Lecturer, Sound Design.
mattch@stanford.edu | Memorial Hall Room 210
Matt Chapman
Lecturer, Movement. Matt Chapman is a performer, director, and teacher of physical theatre, movement, and clown. He is the Co-Founder and Co-Artistic Director of Brooklyn’s Under the Table, collaborating on each of the company’s 12 works produced since its founding in 2001. Based in Oakland, CA, Matt began working with TAPS as a lecturer in Winter 2017.

In recent years, Matt has worked on the Faculties of several programs at American Conservatory Theatre in San Francisco, and spent several years on the Faculty at Dell’Arte International School of Physical Theatre in Blue Lake, CA; he currently continues his work with the school as Director of Admissions and Recruiting.

Matt has taught Clown at Marymount Manhattan College and Manhattanville College in New York, and has taught workshops at such places as the John F. Kennedy Center for the Performing Arts, Actor’s Theatre of Louisville, NYU, Vassar, Sarah Lawrence, Towson, the University of Iowa, James Madison University, University of North Dakota, NYC’s People’s Improv Theatre, and the Brooklyn Arts eXchange.

He works abroad regularly as well; his workshops, directing, and performances have included South Africa, Denmark, Colombia, the Netherlands, Canada, Mexico, and England. Matt has held several Clown intensives in collaboration with Suzanne Bakker in Amsterdam and taught annually in Mexico City at UNAM’s Festival Nacional de Teatro Universitario.

He has collaborated with NYC’s Eavesdrop; Durban, South Africa’s African Dream Circus; Sweden’s Cirkus Cirkor; Denmark’s Filuren and Jomfru Ane Teatret; Blue Lake’s Dell’Arte Company; Philadelphia’s Hotel Obligado; and Arcata, CA’s Pequeño Teatro DanceTheatre, and worked as Movement Consultant for Stanford's The Good Person of Szechwan, directed by Mina Morita.

Matt works with Clowns Without Borders, writes music for and plays guitar in the Oakland punk band The Big Forgive, and is a graduate of Dell’Arte International and the University of Kansas. He was a recipient of Theatre Communications Group’s New Generations Future Leaders program. www.chapmantheatre.com
Lecturer, Dance.
eflatmo@stanford.edu | Memorial Hall Room 238
Erik Flatmo
Lecturer, Set Design. Erik Flatmo teaches set design at TAPS and continues to work professionally as a set designer based in San Francisco. Prior to joining Stanford, he taught at Barnard College in New York City for three years where he also worked on theatre and dance projects ranging from Off-Broadway to Broadway and the Metropolitan Opera. His professional focus is on original plays and dance pieces, and he has designed premiere productions of plays by emerging playwrights Julia Jordan, Brooke Berman, Gary Sunshine, Zakiyyah Alexander, and Anne Washburn. Locally, he has collaborated extensively with the director/playwright John Fisher, currently artistic director of San Francisco’s Theatre Rhinoceros. Upcoming work includes projects at San Francisco’s Magic Theatre, San Francisco Opera Center and Joe Goode Dance Company. Flatmo received a B.A. in Architecture from Columbia University and an M.F.A in Design from the Yale School of Drama. He was born and raised in Palo Alto.
dfrank1@stanford.edu | (650) 725-9330 | Roble Hall Room 111A
Diane Frank
Lecturer, Modern Dance, Merce Cunningham Technique, Choreography, Repertory. B.F.A in Theater; M.A. in Dance; Assistant Professor, Dance Department at the University of Maryland, founding member of the Maryland Dance Theater. Frank then moved to New York City to begin an eleven-year career with Douglas Dunn and Dancers, touring nationally and internationally. She trained with Merce Cunningham and was a member of his teaching staff at the Merce Cunningham Dance Studio for eight years; at Cunningham’s request, she taught technique and repertory at the American Center’s Atelier Cunningham in Paris. A frequent guest teacher at the Paris Opera, she assisted Douglas Dunn in both the creation of new work for the Opera and the setting of established repertory. Frank has been the recipient of seven NEA Choreography Fellowships, as well as commissions from the Jerome Foundation, DTW, Dance Bay Area, and Meet the Composer, and Arts Silicon Valley. Her work has been performed both in the United States and abroad.

