Ana Cristina Gigi Buffington
Associate Arts Professor, Tisch School of the Arts
August, 2016

SAG/AFTRA Screen Actors Guild and the American Federation of Radio and Television Artists
AEA Actors Equity Association of America
VASTA Voice and Speech Trainers Association

Visiting Edna (World Premiere), Steppenwolf Theater Company, David Rabe, Playwright, Anna Shapiro, Director

The Merchant Of Venice, Compagnia de Colombari, 500 Year Anniversary of the Jewish Ghetto, Venice, Italy, Karin Coonrod, Director

Mary Page Marlowe (World Premiere), Steppenwolf Theater Company, Tracy Letts, Playwright, Anna Shapiro, Director

East Of Eden, Steppenwolf Theater Company
Terry Kinney, Director; Frank Galati, Adaptor

Texts and Beheadings/Elizabeth R, BAM Fisher Space, The Folger Theater                      
Karin Coonrod, Writer/Director

Director Of Voice and Text, American Players Theatre                          
A professional, (AEA) classical theater with a 1200 seat outdoor amphitheater and 200 seat black box. 
Responsible for hiring all Voice, Text and Dialect coaches to work with and prepare actors for performance in the 1200 seat outdoor amphitheater and 200 seat black box; lead weekly Voice and Text Workshops for the Acting Company; Conduct weekly meetings with coaches to oversee the Voice and Text coaching on each of the eight productions; Work with the Artistic Director to pair Coaches with Directors to facilitate optimal collaboration;  Develop core company development in voice and text for each member of the acting company; Perform exit interviews; 

An Illiad; by Lisa Peterson & Dennis O’Hare                                                  
John Langs, Director; American Players Theatre
Adjusting from a production performed last year at Milwaukee Rep, a 700 seat house, to the small 200 seat black box; coach the sole actor in voicing 30- 40 characters that exist in the play; finding the size and scale of lyric poet in the piece and speaking to an audience in an intimate environment.  Sounding distinct difference in the rhythms of dactylic hexameter and prose, specificity of images, multiple character voices, sustained arcs of thought.

Othello; by William Shakespeare;                                                                 
John Langs, Director; American Players Theatre
Coached actors in their roles on voice and text for performance in the 1,200 seat outdoor amphitheater; No amplification devices used; Natural elements including: high winds, extreme humidity, calling whippoorwills, and cicadas  among extreme vocal challenges presented to actors performing in this space.   

The Merry Wives Of Windsor; by William Shakespeare;                              
Tim O’Cell, Director; American Players Theatre
Coached actors in their roles on voice and text to be performed in 1,200 seat outdoor amphitheater; No amplification devices used; Natural elements including: high winds, extreme humidity, calling whippoorwills, and cicadasamong extreme vocal challenges presented to actors performing in this space.   

A Midsummer Night’s Dream, by William Shakespeare, The Lovers Scenes                                                    
Eric Tucker, Director; With James Shapiro; The Shakespeare Society at The Public
Scenes were rehearsed and coached for one week then presented to anaudience.  Specific uses of rhyme explored: excess of romantic excitement, unintentional rhyming as a consequence of intoxication, rhyme giving way to blank verse, the rhyme of spells.  James Shapiro and I were interviewed to speak about our areas of specialization.

The Tempest: by William Shakespeare;                                                       
Karin Coonrod, Dir; Reggie Cathay, Prospero: Liz Swados, Music; LaMama
Voice and Text Coaching sessions with company members to play in the round,  on two tiers in The Ellen Stewart Theatre, with live music.

Romeo and Juliet; by William Shakespeare;                                                 
James DeVita, Dir; American Players Theatre

The Seagull; by Anton Chekhov,                                                                 
John Langs, Dir; American Players Theatre

Everything That Rises Must Converge: Dialect Design    
Karin Coonrod, Director; A touring production about the life of Flannery O’Connor

Antony and Cleopatra: by William Shakespeare; voice and text coach
American Players Theatre; Adapted by James DeVita and Kate Buckley;
Directed by Kate Buckley; First production of a Shakespeare play in the intimate 200 seat black box.  Lead core company members used to working in the vast outdoor amphitheater to refocus their approach to the voice and text work for greater intimacy and specificity of thoughts.

