BFA, New York University, Tisch School of the Arts. MFA, New School University. Teacher of voice and speech at New York University’s Playwrights Horizons Theater School and Atlantic Theater Acting School; adjunct professor at Brooklyn College. Conducted Fitzmaurice Voicework™ and Shakespeare workshops in Melbourne, Australia (2005), and at the Centro Em Movimento in Lisbon, Portugal (1997, 1998), where she also coached Eugene O’Neill’s Mourning Becomes Electra. Served as vocal consultant on 666 Park Avenue TV series and was vocal coach for The Play What I Wrote (directed by Kenneth Branagh) on Broadway, Me Myself and I by Edward Albee (directed by Emily Mann) at Playwrights Horizons Theater, and The Family Weekend by Beth Henley (directed by Jonathan Demme) for Manhattan Class Company Theater, as well as Stanley, an Off-Off Broadway production (directed by Pulitzer Prize finalist Lisa D’Amour) at HERE Arts Center. Master teacher of Chuck Jones Vocal Production and an associate teacher of Catherine Fitzmaurice Voicework and Level I, Alba Emoting Certification. Studied yoga in New Dehli, India, trained extensively in ballet and modern dance, and performed with various independent choreographers and dance companies in Minneapolis. Co-founder of Tiny Mythic Theatre Company in New York City and both an actor and a writer for the company. In addition to numerous roles for Tiny Mythic Theatre, some past performances include leading roles in A Dream Play by August Stringberg, When We Dead Awaken by Henrick Ibsen, Apocrypha by Travis Preston and Royston Coppenger at the Cucaracha Theatre, Two Small Bodies at the Harold Clurman Theatre, The Eagle Has Two Heads at the Ohio Theatre in Soho, and Democracy in America at the Yale Repertory Theatre and Center Stage. She has appeared in several films, including Irony, In Shadow City, and The Smallest Particle by Ken Feingold and The Madness of the Day by Terrance Grace. As a writer, she has collaborated with both The Private Theatre and Tiny Mythic Theatre, creating original works. SLC, 2013–
Current undergraduate courses
This course will focus on awakening the young artist to the expressive range of the human voice, as well as to the intricacies of developing greater clarity of speech and playing with sound. A thorough warmup will be developed to bring power, flexibility, and range to the actor’s voice and speech. Exercises and text work will be explored with the goal of uniting body, breath, voice, and speech into an expressive whole when acting.