Teaching Activities

Courses Taught at Rutgers University, Newark Campus &  New Jersey Institute of Technology


Playwriting,  Writing for TV,  Writing for Film (Independent Study),  Script Analysis  

Independent Study (HSS CAPSTONE AT NJIT)

Course project involves a detailed journal of observations and work in building, acting in, or writing a theatre production.  Student is required to analyze his/her experience and write a manifesto on art and engineering and how it will affect society in the next century. 
Acting:  Performance Art

Fundamentals of Acting,  Intermediate Acting,  Advanced Acting,  Performing Literature


Public Speaking,  Oral Interpretation,  Debate


Living Theatre

New Courses Developed, Revised

Lit 384 American Musical Theatre, revised from Living Theatre format.
Lit 360 Introduction to Drama, early to present theatre text development.
HSS 407 Theatre & Technology (Independent Study) revised for capstone course and for NJIT Theatre Minor Program.
R965-365 Playwriting (Rutgers) for Theatre Majors and Minors on Rutgers & NJIT campuses.
R965-440 Writing for TV (Rutgers) for Theatre Majors and Minors on Rutgers & NJIT campuses.
Independent Film and Play Writing for the Rutgers and NJIT Honors Colleges.  Two-semester course.

Service Activities
A.    Institute
Administrative Coordinator for Rutgers-NJIT Theatre Arts Program, 1995-present. 
Faculty Alliance for Education, 1997-present 
Women's History Month Planning Committee, 1996-present. 
Programming with NJIT Honors College, 1996-1998.
B.    Department
Managing Director, Rutgers-NJIT Theatre Arts Program.  Fall 1995-present. 
Coordinator for Rutgers-Newark TV Internships.  Fall 2002-on going. 
Coordinator for NJIT Theatre Minor Program, 1996-present. 
Production Director, main-stage shows, 1995-present.
C.    Peer Reviewing
Dramaturg and script consultant to all Theatre Faculty, 1995-present. 
Consult with theatre directors on budget and management process, per show, 1976-present.
I am presently developing two plays,  Weep No More Today and .   Weep deals with the feminine experience in America from 1946-48.  Baby Jesus is about the plight of the elderly and homeless surrounding Tompkins Square Park in the late Reagan Years in NYC.  Both these plays rely on the impact of modern folklore, street poetry, and music of each era.  The character conflicts are mirrored in the environment and sounds that weave throughout their stories.  I work with sounds, both inside and outside the locations of the story.    All my work so far combines music, chants, and stories as a metaphor to the modern conflicts of my characters.  This exploration is my primary interest in story development for theatre.
Within the Theatre Arts Program, I have been active in the development of the crossover Rutgers-NJIT curriculum. yes">   Through this connection, I have been given the responsibility of coordinating the NJIT Drama/Theatre Minor program within the Humanities and Social Sciences Department.  The opportunity of working with not only theatre art students, but engineering and architect students has allowed me to explore different teaching techniques.    The art students approach ideas with a more creative, instinctive and sometime chaotic manner.  While the engineers and architects have a more logical analytical manner.   How to tap into both of these types of creative minds has been a challenge that I have studied for many years.  I have found that asking questions to answer questions is the best way to lead the students to their own conclusions about art and theatre and creative thinking.   Having worked as a member of the Faculty Alliance for Education for five years, I developed an Improvisational Playmaking Workshop with high-school students at the Malcolm X Shabazz High School, with faculty from Essex County College and Rutgers University in Newark.   This workshop is used to encourage artistic expression without the constraints of "writing rules" and dealing more with content and context.  The students are encouraged to create "life" scenes, then discuss what they did and what they really did.  We explore looking beyond the obvious.  This exploration technique is then taken into the classroom and applied to their writing projects and their reading assignments.  Both the Rutgers Television students and the Malcolm X Shabazz High-school students videotape these workshop sessions.   From there, the editing process is used in much the same manner as the writing projects; analysis of what they saw and what they could see with an artistic eye.    I worked with another high-school playwriting seminar in the Spring of 2001.  This was a four week six hour per week workshop to develop short plays and monologues by the students, tie them together with a continuity plot and send the students and their material into a rehearsal process (another four week seminar) to work with a director with the goal of a performance evening for them, their parents, and college students in the Theatre Arts Program.  It was very successful and many of the students came back to Rutgers after graduating high-school. I also have been and still am working with independent playwriting and film writing students.  I recruit these students through the lower level Theatre and Humanities classes.   I guest teach once a semester in a Living Theatre class and lecture on the playwright's process.  Through writing exercises, I find promising candidates, then invite them into an independent study or a regular playwriting class, depending on which course is available each semester.   I have several graduated students that are presently producing and filming their own plays in New York.  One such play that was film debuted in an International Film Festival in 2000.  I encourage the students just before graduation to work with each other on independent projects so that they will gain more experience and a portfolio of work upon graduation.   We have an active Alumni interaction in the Program and are finding new ways every year to enhance this connection.   This is all an extension of the teaching process.>