At Stanford, Frank teaches intermediate and advanced contemporary dance technique, choreographs, and mentors graduate and undergraduate student dance projects. She has organized and advised Stanford’s student participation in the American College Dance Festival as well as other Divisional dance education and performance projects on- and off-campus. She has also organized numerous choreographic commissions by guest artists, frequently acting as Rehearsal Director, setting and maintaining works by choreographers as diverse as Elizabeth Streb, Holly Johnston, Brenda Way, Parijat Desai, Hope Mohr, Janice Garrett, among others.

In 2005, she played a significant role in the development of Stanford Lively Arts’ campus-wide interdisciplinary arts event “Encounter: Merce,” organizing its “Music and Dance by Chance” commissions, as well as an IHUM lecture series on Cunningham’s video dances and concert repertory. She has twice taught Cunningham repertory in Stanford workshop classes. Frank has been instrumental in developing a number of residency projects and artistic collaborations for the Dance Division. Highlights include: the repertory reconstruction project of Anna Halprin’s "Myths"; Elizabeth Streb's "Crash" performed with Streb's company on Stanford's Memorial Auditorium stage; and "Cantor:Rewired," site-specific outdoor iterations of Parijat Desai's work fusing Southeast Asian classical Indian dance with post-Modern choreographic strategies. In 2011, she assisted in the reconstruction of Anna Sokolow's signature masterpiece, "Rooms". Frank also teaches “The Duets Project,” a performance class that builds partnering and ensemble skills through duet repertory. Strongly interested in site-specific performance, Frank has taught the theory course “Figure/Ground: Site-Specific Dance Performance in Outdoor Environments.” Complementing this course, she conceived and organized "Red Rover," a series of commissioned site-specific dance performances traveling the grounds of Stanford campus. Recent site-specific projects include “Construction Site” and “Action SEQuence: Six Dances on the SEQ”. Frank also instituted the Firework Series, a quarterly informal showing of student work followed by discussion among artists and audience. She also founded and currently organizes the Bay Area Dance Exchange, a day-long intensive hosted by Stanford for Bay Area college and university dance programs; eleven schools gather to share studio practices, creative processes, and performances of works. Recent choreography includes the site-specific duet "Cleave," from which she developed a video dance with filmmaker David Alvarado, as well as "Sea Change," a series of duets, and “Escalating Overlap for Figure/Ground.”

Her work "Twilight Composite" was selected for performance at the American College Dance Festival Gala at the Kennedy Center in March 2012. “Branch, Tendril, Vine” and six “Tendril” solos have been created and performed by solo artists in the Bay Area and nationally. “In a Winter Garden,” a contemplative performance collaboration for dance, sculpture, and music was created with composer Jaroslow Kapuscinski, sculptor Will Clift, and musician Ko Ishikawa. Her most recent work, “Tools for Travelling Toward the Light,” involved scenic design by Erik Flatmo and music score by Hassan Eskhatrian. Frank also currently tours as a performer in “Doggie Hamlet” by the acclaimed choreographer/director Ann Carlson. Frank has twice served as Acting Director of the Dance Division.
ahayes1@stanford.edu | (650) 725-9330 | Roble Hall Room 111B
Aleta Hayes
Lecturer, Contemporary Dance and Performance; Dance Concentration Advisor Aleta Hayes is a contemporary dancer, choreographer, performer, and teacher. Before her appointment at Stanford, Ms. Hayes taught for eight years at Princeton University in the Program in Theater and Dance and the Program in African American Studies. While at Princeton, Ms. Hayes developed pedagogically innovative courses that combined cultural and performance history, theory, and performance. She has also taught at Wesleyan University, Swarthmore College, and Rutgers University. Ms. Hayes holds an M.F.A. in Dance and Choreography from New York University’s Tisch School of the Arts and a B.A., with Departmental Honors, in Drama, Dance and the Visual Arts from Stanford University (1991).

