Philosophy of Scholarship and Reflection A good teacher is a good learner. I entered the Academy because of my love of learning.

I am passionate about theatre because I feel my calling as a Christian and as a theatre artist are one and the same: Do not conform any longer to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what Gods will is his good, pleasing, and perfect will. (Romans 12:2 NIV) Theatre can manifest itself in many ways it can be entertainment, primarily a social event; it can educate an audience; it can incite people to action. But theatre, no matter what form it takes, will always hold a mirror up to the audience, and to those who produce it. These mirror moments are transformative events, and they are moments that renew the mind. I truly believe that theatre provides an opportunity for us to follow the admonition of Paul in Romans it allows us to be transformed by the renewing of the mind, and it allows us to test and approve the will of God. This is why I love the work God has called me to do. What does this have to do with scholarship? Everything that is done to produce good theatre is good scholarship. When directing a show, I begin by researching aspects of the show for several months. For instance, while preparing to direct The King and I, I did research at the Theatre and Film Archive in New York City to prepare my mind for the technical demands of the show. I read the memoirs of Anna Leonowens, written in the late 1800s about her time as a governess in Siam. I spent time in the library studying Siamese culture and political climate in the 1860s, etiquette and protocol in the royal Siamese court, and I did a fair amount of research on the Siamese language and pronunciation. I also read Uncle Toms Cabin by Harriet Beecher Stowe. This all happened before I ever spoke with the students in the cast. As the production progressed, I met with designers and a dramaturge who had been doing their own research for the show to create the world in which our students would live during rehearsals and performances. I also worked with the dramaturge to create a study guide that was sent out to area high schools and elementary schools. Also, I spent much of my time acting as a Vocal Director, pulling from my knowledge of musical style and technique to teach the performers to sing in an appropriate and healthy way to communicate the emotion of the show to the audience. By the time this production was performance ready, I completed more than enough research to write several papers, and my work was on display for the entire ACU community and our Homecoming guests. This is the same process I have gone through for every production, and will continue to use in the future. When I am working to direct a show, it is always my hope that the show will impact the audience in some way. When I directed The Pirates of Penzance, I wanted to the audience to find joy in the recognition of the tenderhearted rogue, the idealistic youth, and the virtuous maiden, but I also wanted to make a classical style of art accessible to my students and my audience. I think I accomplished this goal. In my direction of The King and I, my goal was very different. I wanted to guide the

students in my cast and my audience past the stereotype presented by the material, and show instead a story of love and reconciliation in an environment that was not ideally suited for it. I wanted to show the real people and their real differences rather than getting caught up in the familiar tunes. In order to accomplish these goals, I felt the need to educate myself and my cast and production staff. This takes research and the ability to maintain a clear vision throughout the process. When possible, I submit my shows to be peer reviewed by the American College Theatre Festival. This is limited by budgetary and time restraints, but I was able to submit The Pirates of Penzance for adjudication by Jon Young, Assistant Professor of Theatre at the University of Oklahoma as well as Time Stands Still. In the future I plan to submit more productions for peer review to the American College Theatre Festival not only for my benefit, but so student designers, stage managers, and dramaturges can receive feedback on their work. I also feel that it is important for me as a teacher of private voice to keep up my own vocal training. In January of 2011 I organized and performed in my own faculty recital, training for the better part of a year to master new vocal techniques and twelve songs new to my repertoire to perform for my peers, students, family, and friends. This was a rigorous experience for me, and a good reminder of what I ask my students to do on a daily basis. Training the voice requires discipline, objectivity, and artistry. I hope to sing more recitals in the future. It is also important for me to stay current with vocal technique and new findings in science and pedagogy. For this reason, I am an active member of the New York Singing Teachers Association (NYSTA) and the National Association of Teachers of Singing (NATS). Through these organizations I have been able to find professional development opportunities that have been invaluable in the development of my own pedagogical perspective. I recently completed a professional development program offered through NYSTA that consisted of five core courses offered in conjunction with Westminster Choir College. The courses offered took me through an intensive study of Vocal Anatomy and Physiology, Voice Acoustics and Resonance, Vocal Health, Developmental Repertoire, and Comparative Pedagogy. All were taught by master teachers and the top voice scientists and Otolaryngologists in the country. Upon completion of these courses, I was awarded the status of Distinguished Voice Professional by NYSTA. I hope to continue to find opportunities for further education, and to be able to participate in higher offices for these organizations. Scholarship is such an important part of what I do in my work. Theatre is so much more than talent in action. It is a collaboration of scholars.