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6. You’ve had experience as an actor, director and artistic director—how have these roles influenced one another throughout your career? 
Directing taught me everything I would NEVER do as an actor during rehearsals and performances. Being an artistic director taught me everything I would NEVER do as a director! Seriously, each position informs the other. When I am directing, I most appreciate the performers who are prepared, focused, adaptable and collaborative. When acting, I strive to emulate what I most admire in other actors’ processes. In other words, I strive to be the kind of actor that I like to direct.  As an artistic director, I have learned that the creative process is only one aspect of directing. There are many considerations, some fiscal, some logistical. I try to see the big picture and understand why perhaps there might be limitations in scale and scope. It's not just about my show or my process.  It's about how I fit into the organization, company or theatre.

7. What show(s) have you directed that stand out as especially meaningful to you? 
The show that convinced me to focus on directing as a career was "Children of Eden" at the Halle Theatre. There was no recording of the show. We were in rehearsal at the same time the professional U.S. premiere was in rehearsal at the Papermill Playhouse. I was given a cassette tape with a few demo songs.  I had read the script, but it was the music that grabbed me; in particular the song "That’s What it Means to Be a Father." It was during this process that I defined my directing style. I have directed the show four times throughout my career. Other shows that are special to me are:  "Hair" and "Cabaret" at �鶹ӰԺ, "Man of La Mancha," "Jesus Christ Superstar," "Chicago," "Anything Goes" and "Annie" at Porthouse Theatre.

8. What prompted you to start teaching theatre? 
As a graduate student, I had a teaching assignment. I realized that I enjoyed teaching and I was successful. My department chair in grad school took a position at SUNY Stony Brook and offered me a one-year appointment. I accepted to be close to NYC and to perform in the city. What I learned was that teaching was much more rewarding than acting for a living—not to mention a steady paycheck and benefits. I also realized that as a teacher, I could continue to act and direct.

9. What is your favorite part about teaching? 
The students! I am so blessed to spend my life in the presence of these wonderfully talented and intelligent young people. It's like being a parent—and the tremendous joy you find in watching your child take their first steps, speak their first words, grow and become their own person. I feel that same sort of pride when I see my students succeed. It's their success–but I have had the honor of recognizing that potential and nurturing their talent!

10. What advice do you give students who aspire to a career in musical theatre? 
Allow there to be a balance between your head and your heart. Musical theatre, in fact, any of the arts, will not make you rich. However, waking up every day, loving your work and knowing that you are making the world a happier and better place, far exceeds financial wealth. It all depends on your values.

11. When did you take on the role as artistic director of Porthouse Theatre and how has your role evolved over time?
It's been 25 years. My responsibilities have increased over the years in part due to the growth of our company and the growth of our subscriber base and patrons. I’ve gotten to know so many people in our community. Also, I have worked with four different executive producers. Different people bring different strengths–I have been able to learn from each one. I have learned how my work compliments the executive producer, and I have learned to adjust my contributions to capitalize on their individual strengths. I am still willing to clean the bathrooms, empty the trash or water the flowers at Porthouse. Knowing the value of each company member’s contribution, and acknowledging that with gratitude, is vital. It’s kind of like being a family. Everyone contributes at every level.

12. How does your work at Porthouse Theatre intersect with your role as a faculty member?
Truthfully, it's really two full-time jobs that overlap most of the year. In the Fall, I review the past season, plan the next season, read scripts, check on the availability of shows, finalize the season, select the directors, music directors, choreographers and designers, schedule the auditions, foster donor relations and raise money. In the Spring, I review video audition submissions, (usually around 350), hold in-person auditions, (usually spanning three to four days) and plan callbacks. Then, I check references and offer roles. If someone does not accept, it's back to the drawing board. We have design and production meetings for all three shows, which is a process that spans several months. And I prep the shows I am directing. All of this takes place while I teach classes, recruit students, spearhead the selection of the incoming musical theatre freshmen class and participate in multiple committees on the school, college, university and professional levels.  And I might be directing a production for the school or directing the B.F.A. Musical Theatre New York Showcase. Fundraising continues year-round. I also serve as head of the musical theatre program. Knowledge of our student body influences show selection and vice versa. There is a great deal of cross-over between the academic year and the summer.

13. How do you go about selecting the season for Porthouse Theatre? 
There is no specific formula. If there was, I would market it and be a billionaire! I look at titles that align with the mission of the theatre, the needs of our students and the preferences of our patrons and subscribers. This must be balanced in scope and scale. Three shows must be cast, orchestras secured, sets designed and built, costumes designed and built and props designed, built and purchased. Lighting has different roles in different genres. A rock musical will have a different kind of lighting than a book musical. Think "Rent" versus "Brigadoon." The same lighting plot needs to serve all three shows. Sound is also a huge element. Not only are designs created, but someone must “mix” the show to create the correct balance. We have a limited number of mics and limited channels through which to broadcast. And all those elements must be balanced within both our practical resources, i.e. time and personnel, as well as financial resources. For example, contemporary costumes are less expensive than period costumes. A show with a single location requires less set than one with multiple locations. It's a giant puzzle. I usually land on one show and then adjust the others around what I call the “anchor show."