Aleta Hayes lived and worked in New York City for fifteen years, choreographing solo and group dance pieces, in which her performances often interpolated acting and singing. Highlights include: Hatsheput, presented at the Place Theater, London and St. Marks Church, New York; Tarantantara, presented at Jacob’s Pillow; and La Chanteuse Nubienne (written by playwright Daniel Alexander Jones), performed for Movement Research at Judson Church. Ms. Hayes collaborated, as choreographer and dance/vocal soloist, with the poet Yusef Komunyakaa and composer William Banfield, on Ish-Scoodah, a chamber opera with dance about the nineteenth century African American sculptor, Edmonia Lewis. She also had leading roles in major works by other artists such as Jane Comfort (the trip-hop dance/opera Asphalt, with a book by Carl Hancock Rux) and Robert Wilson (the opera The Temptation of St Anthony, with gospel and other African American spiritual music forms and libretto by Bernice Johnson Reagon). Ms. Hayes has continued to perform in the subsequent international presentations of The Temptation of St Anthony.

In 2004, Ms. Hayes returned to Stanford on a Ford Foundation Resident Dialogues Fellowship through the Committee on Black Performing Arts, for which she created The Wedding Project, a performance piece of multiple genres illustrating the evolution of American social dance through the narrative of African American wedding traditions. She extended this "theater of mixed forms" (the critic Anna Kisselgoff’s term) into community dialogue when she was a 2005 Peninsula Community Foundation Artist-in-Residence at Eastside Preparatory School in East Palo Alto. That residence culminated in The ReMix Project, where she collaborated with students to create and perform a montage of music, monologue, and movement examining student aspirations in a low-income, racially-mixed neighborhood.

Since 2005, Ms. Hayes has had many leading roles as a dancer, singer and actor including, most notably: Suzan-Lori Park’s In the Blood, directed by Prof. Harry Elam, (2005): In the spring of 2006, she choreographed, danced, spoke, and sang a multimedia solo piece, Deianeira (an adoption of Sophocles’ Women of Trachis) created for Ms. Hayes and directed by Drama and Classics Professor Rush Rehm: She created a solo piece, Califia, which developed out of a residency at the Djerassi Resident Artist Program (2007), and a Stanford Humanities Lab Grant/Fellowship (2006) in collaboration with CCRMA-Center for Computer Music and Acoustics (involving human computer interaction): She wrote, sang, acted, and co-directed an original work in the Stanford Drama Department based on T.S. Eliot’s The Waste Land titled, The Waste Land in Black and White (2009).
The Chocolate Heads Movement Band, founded by Hayes in 2009 to the present, is a platform for performers of many genres. The troupe’s name is a descriptor for a “movement driven band” comprised of dancers, musicians, visual artists, performance poets and writers—referencing both dance and social movement as motivating forces for the work. In 2011, the Chocolate Heads were invited to perform at STAN: Society, Technology, Art and Nature—a prototype TED X talk at Stanford University.

