Dr. Daniel Somerville is a Senior Lecturer and Research and Knowledge Exchange Co-ordinator at the University of Worcester's Institute of Arts and Humanities, Department of Theatre, Film and Media Production. His work bridges artistry and academia through practice-based research focused on performance, opera, gender studies, and queer theory. Education: PhD (University of Wolverhampton): Thesis titled Body Opera: In search of the ‘operatic’ in the performance of the body MA Performance Making (Distinction, Goldsmiths) BA Theatre Practice (1st, Royal Central School of Speech and Drama) Research Interests: Explores operatic movement as a model for contemporary performance, intersections of gender/queer theory with performance practices, and decolonization methodologies. His practice includes choreography/direction for international stages like Edinburgh Fringe and National Theatre Namibia. Teaching: Specializes in devising, physical theatre, and post-colonial performance studies. Previously taught at Goldsmiths, Laban, Royal Central School, and University of Wolverhampton.
Nina Morrison is a Lecturer in the Department of Theatre and Dance at the University of New Hampshire. Her work bridges playwriting, dramaturgy, and environmental themes. She holds an MFA in Dramatic/Theatre Arts from Columbia University and a B.A. from Oberlin College. Education: M.F.A., Dramatic/Theatre Arts, Columbia University B.A., Oberlin College Research & Creative Work: Morrison specializes in ecogothic theatre, as seen in her play The Vault , a Global Seed Vault-inspired thriller developed with the Boston Museum of Science. Her plays include Forever Home , Born Naked , and Google Doll , developed by institutions like the Huntington Theatre Company and SpeakEasy Stage Company. Awards & Grants: Massachusetts Cultural Council Artist Fellow Huntington Playwriting Fellow Richard Rodgers Fellow Shubert Foundation grantee Teaching & Mentorship: Teaches playwriting, screenwriting, and introductory theatre courses. Previously taught at Grub Street and Northeastern University. Courses include ENGL 625A: Screenwriting and THDA 640W: Playwriting.
Hannah Banks is a Lecturer in Creative Industries at the University of the Sunshine Coast, affiliated with the School of Business and Creative Industries. She holds a PhD in Theatre from Te Herenga Waka – Victoria University of Wellington (2018), alongside BA (Hons) and BA degrees from the same institution. Her research focuses on feminist performance methodologies, devised theatre practices, and Aotearoa New Zealand theatre studies. She is a co-founder of the award-winning theatre company My Accomplice and has extensive experience in acting, directing, and producing across Aotearoa’s theatre scene. Education: PhD in Theatre, Te Herenga Waka Victoria University of Wellington (2018) BA (Hons) and BA in Creative Arts, Te Herenga Waka Victoria University of Wellington Research Interests: Feminist devising methodologies Practice-as-research in theatre Gender and performance studies Collaborative creation processes Awards: Victor Emeljanow Bursary (2019) PGSA Victorias Award for Post-Graduate Teaching (2017) Richard Campion Accolade for Outstanding Performance (2014) Dr Banks coordinates the Bachelor of Creative Industries program and actively engages in devising theatre education. Her work emphasizes empathy-driven collaboration and sustainable creative practices. She has presented research nationally and internationally, including at the ADSA Conference and the Suffrage 125 conference in Wellington.
Teresa Simone is an Instructional Assistant Professor of Theatre Studies at the University of Mississippi’s Department of Theatre & Film, within the College of Liberal Arts. She holds a PhD in Theatre from Florida State University (2023) and an MA in Gender Studies from the University of Arizona. Her research focuses on nationalist pageantry, exploring how women’s and children’s performances model citizenship and shape national identity. She is also a trained teaching artist with expertise in physical theatre, devised theatre, and community-driven performance. Before academia, Simone spent over a decade with Stories That Soar, an educational theatre organization, where she created performances from children’s stories and taught playwriting to ~1,000 students annually. She has additional training from Dell’Arte International School for Physical Theatre and has worked with Augusto Boal, the San Francisco Mime Troupe, and Cornerstone Theatre. Simone teaches courses including Intro to Theatre, Script Analysis, and Dramatic Literature. Her honors include the PEO Scholar Award and the Helen Krich Chinoy Dissertation Fellowship. She advocates for community cultural development through performance and continues to bridge academic research with grassroots artistic practice.
