Teaching Experience
In the 2025-2026 school year, I am teaching as an adjunct instructor of Musical Theatre Voice at Brenau University, as well as covering a voice studio at Kennesaw State University for a professor on maternity leave. From 2024-2025, I served as a Visiting Assistant Professor of Musical Theatre Voice at Western Carolina University, where I taught private voice lessons to over 20 B.F.A. Musical Theatre majors. Through individualized instruction and a collaborative weekly studio class, I guided students in developing their technical skills, artistic interpretation, and vocal health, all while fostering a strong sense of community.
Beyond applied voice, I also taught Musicianship II, a core course in the B.F.A. Musical Theatre program. This class challenged first-year students to deepen their understanding of music theory, sight-singing, and score analysis. As a former tutor for the course throughout three years of my undergraduate studies under three different instructors, I drew from the most effective strategies of each iteration and incorporated my own warm-up and collaborative activities (seen below) to integrate music theory with practical application for musical theatre performers. Self-accompanied vocal warm-ups, plunking melodies and chords on the piano, sight-singing harmonies in duets and small groups, and consistently tying theory concepts to storytelling significance helped build a cohort of students who didn’t just understand music theory, but genuinely enjoyed it and appreciated its value within their musical theatre education.
Prior to my time at Western Carolina University, I honed my teaching skills in a variety of educational settings. At Duluth High School, I led a multi-level theatre program, directing and music directing full-scale productions while mentoring students in acting, design, and leadership roles. Additionally, at Syracuse University, I designed and taught Voice for Non-Majors, a course introducing students to healthy vocal production and music literacy through a combination of Alexander Technique, vocal pedagogy, and practical performance opportunities.
What Makes My Voice Studio Special?
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At the beginning of each semester, I host a "16 Bar Party" as an opportunity for students to sing a fun song and receive positive feedback. While in the audience, each student writes a "Kindness Card" for their peers. Throughout the semester, if a student is having a rough day, I give them one of these cards with compliments about their voice to uplift them.
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Lessons overlap by five minutes and are strategically scheduled so students can learn from one another's vocal journeys and have a mini audience.
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To encourage community building and positive self-talk, I ask students to reflect after each studio performance. They describe something specific they felt good about and something they want to improve, helping to break potential spirals of self-criticism.
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I provide immersive support by attending every main-stage audition, production, showcase, and cabaret. This allows me to observe how my students' vocal training is impacted by high-stress situations (and, of course, because I love seeing them shine!)
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I research and select repertoire across a wide range of genres to ensure well-rounded training. I expose students to diverse composers and lyricists and create personalized playlists for each student, adding songs that suit their voice whenever I come across them.
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Each student has a spreadsheet tab that organizes their repertoire by genre, outlines their semester goals, and provides a breakdown of each lesson, including exercises, repertoire worked on, and notes. This structure helps scaffold their training, monitor their vocal health, and serve as a resource for maintaining their voices independently over the summer.