Hayes’ latest dance-music performance installation, ‘Singing the Rooms-Performance of the Everyday’, is a collaboration with New York based composer, performer and multi-instrumentalist, Cooper Moore—a dramatic song cycle to be performed by her and collaborators in different domesticated spaces.
sjhunt@stanford.edu | Memorial Hall Room 209
Stephanie Hunt
Lecturer, Voice; Acting. Stephanie is an actor, director, and teacher of voice and acting. As a core member of the Bay Area theatre company, Word for Word, Stephanie has acted in numerous productions, including Tobias Wolff’s Sanity, Colm Tóibín’s Silence, Upton Sinclair’s Oil! and Susan Glaspell’s A Jury of her Peers. For Word for Word, she directed the productions of Bullet in the Brain and Lady's Dream by Tobias Wolff, and All Aunt Hagar’s Children by Edward P. Jones, which played at the Z Space before touring France. She has acted with Berkeley Repertory Theatre, Campo Santo, Aurora Theatre, the Magic Theatre, Berkeley Shakespeare, the One Act Theater, and in New York at La Mama. For two years with Pulp Playhouse, Stephanie performed late-night comedy improv with O-Lan Jones and Mike McShane at the Eureka Theater. She has taught voice at ACT in the Summer Training Congress, and at the University of San Francisco, Chabot College, and Sonoma State University. She has directed a number of university productions, most recently at USF, where she directed Twelfth Night, and adapted and directed Alice Munro’s The View from Castle Rock. Her training includes an MFA from the American Conservatory Theater and certification as an Associate Teacher of Fitzmaurice Voicework. Stephanie is committed to creating and teaching ensemble-based theater with a focus on heightened language.
aketley@stanford.edu | (650) 721-3890 | Roble Hall Room 111A
Alex Ketley
Alex Ketley, Lecturer Ballet and Choreography. Alex Ketley is an independent choreographer, filmmaker, and the director of The Foundry. Formally a classical dancer with the San Francisco Ballet, he performed a wide range of classical and contemporary repertory with the company in San Francisco and on tour throughout the world. In 1998 he left the company to co-found The Foundry in order to explore his deepening interests in choreography, improvisation, mixed media work, and collaborative process. With The Foundry he has been an artist in residence at many leading art institutions including Headlands Center for the Arts, Yerba Buena Center for the Arts, The Yard, the Santa Fe Art Institute, the Taipei Artist Village, ODC Theater, the Ucross Foundation, and the Vermont Performance Lab. The Foundry has produced fifteen full evening length works that have received extensive support from the public, funders, and the press.

As a choreographer independent of his work with The Foundry, Alex Ketley has been commissioned to create original pieces for companies and universities throughout the United States and Europe. For this work he has received acknowledgement from the Hubbard Street National Choreographic Competition, the International Choreographic Competition of the Festival des Arts de Saint-Saveaur, the National Choo-San Goh Award, the inaugural Princess Grace Award for Choreography, the BNC National Choreographic Competition, three CHIME Fellowships, four Maggie Allesee National Center for Choreography Residencies, the Gerbode-Hewlett Choreographer Commissioning Award, and the National Eben Demarest Award. His pieces and collaborations have also been awarded Isadora Duncan Awards in the categories of Outstanding Achievement by an Ensemble, Outstanding Achievement in Choreography, and twice for Outstanding Achievement by a Company.

In 2011 his AXIS Dance Company work To Color Me Different was presented on national television through an invitation from the show So You Think You Can Dance. With The Foundry in 2012, he began a new trilogy entitled No Hero which explored what dance means and how it is experienced by people throughout rural parts of the American West. The video projection Alex created for No Hero was nominated for a 2012 Isadora Duncan Award for Outstanding Achievement in Visual Design.

In 2013 he was awarded the first Princess Grace Foundation Choreography Mentorship Co-Commission Award, a MANCC Media Fellowship, a Kenneth Rainin Foundation New and Experimental Works Grant, and supported by the Historic Asolo Theater to work on a project with Miguel Gutierrez exploring rural communities throughout the American South (Deep South - No Hero - Part 3). He also created and premiered the dance and disability film The Gift (of Impermanence) which has screened at film festivals internationally as well as winning the 2015 Artistry Award from the Superfest International Disability Film Festival.