Hamlet: by William Shakespeare
American Players Theatre; Directed by John Langs          
Coached actors in their roles on voice and text to be performed in 1,200 seat outdoor amphitheater; No amplification devices used; Natural elements including: high winds, extreme humidity, calling whippoorwills, and cicadasamong extreme vocal challenges presented to actors performing in this space.   

Richard III: by William Shakespeare; voice & text coach
American Players Theatre; Adapted and directed by James DeVita; Consultant on the adaptation of the text prior to rehearsal period.

WNYC Radio: voice, text, dialects
The Jerome L. Greene Performance Space in collaboration with Yorinks Theater Group; recording and live performance;

I Killed My Mother: by Andras Visky; voice, text, accent coach
LaMama; directed by Karin Coonrod for Theater Y; Character ages from childhood to adulthood; worked on vocal placement, resonance and pitch for character work and actor’s vocal health; Australian accent work;

Love’s Labour’s Lost: by William Shakespeare; voice & text consultant
The Public Theater Lab; Karin Coonrod, Director;

Compagnia de Colombari: Voice & Text coaching
Angels and Other Strangers, a modern adaptation of The Second Shepherd’s Play, one of the Medieval Mystery Plays; The World Is Round, by Gertrud Stein, Workshop Performance; 
Karin Coonrod, Director

Twelfth Night: by William Shakespeare: Vocal Coach
Lake George Theater Lab & Roundtable Ensemble; Daniel Spector, Director

The Ring: Voice & Text coach
The Building Stage, Chicago; Joanie Schultz and Blake Montgomery, Directors: an adaptation of Wagner’s opera presented in a six- hour, three play cycle; One- on- one actor coaching sessions: Diagnose symptoms to pinpoint habitual behavior, prescribe techniques for vocal health, identify textual structures, devise and lead exercises for embodiment of and a personal connection to the texts.  Ensemble warm ups.

Royal Shakespeare Company
Text and Voice Department, London & Stratford- Upon- Avon
Voice & Text coaching for Director, Greg Doran’s, A Midsummer Night’s Dream, Hamlet (with David Tennant and Patrick Stewart), Love’s Labour’s Lost (with David Tennant); One- on- one actor coaching sessions: Diagnose symptoms to pinpoint habitual behavior, prescribe techniques for vocal health, devise and lead exercises for embodiment of a personal connection to the texts.
Lead company voice, movement, text warm-ups for Blue, Green, and Pink companies to prepare actors for performance in the 1,000 seat Courtyard Theatre
Voice &Text coaching, RSCYouth Ensemble, A Midsummer Night’s Dream; One- on- one sessions with youth; ensemble voice and text skill building; ensemble warm up

Lead Ensemble warm- ups for Cicely Berry’s Director’s Workshop, ten- day text workshop held at Arden Street Studios for professional directors and actors.

The Royal Shakespeare Company
Voice & Text workshops:Teaching Shakespeare for Sixth Form Teachers, University of Warwick
Voice & Text workshops: Embodying and Owning Shakespeare’s Texts: University Drama & English Teachers, University Drama Students, Shakespeare’s Birthplace Trust and Arden Street Rehearsal Studios; Created workshops for Hamlet,A Midsummer Night’s Dream,The Merchant Of Venice,The Taming of the Shrew
Voice & Acting for FE and Sixth Form: An intensive one- day course designed to enhance and invigorate the voice and text practice of teachers, lecturers and facilitators delivering vocational and ‘A’ level courses; Stratford-upon-Avon College
American Accents Workshop: General American, Southern American, New York; practical accent and dialect workshops for Blue and Pink Companies Artist’s Development program; focus on breaking habitual characterizations of General American by means of resonance, physical gesture, and vowel placement

