Six Years From Now is a verbatim theatre piece all about mental health. This creative project involved interviewing twelve different people about mental health and residential treatment centers, and then creating a play consisting of a series of monologues created from the exact words spoken in the interviews. The goal of writing this play was to help tell other people's stories, educate others about what living with mental illness is really like, educate others on modern residential treatment centers, and reduce the stigma around mental health and mental illness.

I created a sketch comedy show called Funny For A Girl, which featured the talents of women in both the film and theatre communities. The show began as a very vague idea, and throughout the year of 2019, the show began to come to life. I immediately brought on a producer, who helped form the crew while I was working on building the cast. The writing process took about four months. There was lots of writing and rewriting, basically up until the end of August, when rehearsals started. Filming began in September, and by the last week of September, we had an entire show ready, consisting of nine sketches and four stand-up acts. The show featured a variety of sketches, including Lesbain Bachelorette and So You Want A Good Yelp Review? (SYWAGYR). The production team and I proposed the show to Binary Theatre Company, which picked it up as the first show of its season. The show ran in the Prism Theatre from October 4th through the 6th.

Funny For A Girl gained quite the following on social media in just a week, and the show was completely sold out before it even opened. I was interviewed by both The State Press and ASU Now, and I’m being considered for a second feature in ASU Now as part of the graduate spotlights. The show was a huge success, and it really helped me narrow down to what it is I want to do with my life.

On The Mathematical Analysis of An Ancient Greek Tragedy (A CURE AT TROY) Using Mathematical Set Theory To Analyze Patterns In Character And Story Structure; The Production And Direction Of That Greek Tragedy Using Vectors To Direct Action And Objectives In 2-Space; And The Research, Writing, And Production Of A Reading Of A New Play (A TREE DISAPPEARS) On The Analogies Of Forestry Management Practices To Family Relationships.

The purpose of this study was to explore current pedagogical approaches of undergraduate directing curricula in selected U.S. institutions of higher learning. Building on the work of Clifford Hamar and Anne Fliotsos, the thesis builds a foundation for further study of contemporary directing pedagogy. Fourteen course syllabi were collected voluntarily from members of The Association for Theatre in Higher Education (ATHE) and served at the primary source material. They were interpreted and analyzed qualitatively for components that identified the methods and philosophies of the instructor and/or institution. From these syllabi, the researcher found 11 "skill categories" which cover all potential skills and bodies of information that, according to the data, a director should master. The categories are: (1) Script and Performance Analysis; (2) Directorial Techniques and Methods; (3) Production Practices; (4) Role and History of the Director; (5) Actor Training; (6) Technical Knowledge; (7) Personal Growth, Expression, and Vision; (8) Collaboration; (9) Communication; (10) Directorial Criticism; and (11) Storytelling. The categories fall on a spectrum ranging from practical based "knowledges" to skills based in individual resources and artistry, termed "abilities." Once these categories were established, the researcher examined two case study institutions: State University of New York at Buffalo (UB) and University of New Hampshire (UNH). The researcher collected public information concerning the guiding philosophies, financial profile, and curricula for both universities. From this data, combined with the 11 categories, the researcher found that the "personality" of the institution was reflected in the pedagogical approach of their respective directing courses. In the case of UB, a research-oriented institution had a production-focused directing course. UNH, with its Liberal Arts philosophy that promotes personal exploration, had a directing course that emphasized the artistic resources of the individual. Most importantly, this work creates a foundation from which future studies can be built. Broader and deeper analysis at a national level can now be approached with a framework of evaluation and analysis, leading ever closer to an understanding of the art and craft of directing.