During 2016 he taught for Salt Dance Fest and created a work for SALT Dance Company and had a six week residency to create a new work for Ballet Met in collaboration with the Columbus Symphony and Opera Columbus. Highlights of 2017 include the Stanford MainStage performances of No Hero, teaching and commissions in NYC and Seattle, as well as the final iteration of Deep South which was fully supported through a tech residency and performances by ODC Theater in San Francisco and featured some of the Bay Area's most notable performer/choreographers in the work. For 2018 he traveled extensively focusing on commissions and creating new work in San Francisco, Los Angeles, Tampa, Seattle, Indianapolis, Albuquerque, San Diego, Chicago, and New York.

Along with his direction of The Foundry and his various independent projects, he was appointed a Lecturer at Stanford University’s Theater and Performance Studies Department in 2013, and for fourteen years was the Resident Choreographer at the San Francisco Conservatory of Dance until the school’s closure in 2018. He has created an extensive body of new work for students, as well as teaching a wide range of classes including Advanced Ballet, Hot Mess: Deliberate Failure as Practice, Dance and Disability, Choreographic Film, and Choreographic Toolkit: Strategies to Building Movement, Dance, and Time Based Art.
kleinimp@stanford.edu | (650) 736-8387 | Memorial Hall Room 201
Dan Klein
Lecturer, Improvisation. Dan Klein has returned to Stanford to teach Improvisational Theater and to direct the Stanford Improvisors. As an undergraduate at Stanford, he was a founding member of the SImps and perennial TA for Patricia Ryan Madson, his predecessor. After graduating, Klein joined the performing company BATS Improv in San Francisco, where he also coached and served as Dean of the BATS Improv School. As a renegade improv teacher, Klein has had appointments at the American Conservatory Theater, the Academy of Art University, the Berkeley Repertory Theater, Dominican University, Vector Conservatory, Menlo School, and has taught corporate workshops for clients like Visa, Cisco, Sun, Oracle, Schwab, Kaiser, Clorox, Cadence, Clif Bar, and others. He is also a member of the Kasper Hauser Comedy Group, authors of SkyMaul, the in-flight catalog parody.
KAYKOST@stanford.edu | (415) 810-4924 | Memorial Hall Room 202
Kay Kostopoulos
Lecturer, Acting. Kay Kostopoulos directs and teaches acting, acting pedagogy, voice, speech, and Shakespeare in the Department of Theater and Continuing Studies Program at Stanford University. She teaches “Acting with Power” at Stanford’s Graduate School of Business, and has coached for the Knight Fellows Journalism Program, the Clayman Institute for Gender Research, and the Department of English. Kay has created and directed training programs for Stanford’s School of Medicine and co-taught a class for Symbolic Systems in the development of facial recognition for the treatment of autism.

Kay has taught private seminars for live and on-line presentation for Apple, Twitter, Airbnb, Genentech, Cisco, Hitachi, Lippincott, Ernst and Young, First Republic, Stand and Deliver Consulting, The National Association of Speakers, Fripp & Associates, Stanford’s Executive Program for Women and Women in Entrepreneurship Program, eBay’s Global Women’s Conference and Women In Cable Telecommunications. Her work has been featured in “O” magazine. She has also been featured on NPR’s Philosophy Talk radio program for her work on understanding facial emotions in the treatment of Autism.

Kay served as Education Director at The California Shakespeare Festival. At Stanford, Kay performed multiple voices in “Encountering Homer’s Odyssey,” an online classics program through the Stanford/Princeton/Yale Alliance. She has directed and performed in educational and centennial projects for Stanford’s Continuing Studies Program, including the Emily Dickinson, William Saroyan, Charles Darwin, and Robert Frost centennials.