Johnny Flynn Company
Shunt Performance Space, London
Viewpoints and Composition:The Everyman Myth Project

Facilitated site- specific composition for actors and musicians

The Blonde Hurricane
The Nemzeti National Theatre of Budapest, MadHouse Theatre Company, Matthew Evans, Director
Viewpoints,Text and Devising; Lead week- long workshop for the director and actors to facilitate character work, movement, voice, text, and composition in devising a new work

Voice & Text Workshop For Professional Actors, Chicago
A two-day workshop designed to release and activate the body and voice;Text work on scenes from Coriolanus, Julius Caesar, Richard II,The Winter’s Tale,

Voice & Text Company Class: American Players Theatre
A bi-weekly workshop for core members and guest artists
in furthering development of craft in voice and text for the plays of Shakespeare, Shaw, Chekhov and others.

Voice & Speech Intensive: Catharsis Productions Chicago
A two- day voice and speech intensive for Improvisers. Catharsis Productions’ mission statement: to reduce interpersonal violence by producing artistically innovative and research- supported programming that challenges oppressive attitudes, transforms behavior, and inspires communities to create a world without violence.

Voice & Shakespeare’s Text: New York Theater Workshop
Master Class taught in collaboration with members of the Royal Shakespeare Company in Voice and Text for professional actors.

Viewpoints and Composition Workshop:
A five-day
intensive in Viewpoints Training and Composition for third and first year acting students:Approximately 25 Students

Introduction to Viewpoints and Composition:
Spatial Relationship, Shape,Architecture,Topography, Gesture,Repetition,Duration,Tempo,Kinesthetic Response; Presence and Listening; Coaching of student devised site- specific ensemble piece incorporating found text. Final showing of compositions.

Voice & Text Workshops for Professional Actors, Chicago
Six, Four, and Three, once- weekly workshops for freelance professionals and including company members from: Sinnerman Ensemble,The House Theatre,The Hypocrites, Pavement Group
An energizing process aimed at releasing the actor from habitual constraints, followed by embodiment of and a personal connection to vocal, technical and textual work.The work is supportive to other techniques such as Meisner, Folio and Viewpoints. Coaching of Shakespeare’s sonnets, monologues, scenes.


Number 11 (Blue & White): Director, by Alexandra Cunningham
Top Girls: Director
by Caryl Churchill; Second Year Rehearsal Project, Meisner Studio Tisch School of the Arts, Department of Drama

The Chekhov Project: Third Year Final Project, Director of scenes from The Seagull, Letters by Anton Chekhov and Russian Folk Song

Unity: Director
by Kevin Kerr; Second Year Rehearsal Project, Meisner Studio
Tisch School of the Arts, Department of Drama

Vinegar Tom: Ripley Grier Studios
Reading of Caryl Churchill’s play for professional development.

Actors included: StevenSkybell,MarcVietor,MyraTaylor, Michelle Beck, Lisa Joyce, Joel Jones, Nancy Hume, Emily Kunkel

The Chekhov Project: Third Year Rehearsal Project, Director of scenes from Three Sisters by Anton Chekhov

Punk Rock: Director, Play Reading and Discussion
by Simon Stephens; Meisner Studio Alumni,Tisch School of the Arts;
Cast and facilitated a workshop for development of professional production

The Crucible: Director
by Arthur Miller, Second Year Rehearsal Project, Meisner Studio,
Tisch School of the Arts, Department of Drama

Vinegar Tom: Director
by Caryl Churchill; Second Year Rehearsal Project, Meisner Studio, Tisch School of the Arts, Department of Drama

Field House Lab, Artistic Director
A producing organization fostering collaboration between performing & visual artists; committed to creating compelling new theater works employing a framework of mythology, current events, and personal story in which vocal and physical improvisations are developed; accelerate artistic training; bring richly explored performance to the community.

