or grants listed. Her contributions center on teaching and collaborative projects. Labs/Teams: Active in interdisciplinary theater initiatives, including a 2013-2014 collaboration with Icaro Teatro in Querétaro, Mexico, and a year-long devising team for Modern Chalk Circle .
Rachel Anderson-Rabern is Associate Professor of Theatre and Co-Director of the Theatre Program at Franklin & Marshall College, where she also chairs the Department of Theatre & Dance. She holds a PhD from Stanford University and a BA from Reed College. Her creative scholarship investigates ethical, political, and aesthetic dimensions of contemporary theatre-making, with emphasis on playfulness, partnership, and group creativity processes. Her directing portfolio includes productions at Philadelphia Fringe Festival (where her company Three Sheets won the 2022 Best Digital Performance award for Next Chapter ), Pear Avenue Theatre, Stanford Repertory Theatre, and Miracle Theatre Group. Research interests include ensemble creation, gender in artistic leadership, and site-specific performance.
Christine Sivertsen is a College Lecturer in Drama at Queen Maud Memorial College for Early Childhood Education (DMMH), where she has been employed since 2021. She teaches across multiple programs and grade levels, serves as subject coordinator for courses BHFOR3510 and BHKKK2013, acts as class teacher, and coordinates the drama subject group. Previously, she was Editor-in-Chief of DRAMA - Nordic Drama Pedagogical Journal (2019-2022) and has 11 years of experience as an artistic director for secondary school performances. Education University and College Pedagogy 1, DMMH (2022-2023) Master in Aesthetics (Drama and Theatre Communication), OsloMet (2014-2016) Continuing Education in English, OsloMet/Østfold University College (2012-2014) Practical Pedagogical Education, University of Agder (2007-2008) Piano Pedagogy, Music Conservatory in Kristiansand (2006-2008) Bachelor in Music and Drama, University of Agder (2003-2006) Her research examines student participation in performance work and educator roles in artistic school contexts, with expertise spanning drama pedagogy, music pedagogy, devising techniques, and English education. She integrates interdisciplinary approaches from her background in piano performance and theatrical production. Supervision & Dissemination Sivertsen supervises bachelor students and examines practical/written exams at DMMH. She previously mentored PPU students from the University of Oslo and University of Southeast Norway. Her dissemination includes: Course in Stage Production for Ingeråsen School teachers (2020) Drama seminar for Leangen Kulturbarnehage (2022)
Lucy Flournoy is a Teaching Professor in the College for Music and Art at Folkwang University of the Arts, specializing in Physical Theatre , Devising and Play Development , and Kinetics and Body Awareness . She is associated with Faculty 3 and maintains an active presence in performance and education. Email: lucy.flournoy@folkwang-uni.de
Rochi Rampal is a Lecturer and Visiting Tutor in the Department of Theatre at the Royal Birmingham Conservatoire, Birmingham City University. She teaches modules such as Performance, Political Stories, and Community Stories on the BA Applied Theatre course. Her work spans performance, writing, and theatre devising, with a focus on community engagement and interdisciplinary collaboration. Rampal holds a 1st class BA (Hons) in Media and Performance from the University of Salford, and an MA in Scriptwriting for Television & Radio. She has collaborated with organizations such as Upstart Theatre, Pathos München, and Creation Theatre, and her performances have been featured in international festivals and diverse venues like warehouses, parks, and community centers. Her research interests emphasize community-driven storytelling, political narratives in performance, and innovative spatial practices in theatre. While no specific grants or awards are noted, her work prioritizes accessibility and site-specific creativity. No formal student advising or lab affiliations are detailed in the provided text.
Donnie Mather serves as a Lecturer in the Department of Theatre and Performance within Purchase College's Conservatory of Theatre Arts, specializing in physical and collaborative actor training methodologies with over 25 years of professional experience. Educational background: BFA from Western Kentucky University His research centers on Devised Theatre, Physical Theatre, and Actor Training frameworks including Suzuki and Viewpoints. Trained directly under Anne Bogart and SITI Company, his international practice spans Brazil, Chile, Colombia, Germany, Mexico, Puerto Rico, Thailand, and Turkey, informing innovative pedagogical approaches that integrate global performance traditions. Mather's artistic contributions include original productions 'A SHOW OF FORCE' and 'KADDISH (OR THE KEY IN THE WINDOW)' based on Allen Ginsberg's poem. As founder of The Adaptations Project, he develops experimental theatre works while establishing Winwick Studio—an upstate New York artist residency designed to foster cross-disciplinary collaboration. His extensive teaching portfolio includes appointments at Atlantic Acting School, NYU, Columbia, Harvard, Wesleyan, NYCDA, Bard, Fordham, New School, and Marymount. Current initiatives focus on creating sustainable artistic ecosystems through Winwick Studio, which will provide dedicated space for creators to develop new works while advancing his research in embodied performance practices.