Kay is also a singer and actress who has performed in many Bay Area and regional theaters, including A.C.T., the Magic Theatre, the San Francisco and California Shakespeare Festivals, and Stanford Repertory Theatre. She has additional credits in voiceover, film, and television. Kay leads her own jazz ensemble, Black Olive Jazz. She draws from her acting background and her Mediterranean heritage to establish a unique sound in Jazz, bringing this vision to audiences all around the San Francisco Bay Area. Featuring Kay on vocals with master musicians from the local jazz scene, Kay performs songs from film and the Broadway stage to jazz standards, along with groundbreaking offerings from the “world music” genre. www.blackolivejazz.com
laxmik@stanford.edu | Memorial Hall Room 236
Laxmi Kumaran
Lecturer, Production Stage Management. Laxmi Kumaran has been working as a stage manager in the Bay Area since 2005 and is currently the Production Stage Manager at California Shakespeare Theater. Before moving to the Bay Area, Laxmi stage managed in Chicago for a variety of theaters, including the Goodman Theatre and the Court Theatre. Laxmi has taught in the theater departments at San Jose State, Northern Illinois and DePaul universities, and at the University of California Santa Cruz. She currently splits her time teaching at Stanford University and the University of California Berkeley.
patryan@stanford.edu |
Patricia Madson
Senior Lecturer Emerita, Improvisation. Patricia Ryan Madson was the 1998 winner of the Lloyd W. Dinkelspiel Award for Outstanding Innovation in Undergraduate Education. She was on the faculty in the Drama Department at Stanford University from 1977 until 2005. She has served as the head of the Undergraduate Acting Program. Founder and coach of the Stanford Improvisors, she taught beginning and advanced level courses in improvisation for undergraduates as well as adults in Stanford’s Continuing Studies Program. In 1996 she founded the Creativity Initiative at Stanford, an interdisciplinary alliance of faculty who shared the belief that creativity can be taught.

Ryan Madson has taught “Design Improv” for the School of Engineering and was a Guest Lecturer for Engineering 145, Stanford Technology Ventures Program. She teaches regularly for the Esalen Institute, and has given workshops for Sun Microsystems Japan Division, the California Institute for Integral Studies, the Institute of Transpersonal Psychology, the National Association of Drama Therapists, the Western Psychological Association, Duke University East Asian Studies Center, and the Meaningful Life Therapy Association in Japan. Ryan Madson combines her work in improvisation with work as a counselor using an Eastern approach to problem solving known as Constructive Living. Dr. David K. Reynolds certified her as a Constructive Living Instructor in 1987 at the Health Center Pacific on Maui. Additionally, she has been the American Coordinator of the Oomoto School of Traditional Japanese Arts in Kameoka, Japan. There she has studied tea ceremony and calligraphy.

Ryan Madson’s published writings include a chapter on constructive living in the 1995 anthology Mindfulness and Meaningful Work, edited by Claude Whitmyer (Parallex Press), as well as chapters in the SUNY Press books Plunging Through the Clouds and Flowing Bridges, Quiet Waters. Her first book, Improv Wisdom: Don’t Prepare, Just Show Up was published by Random House (Bell Tower) in 2005, and named “One of the Best Spiritual Books of 2005” by Spirituality and Health. Improv Wisdom is also published as an Ebook and as an Audiobook read by the author. It has been translated and published into nine languages.
Lecturer, Ballet. Anton Pankevich received his ballet training at Vaganova Ballet Academy in Russia and later on went to study at School of American Ballet and San Francisco Ballet School. Has danced with New York City Ballet, Dutch National Ballet, Royal Ballet of London, Pacific Northwest Ballet and Ballet San Jose. Has worked as a ballet master and a guest teachers with: English National Ballet, National Ballet of Canada, Wiesbaden Ballet, Stuttgart Ballet and Leipzig Ballet.
vintage@stanford.edu | (650) 468-5862 | Roble Gym Room 147
Richard Powers
Lecturer, Social Dance and Dance History. Over 7,000 Stanford students have discovered dance in Richard's classes, and the waiting lists for Richard's classes are consistently longer than the enrollment caps. Many of Richard's social dance students have gone on to take other TAPS dance classes, and have continued a life in dance after Stanford. Richard also teaches workshops across the country and Canada, and has taught dance in Paris, London, Rome, Venice, Spoleto, Prague, Vienna, Geneva, St. Petersburg, Moscow, Kirov, Tokyo and Kyoto, including 16 workshops in Russia, 24 in France, and 27 in Japan.