Orpheus Now, Writer, Director, Deviser
Gallery 37/ Storefront Theater, Chicago

The Prince Of Wales
Writer, Director, Performer
Chicago Humanities Festival:Words & Pictures

New York University, Tisch School of the Arts, Department of Drama Assistant Arts Professor

Director Of Voice and Text American Players Theatre

Columbia College Chicago, School of Fine and Performing Arts, Theater and Film Departments, Instructor

Rose Bruford College of Theatre and Performance, London Week- long Viewpoints and Composition Workshops

Royal Shakespeare Company, London & Stratford- Upon- Avon Text and Voice Department

National Theatre Nemzeti, Budapest

MadHouse Theater Company Residency, Matthew Evans, Director

University Of Illinois at Chicago Dept of Performing Arts,Theatre Instructor

Act One Studios Chicago Instructor

Pat McCorkle Casting Broadway’s Roundabout Theatre
Primary Reader for casting Sondheim’s, Company! starring: Boyd Gaines, Kate Burton,VeAnne Cox; Primary Reader for casting Tugenev’s, A Month In The Country starring Helen Mirren, F Murray Abraham, Ron Rivkin

Columbia College Chicago, School of Fine and Performing Arts
Dance Center, Instructor

The North Carolina School For The Arts: Dance Department
Summer Session

MoMing Dance & Arts Center: Chicago

ARTCO American Ritual Theatre Company
Managing Director, Director of Dance

Second City Ballet

Gus Giordano Dance Center Instructor, Studio Manager

EMPATHY: Icarus Films

Written & Directed by Aimee Segal
Lia; Lead Role;
Official Jury Selection: Berlin, Jerusalem, Chicago International Film Festivals

Written & Directed by Clayton Brown Meg; Lead Role; IFP Award Winner;

THE DEBILITALES:Three Leaves Productions
Written & Directed by Daniel MacRae Victoria Brooks; Lead Role

GROWING OUT OF US:Three Leaves Productions
Written & Directed by Daniel MacRae Mrs. Litton; Principle Role

Written & Directed by Ryan Miller Margaret; Principle Role

EVERYTHING HE TOUCHED:Toddlin’ Town Productions
Written & Directed by Nancy Kucke
Sherry; Principle Role ;
Gold Remi Award Winner, Houston Intl Film Fest; Official Jury Selection:Temecula Intl Film Fest, RI International Film Fest, Festival De Foz (Portugal),RealTo Reel Intl Film Fest

JUST VISITING: Paramount Pictures
Jean- Marie Poire, Director, (with Jean Reno and Christian Clavier) Dancer; Principle

Selected Voice Over/ On-Camera Work
AFLAC Insurance,AIU Online ,Aldi Foods,Allstate Insurance, Ameritech,Andersen Consulting,Annheiser Busch,AT&T, Belltone Electronics, Blue Chip, Budget Car Corp, Culligan, Gender Knee, Hewlett-Packard, Humane Society, Jewel Foods, Kemper Insurance, Eli Lilly, Kaiser Permanente James Woods, Director, Montgomery Ward, Morgan Stanley, Motorola, Novell Network, Sprint, State Farm, Unilever, United Airlines, US Cellular, Zimmer Knee

Actors & Writers,Acting Company Member
(with Mary Louise Wilson, Ron Nyswaner,Adam LeFevre, Nina Shengold)

Selected Readings New York
The Caregiver, by Michael Cristofer
With Marsha Mason, Estelle Parson, Debra Monk Red Light and Dragons, by Herman Raucher With David Strathairn

Catholic Schoolgirls, by Casey Kurtti
With Melissa Leo

Light Up The Sky,Actor
Byrdecliff Theatre Festival,Woodstock NY The Egg,Albany NY
Irene Livingston; Lead

Cassandra, Actor
Lawrence Saccharow, Director
Ed Sanders, Book & Music, Byrdecliffe Theatre Clytemnestra, Hecuba, Chorus

