Follow Me On:




Movement Specialist

Lifetime Achievement Award

Association of Theatre Movement Educators 

American Theatre in Higher Education



Professional Theater Training (New York City):


     Sanford Meisner, two year professional class.
     Harold Clurman, one year.
     Michael Shurtleff, Two years
     Michael Howard, one year.
Movement for Actors:
     Anna Sokolow, ten year association, member of Sokolow’s Players
Period Dance and Etiquette:
    Julia Sutton, Catherine Turosy, Elizabeth Aldrich,  Windy Hilton, Charles Garth,  Tom Baird,
    Jennifer Martin.
Ballet:  Maggie Black, principal teacher, .Alfredo Corvino,
  Jazz:  Harry Woolover, Buck Heller.
  Mime:  Richard Morse.

Voice \ Phonetics:
     Alice Hermes,   H.B. Studio,  assistant to Ms. Hermes.   Peggy Freed (Juilliard Faculty) private study, one year.

Academic Training:

M.F.A.:Theater,  University of Georgia (Athens, Georgia):
       Major concentration: Scenery and Lighting design
       Minor: directing,
B.A.  Georgia Southern College (Statesboro, Georgia):
       Major: English. 
       Minors:  History and Psychology.
Emory University, Atlanta, Georgia
       Major: Humanities (Russian Literature)
       Minor: History
Oxford College of Emory University (Oxford, Georgia)

Professional Organizations

  Association of Theater Movement  Educators. (founding task force)
  Actors Equity Association.
  American Society of Directors and Choreographers


THE WILLIAMSON TECNNIQUE Movement for Actors; creator and author

A two year system of training for an actor’s body. Basic physical technique the actor’s body in movement, voice, and alignment when acting. Extensive training in Period Styles, creating the world, people, relationships, events of three classical eras, Elizabethan,  Barogue, and Victorian.  Methods for creating the style of the setting for play or film.
The complete curriculum is taught at the following schools of theater:
• Mason Gross School of the Arts, Rutgers University.
• Actors Movement Studio,  New York City
• University of the Arts, Philadelphia, Pennsylvania
• College of  Visual and Performing Arts, Northern Illinois University,  DeKalb Illinois
• School for Film and Television, (two year professional acting school, NAST  approved)  New York City  
• William Esper Studio, New York City
• Maggie Flannigan Studio, New York City
• Acteerstudio Paul Dekker, Hertogenbosch, Netherland
• Various other programs in United States, England, and Europe


ACTORS MOVEMENT STUDIO, NYC (1975-2004) school dedicated to the teaching of the Williamson Technique.

      Later renamed Actors Movement Studio Conservatory.


MASQUE ENSEMBLE:  Founder and Director; ORIGINAL WORKS in Movement and Poetry for actors, singers, dancers and musicians

RITUAL BALLAD, conceived, directed and choreographed by Loyd Williamson;
  Based on Phil Ochs’ 1960s song “Crucifixion” Original score by Gordon Shannon.
  Presented as demonstration work at H.B. Studio, June 7, 1978.
  Presented for video taping at the University of Bridgeport, July, 1978.

DAMN EVERYTHING BUT THE CIRCUS, conceived, directed and choreographed
  by Loyd Williamson; Producers: Masque Ensemble, Inc., New York City,
  Based on the poetry of E.E. Cummings; Original score by Miriam Charney.
  Ansonia Studios (NYC), March 1979;
  David Mann Studio (NYC), April 1979;
  Priory Theater (NYC), May 4-6, 1979;
  Little Theater (Rutgers University), May 3-6, 1979;
  Saint Clements Poetry Festival (NYC), August 19-26 1979,
  Saint Clements Little Theater (NYC), September 21-23, 1979.

ACTORS IN MOVEMENT conceived and directed by Loyd Williamson;
  Poetry of Thomas Wolfe, Shakespeare, and Old Testament (Song of Solomon); Music of  Ravel,  Chopin, Rameau, Bach and commissioned score by Matt Ward; Little Theater (Rutgers)




TORRENTS of SPRING: (Prague, Czech Repubblic)   Jerzy Skolimowsky, Director; Erre' Films (Rizzoli) , Producer;
  Cast: Nastassja Kinsky, Timothy Hutton, Valeria Golonia. (1993)
• Mid-Nineteenth Century Style work for cast.
• Choreography for Gemma's Dance.

MARIA'S LOVERS:    Andrea Mikhalkov-Konchalovsky, Director;     Cannon Film Production; Lawrence Taylor-Mortorff, Producer; cast: Robert Mitchum, Keith Caradine, John Goodman, Nastassja Kinsky, And John Savage. (Review, New York Times, Janet Maslin: January 18, 1985)..