Katherine Brook is a Lecturer in the Department of Theatre, Dance, and Performance Studies at Tufts University, based at the Aidekman Arts Complex. She holds an MFA in Directing from Carnegie Mellon University and has extensive professional experience in theatre direction, production, and education. Her work focuses on new plays and devised theatre, emphasizing collaboration between artists and integration of dramatic texts with real-world content. Education: MFA in Directing, Carnegie Mellon University (United States) Research & Practice: Brook's projects explore experimental forms in performance, including ISLANDER (2021, HERE Arts Center), The Power of Emotion (2017, Abrons Arts Center), and ongoing The Conspiracy Project . Her direction credits span The Recursion of a Moth , The Cherry Orchard , and Dr. Ride's American Beach House . Teaching & Professional Activities: Current courses include Directing I, Foundations of Performance, and Special Topics in Law and Performance. Prior teaching roles at MIT's Department of Theatre and Dance and CMU's School of Drama. Collaborations with companies like The Builders Association, Elevator Repair Service, and StoryCorps. Affiliations: Originally from Toronto, Canada, Brook maintains strong ties to New York City's experimental theatre scene through her work with groundbreaking companies like The Foundry Theatre.
Amaia Mugica is a Senior Lecturer at the Manchester School of Theatre , specializing in movement pedagogy and interdisciplinary performance. With a background in Acting, Performing Arts Technology, and Dance Movement Therapy, she combines somatic practices with physical theatre to foster expressive, collaborative, and inclusive creative processes. Academic Training: MA in Movement: Directing and Teaching (Royal Central School of Speech and Drama) Current Research: Professional Doctorate on women in physical theatre and somatic actor training methodologies International Experience: Spain, UK, Australia, Mexico, Germany, USA Her work spans text-based and devised theatre, musical theatre, and film, with Arts Council England funding and two awards for recent productions. Key research interests include: Embodiment of languages and accents Horror genre in theatre Intersectionality in artistic research Forced migration narratives Gender equity in theatre direction Body-Mind Centering® and somatic education Conference presentations at Gothic Crossroads , IFTR , and SPA Malta University highlight her expertise in somatic approaches and identity negotiation in UK Performing Arts. Contact: a.mugica@mmu.ac.uk
Natalie Katsou is an Associate Lecturer in Theatre and Performance and Law at Goldsmiths, University of London, and London Metropolitan University. She is a theatre director, playwright, and researcher with a focus on interdisciplinary work bridging theatre, law, and philosophy. Academic Qualifications : PhD in Philosophy and Theory of Theatre and Drama, National and Kapodistrian University of Athens (2023, Distinction) MFA in Theatre Directing, East 15 Acting School, University of Essex (2012, Minotis Scholarship) BA Theatre Studies, Acting, and Law, National and Kapodistrian University of Athens and Delos-Hatoupi Acting School (2005–2012) Research Interests revolve around spectral figures in contemporary theatre, heterotopias, trauma and memory, gender and identity, intermedial practices, and the intersection of law and social justice. Her work emphasizes the role of theatre in exploring human rights, social change, and philosophical frameworks like Derrida’s revenant and Waldenfels’ otherness. Recent Publications include analyses of intermedial heterotopias in pedagogy and Castellucci’s Inferno reimagining. Her articles often employ Foucault’s heterotopia concept, blending performance theory with digital media and spatial dynamics. Scientific Awards include the Post-doc Bridging Award (2023), research scholarships (2021), and bursaries (2012–2010). These funded her postdoctoral projects and international collaborations. Professional Projects involve founding Operaview (2014–2017) and directing acclaimed productions like Maria de Buenos Aires in the UK and Greece. She integrates academic analysis with practice-research in devising, ensemble work, and intermedial theatre.