The Belle Of Amherst, Actor
Kathi Wood, Director, Common Stage Theatre Co Emily Dickinson and all roles

The Illusion, Actor
Michael Cristofer, Director
River Arts Repertory,Woodstock, NY Geronte and The Amanuensis

Shakespeare’s Women, Actor
Kathi Wood, Director, Common Stage Theatre Co Imogen,Viola, Lady Anne

Psyche’s Waltz, Actor
Kathi Wood, Director, Common Stage Theatre Co Nassau; Lead Role

America The Beautiful, Actor
Westbeth Theatre, New York

Hello Bob, Actor
Cubiculo Theatre, New York

Bat Brains, Actor
Theatre Twenty-Two,NewYork

Tanzwerkstatt, Dancer/Choreographer/ Teacher
Bonn, Germany
Solo Concert of Original Work, Modern Dance Master Classes for teachers and professionals.


The Time Of Your Life, Choreographer
Gregory Mosher, Director
The Goodman Theatre of Chicago (with William L Peterson, Amy Morton)

Puntila and His Hired Man, Choreographer
Larry Sloan Director
Remains Theatre Company, (with Bruce Norris,William L Peterson, Amy Morton); Jeff Award for Best Production

The Fifth Biennial International Ballet Festival, Dancer, United States
Trujillo, Peru,Trujillo Opera House
Just Affairs, A Modern Dance Duet with David Puszh

David Puszh Dance Company Featured Dancer
Assistant Artistic Director

Crimson Cowboy, Choreographer with Poonie Dodson
An Opera byWilliam Harper,ARTCO Eurydice; Featured Role

The Rise and Fall of the City of Mahagonny, Choreographer
Greg Lemming, Director; Remains Theatre Company

Chicago and NY Theatre Workshop Tour

Dead Birds: A War Ritual, Featured Dancer, Producer
Don Moffat, Director
An Opera byWilliam Harper,ARTCO

Robyn Lakes Dance Company, Dancer
Concert Work

Post Graduate Award,Teaching Shakespeare in Theory & Practice for Actors and Artists, University of Warwick

Master of Arts,Training Actor’s (Voice),The Guildhall School of Music and Drama, London
Concentration: Voice and text training for heightened language including Shakespeare, Restoration, and the Greeks; Course study included Singing for the Actor, Accents and Dialects (IPA), Poetry, Pinter-Orton, Psychology of Coaching;

Principle Instructors:Patsy Rodenburg, Head ofVoice, Kate Godfrey, Annamedde Verspeak

Bachelor of Arts, Columbia College Chicago, graduated with honors


2-Year Program,Voice, Speech, Shakespeare

Maggie Flanagan,William Esper Studio, NYC
2-Year Professional Meisner Program and Summer Session

Middendorf Voice Work, Jeff Crockett, Two- Day Workshop, NYC

Speechwork, Knight- Thompson, Six- Day Workshop, NYC

Lecoq Workshop, Michael Brown, One- Week Intensive, Chicago

Original Voices:Vocal Methodologies from the Source Conference, VASTA, New York City

Roy Hart Voice Work & Shakespeare’s Texts, for Voice Professionals, Nadine George, Glasgow

Performance Breath Conference, Royal Academy of Dramatic Art, London

Babble Conference,VASTA, Chicago
Viewpoints, Suzuki and Composition,Anne Bogart & SITI Company, One

Month Intensive, Skidmore College

Devising Theater, Michael Rohd, One- Week Intensive, Columbia College Chicago

Viewpoints Workshops, Jennifer Hubbard, Columbia College Chicago CreativeWriting,Wit:FromFreudToWilde,EkphrasticWriting,Poetry, Eric

LeMay, University of Chicago Gleacher Center

ChekhovActingTechnique andTexts, Slava Dolgachev,AssociateArtistic Director, Moscow Art Theatre,Two Three- Week Workshops, Chicago