• DIRECTOR OF SECOND UNIT:  1940’s Style  preparation for cast

• WW II homecoming scene: arrangement and casting of crowds & Yugoslavian Kola Dancing.
• 1940's Swing Dancing for bar scenes.
• Duet for Anita Morris and John Savage.

MAGDALENE: (Bled, Soovenia)   Monica Teuber, Director; TAT FILMPRODUKTION,  CAST: David Warner, Franco Nero, Nastassja Kinski;                                        19th century style, actors' coach

APHPBET CITY; (NYC) Amos Poe,  Director; Vincent Spaoo, Zora Lanpert,


HOLIDAY: David Warren, Director; Broadway Revival, Circle in the Square,
  New York City, t in the Square, New York City (Reviews: New York Post, Oct. 10, 1995;
  New York Times, Wednesday, Oct. 11, 1995). Cast, Laura Linney, Tony Goldwyn
• 1930’s Southern Etiquette and Movement Style for cast.

QUADROON BALL:  Harold Scott, Director; Crossroads Theater Company,
     Producer, May 1995.
• Choreography for Waltz Scene.
• 19th Century Etiquette and Style for cast.

OTHELLO: Harold Scott Director;
   Folger Theater, Washington D.C., Producer.
      Cast:  Avery Brooks (Othello), Andre Braugher (Iago), Jordan Baker
      Desdemona) Review: Washington Post, December 5, 1990.
   Great Lakes Shakespeare Festival, Cleveland, Ohio, Producer
      Cast: Delroy Lindo (Othello), Leland Gantt (Iago), Olivia Birkland (Desdemona):
• Sixteenth Century Venetian Etiquette and Movement Styles for cast.
• Choreography, with the director, for all court and street crowd scenes.

ANDROSCOGGIN FUGUE, by Dick Beebe, John Bettenbender, Director;
    Cast: Avra Petrides (Ellen), Levin Theater Company (New Brunswick, N.J.) 
• Choreographer for mutilation scene (“Heat Wave” production number).

THE BEGGAR'S OPERA,   Michael Langham, Director;     The Juilliard Theater Center,   New York City    .
• Choreographer for Early Eighteenth court dances and for dances in the finale.
• Eighteenth Century Etiquette and Movement Styles for cast.
• Conception of opening and concluding scenes in collaboration with director.

ON THE RAZZLE,   Harold Scott, Director;
  Levin Theater Company (New Brunswick, N.J.) 1983.
• Choreography for crowd scenes in collaboration with Mr. Scott; opening crowd scene.
• Arrival in Vienna, waltz scene, Imperial Gardens Café.
• Nineteenth Century Viennese Etiquette and Movement styles for cast.THE DYBBUK, Anna Sokolow, choreographer; Washington Arena Theater
• Assistant to Ms. Sokolow
• Rehearsal Captain for all dances and crowd scenes.

JULIUS CAESAR, H. Adrian Rehner, Director; Shawnee Theater (1970).
• Opening street festival, Act I; Battle scenes, Act V.

BALLAD OF THE SAD CAFE, Leighton M. Ballew, Director; University of
  Georgia (1978)
• Concluding crowd scene and fight scene between Cousin Lymon and Miss Emilia.

TROILUS AND CRESSIDA, Denis Carey, Director (First Director, Bristol Old Vic);
   University of Georgia Production.
• All fight scenes
• Helen's entrance procession



MARIA'S LOVERS, Cannon Film Production; Andrei Mikhalkov-Konchalovsky,
  Director; Lawrence Taylor-Mortorff, Producer (1983).
• Coaching for the following actors: Robert Mitchum, Natassja Kinsky, John Savage, Vincent Spano, Karen Young (Review, New York Times, Janet Maslin, January 18, 1985)
TORRENTS OF SPRING, Jerzy Skolimowsky, Director; Erre' Films, Producer; 
Cast: Nastassja Kinsky, Timothy Hutton, Valeria Golonia (Review, New York Times,
February 9, 1990; New York Newsday, February 9, 1990).
• Coaching for Nastassja Kinsky, Timothy Hutton, Valeria Golino, and Urbano Barberini

NELL, Egg Productions; Jody Foster, Producer.
• Coaching (individual and private consultation)  for Jody Foster (Academy Award Nomination, Best Actress: 1994)

LE NOVEAU MONDE, Alain Coeneau, Director. (French release).
• Coaching for  James Gandolfini

ALPHABET CITY, Atlantic Film Corporation; Amos Poe, Director; Andrew 
  Braunsberg, Producer; (Review, New York Times, Janet Maslin, May 5, 1984).
• Coaching for the following actors: Vincent Spano, Zohra Lampert, Kate Vernon,
Jami Gertz, Michael Winslow.