Glenn Noble is an Assistant Professor in Theatre at Coventry University, specializing in physical and 'performer-centric' theatre styles. With 17 years of experience in devising and directing professional theatre, he has applied innovative methodologies across educational, professional, and community contexts. Education: M.A. by Research in Drama and Theatre Studies, University of Warwick B.A (Hons) in English and Drama, Liverpool Institute of Higher Education His research interests focus on physical theatre, performer-driven creation, and the application of theatrical techniques in educational and community settings. Selected outputs highlight his expertise in theatre direction, improvisation, and touring performances. Glenn serves as Course Director for the BA Theatre and Professional Practice program, emphasizing practical training and interdisciplinary collaboration.
Sal Trapani is a Professor in the Department of Theatre Arts at Western Connecticut State University's School of Visual, Performing, and Communication Arts. With over 30 years at the institution, he specializes in acting, directing, playmaking with children, devised theatre, and theatre history. His career bridges academia and professional theatre, with works showcased globally. M.F.A. from University of Southern California Member of Stage Directors and Choreographers (SDC) and SAG-AFTRA Research & Creative Interests include immersive theatre, classical adaptations, and multimedia performance. He has directed Shakespearean works like The Tempest and Romeo & Juliet , as well as experimental pieces such as Ubu – An Absurdist Immersive Gran Guignol Musical and The Covid Decameron . His collaborations with students have led to international festival appearances, including Edinburgh's Traverse Theatre and New York Theatre Workshop. Recent Projects include the 2022 production of Mary Zimmerman's Metamorphoses , the trans-themed one-woman show Of Pigs and Pianos (2021), and ongoing work on Milk and Blood – a hip-hop opera based on Aeschylus’ The Libation Bearers . Awards & Recognition : CSU-AAUP Grant Teaching & Production Roles span undergraduate mentorship, New York Showcase coordination, and Edinburgh Fringe Festival participation. His pedagogy integrates performance with classical and contemporary adaptations.
Jeana Scotti is a Lecturer in the School of Theatre and Performance at Purchase College, State University of New York. She is a playwright, producer, and educator with extensive experience in new play development and theatre in non-traditional spaces. She co-founded Ugly Face, a theatre company dedicated to presenting work in alternative venues, and is an affiliated artist with New Georges. Her educational background includes an MFA from Rutgers Mason Gross School of the Arts and a BA in Theatre and Performance from Purchase College. She also teaches playwriting at the Maggie Flanigan Studio and serves as a teaching artist for younger students. Jeana's research and creative interests focus on contemporary playwriting, experimental performance, and inclusive theatre practices. Her work has been developed and presented with prominent organizations such as Clubbed Thumb, Dixon Place, The Tank, Theater for a New City, and Fresh Ground Pepper. She was a member of Clubbed Thumb’s Early Career Writers’ Group and New Perspectives’ Women’s Lab, highlighting her engagement with emerging voices in American theatre. While no formal peer-reviewed publications are listed, her upcoming work A Necessary Killing will be featured in Clubbed Thumb’s Winter Works series, indicating active creative output in the field of contemporary theatre. New Georges Affiliated Artist Member, Clubbed Thumb Early Career Writers’ Group Member, New Perspectives Women’s Lab Jeana Scotti is actively involved in teaching and mentoring through her roles at Purchase College and the Maggie Flanigan Studio. Though no formal graduate advisees are listed, her work as a teaching artist and playwriting instructor demonstrates a strong commitment to education across age groups. She has not received any listed scientific awards or grants, but her affiliations and productions reflect significant professional recognition. She is a co-founder of Ugly Face, a theatre company focused on creating performances in alternative spaces, contributing to innovative and accessible theatre experiences. Her work bridges academic instruction and professional practice in the American theatre landscape.