Powers was selected by the Centennial Issue of Stanford Magazine as one of Stanford University’s most notable graduates of its first century. In 1999 he was awarded the Lloyd W. Dinkelspiel Award for distinctive and exceptional contributions to education at Stanford University. Before leaving Cincinnati for Stanford, Richard was recognized as "Artist of the Year" in the Post-Corbett Awards, Cincinnati's foremost arts recognition.

In addition to his TAPS courses, Richard has taught courses in period movement for theater for American Conservatory Theater San Francisco, period movement for opera for the San Francisco Conservatory of Music, and period movement for opera for the College Conservatory of Music, University of Cincinnati.

As a noted dance historian and choreographer, Richard choreographed Bill Irwin’s original production of Scapin (off Broadway), was the dance historian for the musical Titanic (Broadway), choreographed ragtime era dance for Faye Dunaway and Richard Widmark in Cold Sassy Tree, choreographed the 19th century ballroom dances for the Warner Bros. film North and South, trained the dancers in 19th century ballroom dances for the Tri-Star film Glory, and choreographed the Victorian ballroom dances for the public television film Mrs. Perkins’ Ball.

Richard's numerous opera choreographies include the recent production of Alma Deutscher's Cinderella for Opera San Jose, Mozart's Don Giovanni, Massenet's Cendrillon, Monteverdi's Madrigals of Love and War, Berlioz’s Beatrice and Benedict and Monteverdi's Orfeo. Theater choreographies include Shakespeare in Hollywood, My Antonia and Arcadia for TheatreWorks, and Dickens' A Christmas Carol and Shakespeare's King Henry VIII for the Cincinnati Playhouse in the Park.

Richard has directed performances of historic dance at the Smithsonian Institution, Henry Ford Museum, the National Governor's Conference, Detroit Symphony Orchestra, Cincinnati Ballet Company, the Scott Joplin Ragtime Festival, leading the Palace Hotel's Valentines Ball, St. Moritz, Switzerland (featured on CBS "60 Minutes"); and a performance for Prince Mikasa of Japan. His workshops have been funded by the National Endowment for the Humanities; The Fine Arts Fund; Stage Directors and Choreographers Foundation (New York City); Ohio Arts Council; American Studies Association; The Omega Institute; National Stephen Foster Conference; Goethe House New York; Lincoln Center, N.Y., Danses de Bon Ton, Paris; Arts et Mouvement, Paris; the City of Kharkiv, Ukraine; and the Beseda Dance Theatre in Prague. Publications include Waltzing: A Manual for Dancing and Living, Redowa Press; Dancing Makes You Smarter, published in Australian Dance Review; and Guidelines for Dance Research, CDSS Journal.
rreddick@stanford.edu | Roble Gym Room 147
Ronnie Reddick
Lecturer, Hip-Hop. Ronnie Reddick is one of the Bay Area’s most dynamic and multi-talented choreographers with an edge of what’s happening in the world of dance and fashion today. This multi-faceted San Francisco based Choreographer/Dancer made his mark by combining Hip Hop, Jazz, Fashion and Theatrics to create one of the most explosive and dynamic styles to hit the dance scene recently, making him one of the most sought after Hip Hop/Contemporary choreographers in the Bay Area and beyond. Along with his busy career, Reddick is also the Choreographer/Show Director at Asia SF. This unique restaurant/dining experience is taking the world by storm and features one of the most beautiful gender illusionists in the world.