Thomas Riccio is a Professor of Visual and Performing Arts at the University of Texas at Dallas, affiliated with the Harry W. Bass Jr. School of Arts, Humanities, and Technology. He holds visiting professorships at Jishou University (China), Pondicherry University (India), and others. Riccio specializes in Performance Studies, Ethnography, Indigenous Performance, and Ritual practices, with fieldwork across Africa, Asia, and Siberia. He founded Dead White Zombies, a post-disciplinary performance collective, and served as Creative Director for Hanson Robotics. His research emphasizes cultural preservation, intercultural collaboration, and the intersection of technology with performance. Education: M.F.A. in Theatre from Boston University (1982) and B.A. in English from Cleveland State University (1978). Key projects include long-term ethnographic work with the Miao ethnic group in China, devising performances with global Indigenous communities, and creating AI-driven characters for robots like Sophia. Riccio has received grants from the Alexander Onassis Foundation and conducted residencies internationally. His work spans theatre direction, installations, documentary film, and social robotics. Research interests focus on ritual practices (e.g., Miao water buffalo rituals), experimental performance forms, and the role of technology in contemporary theatre. Over 100 professional theatre productions include collaborations with Zulu, Kalahari Bushmen, and Sakha (Siberian) communities. Recent works explore AI ethics and post-human performance through projects like About Face and Jakala . Scientific awards include the International Distinction Prize in Playwriting (Alexander Onassis Foundation). Grants supported fieldwork in Zambia, Ethiopia, and Siberia. Riccio’s creative direction at Hanson Robotics (2018–2019) involved designing narrative systems for social robots. He also directs the Center for Asian Studies at UTD and advises on cultural preservation initiatives globally. Labs/Teams: Dead White Zombies (performance collective), Litooma Project (international collaborations), and Tuma Theatre (Alaska Native performance group). Upcoming projects include a documentary on Miao rituals and AI-driven performance installations.
Nic Fryer is a Senior Lecturer in Education at Middlesex University, affiliated with the Faculty of Health, Social Care and Education. He has extensive experience in drama, theatre, and performance education, blending practice with theoretical frameworks like Jacques Rancière's philosophy. Research interests include Creative and experimental pedagogies Reflective practice in group work Devised theatre and its educational applications Performance philosophy Publications highlight his focus on drama education, Rancière's theories, and interdisciplinary collaborations (e.g., nursing and performing arts). His work explores futures of pedagogy, post-pandemic classroom dynamics, and ontological approaches to assessment. Scientific awards Senior Fellow of the Higher Education Academy Teaching roles span module leadership in education research, social pedagogy, and inclusive practices, alongside course leadership for MA Education and BA Learning and Teaching. Supervision includes doctoral researchers Yoana Stoeva (since 2023) and Millicent Penn (since 2025).
Sharrell D. Luckett is a Charles P. Taft Distinguished Professor of Drama and Performance Studies at the University of Cincinnati, where she also directs the Helen Weinberger Center for Drama & Playwriting. Holding a PhD in Theatre and Performance Studies from the University of Missouri-Columbia, she specializes in Black Theatre, Fat Studies, and Black Feminist Theory. Her research explores acting methodologies, autoethnography, and devising processes. Her academic leadership includes roles as editor of African American Arts: Activism, Aesthetics, and Futurity and co-founder of the Black Acting Methods movement. Recent grants include a $10,000 UC AHSS Faculty Research grant (2021-2022) supporting empirical studies on Black Acting Methods. Education: PhD (University of Missouri), M.Ed (Kennesaw State), BIS (Georgia State) Key Roles: Director of Helen Weinberger Center, CEO of Black Acting Methods Studio Award-winning author of YoungGiftedandFat (2018) and co-editor of multiple seminal works, her scholarship bridges performance studies with social justice. She has presented at over 70 institutions globally and leads workshops on intersectional performance practices.
Lezlie Cross is Associate Professor of Theatre at the University of Portland, specializing in Shakespearean performance history and dramaturgy. Her research examines historical productions through social justice lenses, particularly focusing on evolving representations of gender and disability. Cross investigates 19th-century performances of Much Ado About Nothing and their connection to women's suffrage movements. She is currently writing a book on actor Edwin Booth's Shakespeare acting editions. Her creative work includes directing and developing an ASL adaptation of Titus Andronicus for the National Technical Institute for the Deaf. She integrates research into teaching through projects like the devised play Where is Home , which explored racist housing policies in Portland. Cross serves on the advisory board for Bloomsbury's 'Shakespeare and Social Justice' series.
