As a woman in a field dominated by men I have regularly faced exclusion, bias, and
harassment in my career. As a designer and educator I actively work to dismantle outdated and sexist
stereotypes found in Sound Design at a national level, and instead seek to create equity for all within this discipline.
Early in my design career an artistic director I was working with once remarked “There are only
two girl sound designers, one is blonde and you’re the redhead.” I was shocked and appalled
at the belittling of women in my field, and ashamed that I felt powerless to speak up and
correct a man in a position of power who didn’t even care to think of me by name. Female and
non binary representation has increased slightly in the intervening years, but women still make
up less then 16 percent of Sound Designers working in LORT Theatres, and less than 4 percent
of Broadway Theatres.¹ I see my teaching and mentorship as a way to directly shift this culture
toward one of diversity and inclusion. When I use examples from my career in the classroom I
am teaching artistry, and I model a successful woman in my métier.
I take care to decolonize a curriculum that has long been institutionalized with Eurocentric
standards – theatre history is often taught as beginning in Greece, I point out narrative music
usage in Asia and Australia thousands of years prior. I identify and challenge problematic
language that has been coded into our industry, such as “master” and “slave” devices, by
teaching alternative language and challenging the manufacturers still using it to change.
I share the work of BIPOC, Queer, and underrepresented theatre artists as standard, not
“other” – my most recent Graduate Sound Seminar featured only scripts from female and
BIPOC playwrights. By creating space in the classroom for marginalized voices the learning
environment becomes richer, and students can relate personally. I strive to reveal the erasure
of these artists throughout history. I champion the idea that the best work is made with
collaboration from all. I am proud that the evolution of my pedagogy reflects how I have better
learned to serve all communities.
I showcase theatre as a platform for social justice historically and currently, often highlighting
issues in local venues. One example is the Geffen Theatre, where in 2021 Dominique
Morisseau publicly chose to end a production of Paradise Blue amid reports of unresolved
harm to Black artists. I empower students to break the cycle of minimization of abuse to artists
by teaching them to recognize dangerous situations and speak up effectively to remediate
them.
I seek to remove economic status as a barrier to entrants into my field. All of my original
classes have zero cost learning materials, and I have worked with my Department to make
specialized computer hardware and software available free of cost – students work with the
same industry standard tools they will see after graduation. I am proud to teach in a public
institution where our students can graduate without tremendous debt. I publish lectures as
Creative Commons so other students and teachers may benefit from them, regardless of
matriculation status. All of my course materials meet WebAIM accessibility standards. I make specific and
appropriate accommodations for any student as needed. I modify my classes to encourage
work/life balance.
I commit to continually educating myself how to be a better ally and champion of all students.
I routinely seek additional training through LACC’s Professional Development College, as well as through my theatrical
union IATSE USA 829, the TSDCA, and elsewhere, to continue learning and growing as a teacher. I pledge to make space
for, to amplify, and to empower all voices.
¹McGovern, Porshe. “Who Designs and Directs in LORT Theatres by Pronoun: 2012-2020” Howlround Theatre Commons, 16 November 2023