Voice Over For Professionals: Commercial,Trailer, Promo, Marice Tobias; Character Voice Over, Pat Fraley,Workshop
Voice & Shakespeare, Patsy Rodenberg, One- Week Intensive
Physical Theatre, Plasticene One- Week Intensive

AdvancedAuditionTechnique, PatMcCorkle,CSA,NYC Script Analysis & Audition Technique, Edward Stern, NYC Cold Reading I & II, Maggie Flanagan, NYC
Movement For Actors I, Lloyd Williamson, NYC Alexander Technique, Judith Grodowitz, , NYC Improvisation & Spolin Theatre Games, Paul Sills, NYC Acting On Camera, Joan See, NYC

Meisner Technique, Kyle Donnelly, Chicago


Tisch School of the Arts, Department of Drama

Voice and Text Advanced Training:
Fall Semester training with concentration on Congreve,Wilde, Goethe, Chekhov Spring Semester training with concentration on contemporary poets including: Neruda, Rilke, Gluck, Letters of Vincent Van Gogh and Emily Dickinson.

Voice and Speech I: One Year Course
A foundation course in preparing students to speak on release, to work instinctively and impulsively with their breath and voice, to stretch their vocal capacity, range and imagination, and to discover a need for words.

Students learn to identify habitual behavior and shed patterns of tension that bind the body, the breath, the voice and their ability to communicate.
A process of releasing holds on the breath, accessing free movement in the ribs and lower abdomen is explored followed by voicing and landing the thought with ever greater freedom and flexibility. Resonance is then introduced and developed. Speech entails the placement and action of vowels, diphthongs and triphthongs in the first semester, followed by consonants in second semester. Students learn basic phonetic transcription practice in preparation for accents and dialects in year two.A variety of poetry, prose, and student -generated texts are work shopped in year one.

Voice and Speech II: One Year Course
Second year work is a concentration in Voice & Text. Students explore a visceral, instinctive, creative and playful ensemble- based approach to classical text work. Building on the foundation laid in Voice & Speech I, students fine- tune the release of habits that inhibit character transformation. Students will acquire tools for working on complex language and learn how to work with their voices in a variety of performance spaces.

Text work will progress from Shakespeare’s sonnets, to monologues to scenes. Focus on:

Sound equals sense
How the character breathes you
Finding and landing the thoughts
Making a personal connection to the text Being in the word and on the word (working moment to moment)
Ownership and embodiment of complex language that is organic and dynamic Rhetorical structures and how they help to activate a text
The iambic rhythm and how it serves to drive the thought forward, helps the actor to uncover the operative word in a line, and frees the actor from constraint.

Working with Shakespeare’s language, students integrate the Meisner training of working moment to moment, and listening and responding instinctively, to classical text work.

Movement Dynamics I:
Methodology for preparing the actor’s instrument- the body, the voice and the imagination- for work in rehearsal or studio. Students will investigate release and elasticity in the body leading to a state of readiness. Through exploration of the swing: the drop, the momentum of the follow through, and the suspension of the body in space, students experience heightened physical and emotional states from which we begin to speak Shakespeare’s texts. Students learn a comprehensive warm up connecting the actor physically and vocally with oneself and to the ensemble. New Studio On Broadway.

The Business Of Theatre:
One Semester Course Industry theatre professionals invited to speak and lead workshops in their area of specialization. Students have an opportunity to interact with each guest in discussion. Guests include actors, directors, casting directors, artistic directors, production stage managers, and playwrights. Field trips to SoHo Rep and New York Theatre Workshop led by Artistic Directors, Sarah Benson and Jim Nicola.