Ffion Evans is a Senior Lecturer in Drama, Theatre, and Performance at Bangor University's School of Arts, Culture and Language , where she leads the Drama, Film, Media, and Journalism programs. A Professional Theater Director since 2011, she specializes in Contemporary New Plays , Site-Specific Performances , and Theatre for Children and Young People . Fluent in Welsh and English, she bridges academic and professional practice through community collaborations.
Daniel Banks is a Lecturer at the City University of New York (CUNY) School of Professional Studies, serving as an Elective Course Instructor and Thesis Advisor for the MA in Applied Theatre since 2010. He is Co-Founder and Co-Artistic Director of DNAWORKS, a Fort Worth-based arts and service organization focused on dialogue and healing through representation, identity, and heritage projects. Courses: Special Topics: My Monument: A Practicum in Devising for Community Connection and Dialogue Leadership Roles: Board Chair of Transform 1012 N. Main Street (T1012), Director of the Hip Hop Theatre Initiative, Associate Director of Theatre Without Borders, and U.S. Department of Arts and Culture national cabinet member His research and practice emphasize community-driven storytelling, social justice, and interdisciplinary collaborations. Current projects include the Fort Worth Lynching Tour (honoring Fred Rouse), a mixed-media adaptation of Joseph Conrad's The Secret Sharer (2019 MAP Fund Award), and The Real James Bond...Was Dominican with Christopher Rivas. He has directed productions across Africa, Eastern Europe, and South Africa, including August Wilson’s Jitney and Nilo Cruz’s Anna in the Tropics . Scientific Awards: 2020 Theatre Communication Group’s Alan Schneider Director Award Fort Worth Inc. Magazine's 400 Most Influential People (multiple times) Daniel has served as a thesis advisor for CUNY SPS since 2010 and contributed to dramaturgical work with Camille A. Brown and Dancers. He edited the critical anthology Say Word! Voices from Hip Hop Theater and co-edited Casting a Movement: The Welcome Table Initiative with Dr. Claire Syler. Organizations: Co-founded DNAWORKS, leads the Hip Hop Theatre Initiative, and directs the transformation of the former KKK Auditorium into The Fred Rouse Center for Arts and Community Healing.
Carrie Winship is an Associate Professor of Theatre and Dance at Bloomsburg University since 2018. Previously, she served as Visiting Instructor of Theatre at Lycoming College (courses in dramatic literature/theatre history) and worked as a freelance director/dramaturg/stage manager in Columbia, Missouri (2011–2017), collaborating with GreenHouse Theatre Project, Independent Actors Theatre, and others. Her research focuses on women’s voices in theatre, new play development, and pedagogy. Education: Ph.D. in Theatre and Performance Studies (University of Missouri), M.A. in Theatre History (Indiana University), B.A. in Theatre and Sociology (Emory & Henry College) Her work emphasizes interdisciplinary collaboration and new play initiatives, including coordinating the Jane Chambers Student Playwriting Award (2013–2016). She regularly presents at conferences like Association for Theatre in Higher Education and Mid-America Theatre Conference. Awards: 2017 American Theatre and Drama Society Emerging Scholar Award, 2016 KCACTF Directing Fellow, and multiple teaching/award recognitions. Directing credits include Hamlet (GreenHouse Theatre), Dark Creation: The Mary Shelley Project, and academic productions like Stop Kiss (Lycoming College) and Good Kids (University of Missouri). She actively contributes to theatre education and new play development initiatives.
