Personal Statement

My collaboration and practice history spans nearly 35 years and is wide ranging in its responsibilities; from principle actor to ensemble/understudy in musical theater on US broadway/national tours and regional houses; Assistant musical director to assistant director in educational theater;  Backstage props to running sound for summer camps. With this history, I now aspire to use them collectively as an Artistic Director or Associate Artistic Director with an emphasis in dramaturgy and an eye for ethical ethnography.

Line of Enquiry

As an Artistic Director the aspect of collaboration that interests me the most is establishing and  defining diverse roles of expertise so that the environment facilitates dialog and potentially nurtures genius. 

As Candy writes:

“For many practitioners, the attraction of collaboration is in having a genuine dialogue based upon difference and drawing on that difference. They benefit from exchanges between people with differences in outlook or ‘world view’, differences in ideas and beliefs and differences in working practices. This is where the interdisciplinary element, a key aspect of collaboration, plays a crucial role.”(2019: 103)

“Creativity cannot bring forth anything new unless it can enlist the support of peers. Instead of focusing exclusively on individuals, it will make more sense to focus on communities that may or may not nurture genius.”(2019: 105)

A Christmas Story the Musical 

Featured ensemble music collaboration: Justin Paul & Benj Pasek composer and lyricist; Ian Eisendrath music direction; Kelly Divine choreographer; Eric Rosen director. 

As a featured ensemble member of A Christmas Story the Musical, I was tasked with learning new pages of script/music and new choreography/blocking, then rehearsing and performing those changes the same evening. Also, was a part of the World Premier Recording as the soprano in the Radio Quartet. 

Bruce (Musical)

Featured ensemble acting collaboration: Richard Oberacker & Robert Taylor composer and lyricist;  Lily Ling musical director; Donna Feore director/choreograoher

Based on the book, The Jaws Log.

This collaborative process involved trial and error as the majority of the cast navigated the pitfalls of bringing workshopped material to the main stage without being involved in the previous workshop process. Many disagreements between the writers and the director. Many technical issues post pandemic. Unsafe stage. International differences involving technical crew and union rules. Personal feelings and opinions. Poor communication. Lack of respect between departments. Collaboratively stunted due to conflict with minimal input for development. Talented and frustrated cast.

Dear Mr. C

Tidtaya Sinutoke Book, Music and Additional Lyrics; Lily Ali-Oshatz Lyrics; Naomi Matlow Lyrics; Keng S. Meateanuwat Director;R.J. Tancioco Music Director

Actor collaboration – mostly table work – script analysis – My contribution was a Mother’s perspective – not much musical collaboration – songs had been written – keys were selected prior to beginning – Asian perspective – immigrant perspective – neurodivergent perspective  – 29 hour reading – carried by narrator – the director was the facilitator – writer/composer online with significant time difference due to being in Thailand. Thai story with a Thai director that has been involved since it’s conception. Components of Thai culture such as folk stories, Buddhism, and Thai text. Ethical ethnography for accuracy and sensitivity for the piece. 

Research and Analysis

Based on my experiences, I have discovered that not all collaborative experiences are created equal and the clear identification of roles and responsibilities can help facilitate communication and more efficient work. Personally, I noticed that I was hesitant in contributing unless asked. Through each experience I found that I can help make a difference in the creative process but felt I needed permission. In the end, I believe that if we can set a clear understanding of roles and clarify needs versus wants that the collaborative process can be clearer and more productive. 

 What I found challenging was the power dynamic in the room and how to contribute and collaborate.

 By using, Butterworth’s Didactic-Democratic framework as a tool, I can clearly see the power dynamics in which I experienced.  With my new perspectives in place, I can clearly see that as an actor I had a progression of my roles, starting from instrument, then onto interpreter and finally as contributor. Where I once saw my value as an actor as merely to execute what is given, I now see the value of making a creative work that involves understanding the core 

objectives the creatives want to achieve and maybe some things they don’t know they want to achieve but discovered through the voice of others when collaboration is facilitated. 

Another tool I feel in crucial to to the forward progression of a work and artist is Liz Lerman’s Critical Response Process. This tool sets down the groundwork in such a clear and respectful format that it makes it genuinely easy to use. 

Conclusion

Though I have only learned these specific systems of collaboration while here at Leeds Conservatoire over the past 4 weeks, I can see it’s application and usefulness when applied to my history of collaborative work. These systems have organized some pivotal points for me on my journey towards more fruitful creative ventures. 

Key takeaways:

• Understanding power dynamics for any collaborative process should be taken into account – sometimes your role is as an instrument.

• Recognize when feedback is being asked. 

• How to give respectful feedback as it serves the work. 

Moving On From Here

While continuing on in my collaborations in the course, my hope is that I will fine tune how these collaborative processes can be used more efficiently and effectively in the role of Artistic/Associate Director. I believe there is great value in in my perspective as an actor as it applies to leadership collaborative practices. I am looking forward to establishing more refined collaborative practices and how I can shape and facilitate more efficient collaboration.

Bibliography

Butterworth, J. (2009) ‘Too many cooks? A framework for dance making and devising’, in Contemporary Choreography. Routledge.

Candy, L. (2019) The Creative Reflective Practitioner: Research Through Making and Practice. 1st edition. Abingdon, Oxon: Routledge.

Lerman, L. (no date) Critical Response Process | A Method for Giving and Getting Feedback’. Available online: https://lizlerman.com/critical-response-process/ [Accessed: 10 October 2025].