Columbia College Chicago

Acting III Styles/Shakespeare:
Advanced Course Work in Actor Training: Exploration of blank verse and heightened language; Exploration of techniques used to embody the text; Coaching of Sonnets, Monologues, Scenes;

Voice Training For The Actor III:
Advanced Course Work in Voice and Speech:
Breath Capacity and the two systems of support, Placing the Voice, Resonance,Variety, Presence work,Techniques for Text Work, Exploration of Written Structures and Vocal Choices; Speech on Free- Breath;Workshop and Coaching of: Political Speeches, Seven- Word Stories, Poetry (Lorca, Herbert, Heaney, Cavafy, Bishop, Dickinson)

Voice Training For The Actor II:
Intermediate Course Work in Voice and Speech:
Breath, Phonation, Resonation, Melody,Articulation,Variety and Expression,Workshop and Coaching of: Authored Story, Classical Monologues, Phonetics,Anatomy, Learning and Leading Voice Warm-Up

Voice Training For The Actor I:
Beginning Course Work in Voice and Speech:
Breath, Phonation, Resonation, Melody,Articulation, Workshop and Coaching of:Authored Story, Poetry, Shakespeare’s Sonnets, Ensemble Story,Anatomy of Respiration, Phonation, Resonation,Articulation, Learning and Leading Voice Warm-Up

Voice Over Workshop:
The Business and Practice of Performing Voiceovers: Implemented New Course and Created Curriculum Audition Protocol,Approaches toVoicing Commercial, Narration, and Promo Copy, Microphone Techniques, Marketing,VO Demos Overview, Final session with Professional Voice Over Producer and Casting Director

Acting I: Scene Study:

Acting For Film Majors:

Created Curriculum with colleague Cheryl Graeff:
Improvisation, Ensemble Building Exercises, Two- Person Contemporary Scenes,Actions, Obstacles,Tactics,Acting Analysis Presentation of Chosen Scene from Film.

Accents & Dialects: Summer Session

High School Summer Institute Program: Vowel & Diphthong changes, Rhythm & Tune, Placement of Sound, Physical Characteristics, Use of CD recordings and hand- outs, Film Clips; Coaching of Scenes and Songs for Brooklyn, General Southern, RP, and Standard English

Act One Studios Chicago

Voice and Speech I, II and III:

Created Curriculum for Actors:
Body Centering, Breath, Phonation, Resonation,Articulation, IPA,Variety and Expression, Coaching and Workshop of Ensemble Story, Contemporary and Classical Monologues


In Defense Of Chronic Baby Voice: Into The Gloss Online Magazine Beyond The Plays: Romeo & Juliet, APT

The Pin Drop Principle, by David Lewis and G. Riley Mills Jossey-Bass Publishers; Captivate, Influence, and Communicate Better Using the Time-Tested Methods of Professional Performers;Voice, Speech and Public Speaking Consultant, indexed, quoted page 123

Faculty Development Grants, Columbia College Chicago,

Ragdale Foundation,Artist Residencies for CreativeWriting

The Guildhall School Trust,

Screen Actor’s Guild, John Dales Scholarship Award,
Graduated with Honours, Columbia College Chicago,
Dean’s List For Academic Excellence, Harold Washington College,

Brown University; Providence, RI
North Western University; Evanston, IL
University Of Chicago; Hyde Park
Wake Forest University;Winston-Salem, NC
Montana Dance Arts Association; Bozeman, MT
Dance Masters Of America; Milwaukee,WI
Dance Works; Missoula, MT
Potomac Dance Center; Potomac, MD
Phila-Dan-Co; Philadelphia, PA
The Stage Door; Minneapolis MN
Gotta Dance; Raleigh NC
Manitou/Wabing Sports & Arts Centre;Toronto, Ontario Ballroom Dance in Public and Private Schools; Chicago, IL

The North Carolina School For The Arts
Summer School
Beginning through Advanced Jazz Technique

The Dance Center of Columbia College Chicago
Jazz Technique I & II for Dance Majors

MoMing Dance & Arts Center
Modern and Jazz Technique, Beginning through Advanced

Second City Ballet
Modern and Jazz Technique, Scholarship Program Coordinator

Gus Giordano Dance Center
Modern and Jazz Technique, Beginning through Advanced