Jeff Adelberg is a Lecturer in Design at Boston College's Theatre Department and recently joined Harvard University's Theatre, Dance, and Media department. He has been teaching since 2003 and has extensive experience in theatre, opera, and dance design, with over 300 productions. His work includes collaborations with director David R. Gammons and lighting design for Boston's annual Midwinter Revels. Education: B.F.A. from the University of Connecticut. Research interests focus on theatrical design, lighting design, and innovative stage production techniques. His designs emphasize interdisciplinary collaboration and site-specific performances, particularly with Actors' Shakespeare Project and Underground Railway Theatre. Awards: Multiple Eliott Norton and IRNE Awards for design excellence in theatre productions. His work spans classical plays to contemporary and devised performances. Teaching and collaborations: Taught at Boston College, Harvard, Brandeis, Boston University, MIT, and others. Advised students in design and stagecraft through practical mentorship in over 30 productions with David R. Gammons. Labs/Teams: Core collaborator with David R. Gammons and Paddy Swanson's Midwinter Revels, integrating music, theatre, and dance from global traditions annually.
Bernadette Hamilton-Brady is a Professor of Drama at St. Mary’s University in San Antonio, Texas. She has served as Chair of the Drama Department and has over 36 years of teaching experience. She holds an M.F.A. in Acting from Virginia Commonwealth University and a B.A. from Incarnate Word College. Her expertise includes pedagogical and interdisciplinary theatre practices, study abroad programs in London, and community-engaged productions addressing cultural identity, climate change, and social issues. She has directed/produced over 48 plays, including Young Frankenstein , Triangle Factory Fire Project , and Side by Side by Sondheim . Her work integrates devised theatre, dance, and collaborations with institutions like the Guadalupe Cultural Arts Center and San Antonio Symphony. Education: M.F.A., Acting, Virginia Commonwealth University B.A., Incarnate Word College Key Projects: One-woman show His Polita (2003), based on Pola Negri’s archives Adapted Amy Kenny’s My Body Is Not A Prayer Request into a devised performance (2024) Community panels on Triangle Factory Fire Project and disability representation Her research focuses on bridging cultural divides through theatre, with presentations at Association for Theatre in Higher Education (ATHE) conferences and international forums in Poland. She actively engages with local schools and parishes through workshops and lector training. Professional memberships include ATHE, AATE, USITT, and AAUP. Her career reflects a commitment to transformative theatre, social justice, and interdisciplinary collaboration.
Andrew William Smith is an Associate Professor of Acting at the Carnegie Mellon University School of Drama , where he teaches core acting courses and oversees audition training. As Co-Artistic Director of Project Y Theatre Company in NYC, he produces works centering marginalized voices. His professional acting credits span regional theaters like Quantum Theatre and Pittsburgh Public Theatre , with roles in The Gun Show , Arcadia , and Pride and Prejudice . Education: MFA in Acting (University of California, San Diego, 2005), BA in Theatre and English (Middlebury College, 1998). Teaching Expertise: Meisner technique, Shakespearean studies, on-camera auditioning, and devised theater. His research interests include diversity and inclusion in performing arts , creative processes , and the intersection of technology and theater . He pioneered online musical collaboration during the pandemic using Jamulus software. His directing work focuses on new plays , particularly through Project Y’s Women in Theatre Festival and themes of race , feminism , and social media . Project Y has received grants from the New York State Council on the Arts , New York Department of Cultural Affairs , and The Puffin Foundation . Andrew’s scientific award includes the Teaching Excellence Award from UC San Diego (2005). He resides in Pittsburgh, PA with his family.
Lisa Velten Smith is an Assistant Professor of Voice at Carnegie Mellon University (CMU) and Associate Area Chair of Acting/Music Theater. She is a Designated Linklater Voice teacher and professional actor with a 20+ year career spanning Broadway, off-Broadway, regional theater, television, and film. Education: BFA from The Theater School at DePaul University, MFA from University of California, San Diego Teaching awards: Excellence in Teaching (UC San Diego, 2003 & 2004) Her research focuses on vocal training, mental health integration in performance, and hip hop spoken word pedagogy. She developed The Resilient Voice workshop combining meditation science with vocal exercises and is trained in Intimacy Education. Professional affiliations include membership in AEA, SAG/AFTRA, and The Voice and Speech Trainers Association. She coaches voice and dialects for CMU productions and external clients, serving as the primary Linklater Designation trainer in the Tri-State area. 2019 Pittsburgh Performer of the Year for roles in A Doll’s House Part II and We Are Among US