Sarah Hinzman is a Visiting Assistant Professor of Acting and Directing in the Department of Theatre at Nebraska Wesleyan University, located within the College of Arts and Sciences. She holds an M.F.A. in Theatre (Directing) from Florida State University and brings extensive experience as an actor, director, educator, and producer across regional, university, and community theatres nationwide. Education: M.F.A. Theatre, Directing – Florida State University M.S. Adult Learning and Organizational Performance, Leadership and Training & Development – Drake University B.F.A. Music Theatre, Minor in Dance – Viterbo University Sarah's research and artistic interests center on innovative and physical forms of theatre, including Puppetry, Devised Theatre, Physical Theatre, Avant-Garde Theatre, and New Works , complemented by scholarly engagement in Dramaturgy and organizational development. Her teaching philosophy integrates artistic exploration with leadership and community service, evident in her courses such as Script Analysis, Voice for the Stage, and Directing I. While no peer-reviewed articles are listed, her creative output is practice-based, highlighted by her upcoming direction of the 2024–2025 mainstage production Dial M for Murder , reflecting her expertise in classical and contemporary theatre. Her work trends toward narrative innovation, embodiment, and audience engagement through physical and devised performance. Professional Recognition: Consent Forward Artist, Intimacy Directors and Coordinators Shakespeare Short Course Alumni, London Academy of Music and Dramatic Art (LAMDA) Sarah is deeply committed to mentorship and community service. With over a decade in volunteer and community program management, she has focused on inclusion for people with disabilities, mentoring at-risk youth, and elder advocacy. As a two-year AmeriCorps alumnus and Environmental Educator, she champions the idea that art-making is a vital act of service . Though no formal grants are mentioned, her background in grant writing and program administration suggests active engagement in securing support for artistic and educational initiatives. She is affiliated with professional networks emphasizing ethical performance practices and classical training, and she integrates environmentalism and ecology into her service interests. Her lab or creative team involvement is implied through production work and community collaborations, though not explicitly detailed.
Dr. Chandra Owenby Hopkins is the Dean of the Converse College for Women and an Associate Professor of Theatre at Converse University. She holds a Ph.D. in Theatre and Performance Studies from the University of Kansas, an M.F.A. from Virginia Commonwealth University, and a B.A. in Theatre from Brenau University. Her academic leadership and scholarship are deeply rooted in theatre history, performance studies, and community engagement. Ph.D. in Theatre and Performance Studies – University of Kansas M.F.A. – Virginia Commonwealth University B.A. in Theatre – Brenau University Her research focuses on the intersections of theatrical performance and collective memory, particularly in the American South, with additional interests in musical theatre, oral history performance, and women’s leadership. She is currently completing her first book, Southern Stages: Memory and Space in U.S. Performance , under contract with the University of Iowa Press. The trends in her scholarly publications reflect a consistent engagement with memory, identity, and regional performance cultures. Her work spans journal articles in Theatre Journal , Theatre Survey , and Theatre History Studies , as well as a chapter in Palgrave’s Performing Objects and Theatrical Things . A recurring theme is the use of performance to explore social issues such as aging, food insecurity, and intergenerational dialogue, exemplified by her AARP-funded project Growing Old: Food and Oral History in Performance . Her scientific awards include: Cato Award for Faculty Excellence Robert A. Schanke Theatre Research Award National grant from AARP Foundation and Council of Independent Colleges Dr. Hopkins is a dedicated mentor and academic leader. As Dean, she advances student growth through leadership development, service initiatives, and mentorship programs. She has led externally funded research projects involving both students and community members, demonstrating a strong commitment to experiential learning and civic engagement. She leads the Women’s Leadership Speaker Series and the Converse Women’s Leadership Conference, fostering networks for women in the upstate South Carolina region. She is actively involved in community partnerships, serving on the Board of Directors for the Spartanburg Philharmonic and Spartanburg Community Schools. Her work bridges academia and public life, promoting theatre as a tool for social connection and historical reflection.
Lawrence Switzky is an Associate Professor in the English Department at the University of Toronto, with cross-appointments in Graduate Faculty and Undergraduate Instruction. His research bridges theatre history, digital media theory, and modernist studies, focusing on intersections between performance practices and technological advancements. Specializes in materiality in 20th-century theatre directing Examines theatre's relationship to mass computation and AI Co-editor of Modern Drama journal Contributor to Routledge Encyclopedia of Modernism Research Interests center on digital theatre, game studies, and how performance traditions like puppetry challenge computational logic. His work traces how automation concepts evolved through ventriloquism, devising, and agency delegation in performance. Publications span from 2007 to 2020, covering topics like Shakespearean object performance, dramatic ethics in VR, and transmedia storytelling. His manuscript The Rise of the Theatre Director is under contract with Northwestern University Press. Honors : Co-winner of the 2011 Best Essay Award Guest-editor for multiple special issues including Modern Drama and SHAW journals Education : BA - Yale University MA - Harvard University PhD - Harvard University