In the entertainment world, Reddick has worked with such artists as Michael & Janet Jackson, Deborah Cox, Paula Abdul, Kristine W., Tony, Toni, Tone, Jody Watley, Santana, Kelly Price, RuPaul, Robin Thicke, Snoop Dogg, Overtone Band and M.C. Hammer along with many corporations like Sony, Sony PlayStation, Intuit, Prudential, Gap, Macy’s, MAC Cosmetics, Nordstrom, Starbucks, API, Apple Computer, Google, Yahoo, Xilinx, Sun Micro Systems, BEBE, Univision Television, E*Trade, Coca Cola, and Microsoft.

In addition to teaching at Stanford, Reddick teaches at Santa Clara University and has taught master classes around the world, including Princeton University, Japan, South Korea, Mexico and Canada. He continues to work with, train, and inspire dancers that are now dancing around the world. Reddick also teaches dancers about the business of dance and how to work in today's world as a professional commercial dancer.

“Technique is only the beginning of what makes a memorable dancer, and we don’t start dancing to end up doing chorus," says Reddick. “You have got to have that extra something.” It is through his experience and selfless devotion that Ronnie Reddick is inspiring a new generation of talent.
Lecturer, Improv.
Tony Shayne
Lecturer, Lighting Design. Tony received his BFA at University of Southern California & MFA UC Davis in Lighting & Scenic Design. He has worked on National & International productions including tours for dance including ODC Dance, LA Contemporary Dance Company, Sheetal Gandhi & Rosanna Gamson. His film and television credits include animation lighting for Family Guy (Fox) and Holidaze (ABC). He has served as the lighting intern at the San Francisco Opera, San Francisco Ballet, Houston Ballet, and LA Opera. Currently, Tony is the Production Manager for ODC in San Francisco and is the founder and lead consultant for Theory & Practice, a consulting company he started to encourage and uplift the productions of small non-profit dance.
cstrayer@stanford.edu | (650) 723-9112 | Memorial Hall Room 130A
Connie Strayer
Senior Lecturer: Costume Design, Theatrical Makeup, History of Fashion. Connie has been designing costumes for the performing arts for over 30 years, educationally and professionally. She has designed for opera, dance and film, including new works and premieres. Her designs have been seen in the Bay Area at TheatreWorks, Oakland Ballet, West Bay Opera, and Opera San Jose. As an accomplished textile artist, she has utilized those skills in her design work as well as collaborations with other designers. She has created and adapted textiles for various companies such as the San Francisco Ballet, American Conservatory Theatre, Smuin Ballet, Alonzo King Lines Ballet, Luhrman productions, and Berkeley Repertory Theatre. She extends those skills to the fashion arena and designs and handprints yardage for local designers.

Connie is a practicing union make-up artist, working for San Francisco Opera, San Francisco Ballet, and Mark Morris Dance Group as well as various films, and fashion photography. Her most memorable experience was participating in a project photographed by Annie Liebowitz about women living with HIV.

Connie is a full time Senior Lecturer at Stanford University and teaches in the area of Design. She is a member of United Scenic Artists of America, Local #829.


aikr@stanford.edu | Roble Gym Room 138A
Aileen Robinson
Aileen Robinson is a Mellon Fellow in the Scholars in the Humanities program for 2016-2018. She received an Interdisciplinary PhD in Theatre and Drama from Northwestern University in 2016 and her A.B. in Literature from Harvard University. Her current project explores the contribution of theatre and magic performance to emerging practices of science communication in the nineteenth century. She investigates how theatrical performances and magic shows drew upon technological innovations and formed unique methods for disseminating scientific knowledge. She conducted archival research in Britain and the United States supported through an SSRC International Dissertation Fellowship and an NSF Doctoral Dissertation Improvement Grant.

Her primary research and teaching interests are in the history of optics and physics, magic performance and practice, and eighteenth- and nineteenth-century British theatrical performance and stagecraft. She teaches classes on the intersection between science, stagecraft, and theatre, as well as British and American theatrical traditions. At Northwestern, she also served as dramaturg and assistant director on productions such as The Secret Garden and Lydia Diamond’s The Bluest Eye.