14. What is your vision for the future of Porthouse Theatre? 
My dream is to endow Porthouse Theatre’s production budget so that it will go on in perpetuity. One day I would love to see a second performance space on the grounds with two shows playing simultaneously. I would like to rebuild the Porthouse Academies. I would like to see the theatre reach an even greater national reputation by being a venue that launches young artists into the professional arena–which we already do!

15. How do you approach storytelling and working with actors? 
As the director, it is my job to interpret the script, define the focus of the story and remain aware of the playwright’s intent. I collaborate with the actors to create a lens through which the story will be told. Know the beginning, the middle and the end. What is the purpose? What is the conflict? How will our story impact the audience, community and world? I ask these questions repeatedly throughout the process.

16. How has Porthouse evolved over the course of your time working there? 
Porthouse was a non-musical, Shakespeare, classical theatre. I first devised a season of one musical and two comedies. Then we moved to two musicals and one comedy. Our primary focus became musicals when Box Office sales and attendance skyrocketed. This choice also aligned with the goals of our B.F.A. musical theatre program, creating a synergy between Porthouse Theatre and the School of Theatre and Dance.

17. How did you become the Musical Theatre Coordinator at the School of Theatre and Dance?
That’s a funny story. There were only four musical theatre students, and the coordinator was going on a semester-long leave of absence. I was asked to cover his classes. My goal was to kill off the program and focus on the acting program. Then, I fell in love with the work, the potential, the students. Today, we could double our enrollment if we had the resources to teach them. Musical theatre chose me—that's how I look at it.

18. Tell us about the type, or genre of productions you prefer to direct. 
I love it all! I have a deep appreciation of classic American musicals. I am also drawn to shows that connect to history, like "Hair," (Vietnam War) "Cabaret," (Nazi Germany) and "Rent" (the AIDs pandemic).

19. What impacts have you seen of Porthouse Theatre on the surrounding community and �鶹ӰԺ?
For years, we were able to partner with other not-for-profit agencies to raise awareness and funds. Over the years we partnered with Wigs for Kids, American Heart Association and Project Ed Bear, to name a few. We also host community nights which allows people who would not typically be able to attend the theatre to experience our amazing shows, for example, The King Kennedy Community Center, senior citizen groups and Big Brother/Big Sisters, among others.

20. What show is your favorite to watch? 
I think it is “Steel Magnolias.” I directed it in New Delhi, India in 1990. I was teaching as a Fulbright Professor at Lady Shri Ram College. Back then it was an all-women’s college. One of my assignments was to direct a play. I chose “Steel Magnolias” because it is an all-female cast. Then we decided that only women would create this production, which was very progressive for India in 1990. We did everything from making the wigs to building the set. It was produced by the United States-India Educational Foundation, (USIEF). I have seen so many productions of the piece since 1990, including the movies, the original, the made-for-TV and the all-Black cast version. I love watching this show because different teams bring different perspectives, but in the end it's about women helping other women be better women.

21. If you could give one piece of advice to your younger self when you were first starting in theatre, what would it be? 
When other people thought you were eccentric, or accused you of exaggerating, or criticized you for being overly dramatic, they were simply glimpsing your creativity, joy and passion for storytelling and depth of feelings and humanity. Don’t apologize for possessing the gift of seeing things with a deeper understanding, appreciation and spiritual connection. Not everyone can envision what you can, and that is why you must create the show, story and performance, not only to entertain but to enlighten.

22. If you could direct or perform in any show, with no limitations, what would it be and why? 
I would love to play older Allie in "The Notebook." I know her and I could bring her to life. I believe that each story has a perfect medium whether book, play, movie or musical. However, this story holds up in all mediums because it is a truly beautiful and poignant love story. I have been blessed to know a love that deep.

23. Do you have any pre-show or rehearsal rituals that you swear by?
I stand to the left and ask my higher power to stand at my right side. Or if I am entering the stage from the wings, I page the curtain to symbolically allow my higher power to enter first. Through this action, I ask for guidance to tell the story in a way that will touch each person in the audience.

24. What is your favorite aspect of Porthouse Theatre? 
Everything from the venue to the location, to the patrons, to the glorious night sky! There is magic in the very space, and it fills me with such joy! I feel connected to the past, the present and the future. It's my happy place!

25. What’s your favorite memory working for Porthouse Theatre? 
It was probably the opening night of "Big River," the first show I directed at Porthouse and my first season as artistic director. After Jim and Huck sang "River In The Rain," the audience broke into spontaneous cheers and applause. It went on and on. I leaned over to my husband and said, “Pinch me so that I know this is real.” I have never experienced anything like that either before or after. It made me think, “Maybe I can do this!”