Advising
Advising Philosophy Statement
I approach teaching, mentoring, and advising as an ongoing and daily part of working with students and young theatre artists. The most effective advice and learning happens right in the moment, and pertains to the skill the student is actively practicing. This could be technical information about how a lens bends light, causing it to behave a certain way, thus influencing the student’s choice of instruments. Or it could be a discussion about language, how it affects those working around us, and the kind yet efficient way to run a crew of electricians. I believe this allows learning to be a state of existence rather than a select few hours in a classroom.
There are three types of advising we do each semester. The first type is day to day guidance where we help students learn the ins and outs of theatre. My advising philosophy for this first type reflects this live and constant learning attitude. I see every interaction with a student as an opportunity to advise and mentor them. I take advantage of the causal conversations in the hallway, drop-in visits to my office, and friendly check ins before and after class to answer questions, give advice, and generally keep an eye on how each student is doing.
The second type of advising is course guidance, helping students create a four year plan to fulfill their graduation requirements. and will give them the skills they will need for their chosen career. This is a careful puzzle, taking into account what credits they can transfer, what minors they may want to pursue, and what additional classes they want to take in addition to their major requirements. Because Theatre Production has so many classes that come around only every two or three years, this map is very important to ensuring their course plan while at Point Park.
The third type of advising is acting as a mentor on productions. I see this as on-the-job training where the students get to put themselves in the professional setting of the Pittsburgh Playhouse. They experience the full production process, collaborate with a variety of artists and technicians, and face real production challenges, all while receiving feedback and advice on how to translate what they learned in class. I believe it is important to check in frequently throughout the process and to set individual goals so that students have several specific skills they are working on. At the end of each process, we are able to evaluate what they learned and to set a plan for the next production, thus creating an attitude of continual learning.
These three forms of advising help each student feel supported so that they can take risks and explore all their interests within the Theatre Production program. This also allows students to continue to contact me after they graduate and feel comfortable using me as a reference and a life long mentor.
Advising
Responsibilities
Check in to make sure the students are adjusting to college well and have a good plan for class work.
Make sure they know what their production duties are and who they report to. Check in throughout the semester to make sure they remain on track.
Advise on which classes the students should take each semester to best fulfill their chosen Production track. Check in throughout the semester to make sure classes are going well and the student is receiving any support they may need to be successful.
Create a four-year tracking plan to make sure the students are able to take all their desired courses for their major.
Assist students with any questions about the right production focus and help change tracks if they discover their passions lie elsewhere.
Provide information and advice on where to look for summer work that will help with the students’ overall career goals.
Listen and provide advice when challenges arise in classes, production assignments, or during apprenticeships.
Discuss overall career goals and how to best shape the students’ trajectory.
Advising
Total Students Advised, and Availability Each Semester
Advising
Summary of Advising Effectiveness
My official advising meetings, production mentoring, and everyday interactions with the students have led to many successes in the education and professional pathways for our alumni. Below are a few examples of how I have helped students while at school and post graduation:
Connected a senior lighting design student with two Pittsburgh based theatre companies who hired her to be their Master Electrician on professional shows before graduation.
Advised and mentored ten junior and senior lighting students as lead designers on over 22 main stage shows that were part of the Produced Season, as well as eleven semesters of One Act Festivals and Student Choreography Projects.
Wrote letters of recommendation for students in all fields, resulting in:
jobs with the Walt Disney Company
freelance design jobs with companies all over the country
technician positions with Crystal Cruise Lines and other cruise lines, 4 Wall in New York, Vincent Lighting Systems, the Walt Disney Company, the Aladdin, Gypsy, and Lion King National Tours, and as a Production Manager and Lighting technician on the Iron and Wine Concert Tour.
many summer stock theatre positions
sent two students to get their MFAs at Boston University
Recommended ten students for nationally recognized awards at the United States Institute of Theatre Technology.
Recommended two lighting students for the Gilbert Hemsley Lighting Design Portfolio Review in New York. One made it to the final round with high marks.
I frequently bring in guest panels consisting of working theatre artists from all over the country, and the students continue communication with them outside of school. Several students have reached out to stage management guests and have been able to shadow them on tours. This has led to several Assistant Stage Manager jobs.
A scenic design student was able to connect with Ken Billington in New York City after graduation, and due to the fact that he took my Lighting 3 and Vectorworks classes, he was able to run focus for Billington and now drafts his set electrics as his assistant.
Students have assisted me professionally on six shows in Pittsburgh, Chicago, and just outside Philadelphia.