AS LONG AS IT'S LOVE, Lina Wertmuller, Director; cast: Rutger Hauer, Faye Dunaway, Nastassja Kinsky. (See New York Times, Sunday, April 2, 1989;  European Release) .
• Coaching for  Nastassja Kinsky

SILENT NIGHT, Monica Taeuber, Director; T.A.T. Productions; Gianni Quarrano,
  Designer (ROOM WITH A VIEW); camera: Nino Christian & Armando Nanucci
  (LUDWIG for Visconte); cast: Nastassja Kinsky, David Warner, and Franco Nero. (1985)
• Coaching for Nastassja Kinsky.


HOLIDAY:  David Warren, Director; Broadway Revival, Circle in the Square, New
  York City (Review, New York Times, Monday, December 4, 1995).
• Coaching for cast :
Laura Linney, Tony Goldwyn, Kim Raver, Reg Rogers (Tony Nomination for Best Supporting Actor).

SUDDENLY LAST SUMMER: Harold Scott, Director; Broadway Revival, Circle in
  The Square, New York City (Reviews: New York Post, Oct. 10, 1995, New York Times,
  Oct. 11, 1995).
• Coaching for cast:
Elizabeth Ashley, Jordan Baker, Victor Slezak, and Mitchell Lichtenstein.

THE GLASS MENAGERIE: Frank Galati, Director; Broadway Revival,
  Roundabout Theater Company, New York City; cast: Julie Harris (Amanda), Calista
  Flockhart, Rutgers graduate (Laura), Kevin Kilner (Gentleman Caller).
• Private Coaching (not connected with the production staff) for Kevin Kilner.
(Review of Kilmer’s work, New York Times, Wednesday, November 16, 1994).

OTHELLO: Harold Scott, Director; (three productions)
   Folger Theater, Washington D.C., Producer.
  Cast:  Avery Brooks (Othello), Andre Braugher (Iago), Jordan Baker (Desdemona)
  (Review, Washington Post, December, 5 1990).
• Coaching  of entire cast:
• Movement classes for the Folger Theater Ensemble.  
   Great Lakes Shakespeare Festival, Cleveland, Ohio, Producer.
  Cast: Delroy Lindo (Othello), Leland Gantt (Iago), Olivia Birkland (Desdemona)
• Coaching for entire cast.
A  MOST SECRET WAR, by Kevin Patterson; John Bettenbender, Director;
  Levin Theater Company (New Brunswick, N.J.) Summer 1987.
  Harold Clurman Theater, Paul Morer, Producer, New York City, fall 1987
  (Review, New York Times, December 18, 1987).
• Coaching for the entire cast.


Each of the plays listed below contains all four of aspects of movement  work Dances and crowd scenes apply only to appropriate productions):
2. COACHING FOR ACTORS  ( in collaboration with the Director):
4. CHOREOGRAPHY for CROWD SCENES with the director.

  •   TO KILL A MOCKINGBIRD, Michael Warren Powell, Director Spring, 1996
  •   CANDIDA, Amy Saltz, Director Fall,  1995
  •   AMADEUS, Harold Scott, Director Fall, 1995
  •   THE MISER, William Esper, Director Winter 1995
  •   IN GOD’S COUNTRY, Christie Montour-Larson, Director Spring, 1995
  •   THE SEAGULL, William Esper, Director Winter, 1994
  •   COMMEMORATION OF A CAPON, Gary Benson, Director Spring, 1994
  •   JOE TURNER’S COME AND GONE, Harold Scott, Director Fall,  1993
  •   IN OUR COUNTRY’S GOOD, Amy Saltz, Director Spring, 1993
  •   WEDDING BAND, Harold Scott, Director Fall,  1992
  •   MISANTHROPE, William Esper, Director Winter 1991
  •   LOOKING GLASS, Rob Ruggiero, Director Spring, 1991
  •   TWELFTH NIGHT, Harold Scott, Director Fall, 1989
  •   TIS PITY SHE’S A WHORE, William Esper, Director Winter, 1989
  •   TEARS OF RAGE, Harold Scott, Director Fall, 1988
  •   LITTLE FOXES, Craig Rhyne  Spring, 1988
  •   MUCH ADO ABOUT NOTHING, John Bettenbender, Director Winter, 1988
  •   RAINBOW DANCIN, Harold Scott, Director Fall,    1987
  •   HAMLET, William Esper, Director Winter, 1987
  •    JIMMY DEAN, JIMMY DEAN?  Susan Kerner, Director Spring 1987
  •    John Bettenbender, Director  Fall,   1986
  •   IMPORTANCE OF BEING EARNEST, Harold Scott, Director Fall,    1986
  •   STREAMERS, Ed Stern, Director Fall,   1986
  •   CHILDREN OF A LESSER GOD, Christine Holtvedt, Director  Spring, 1986
  •   ROMEO AND JULIET, John Bettenbender, Director Winter, 1986
  •   SHE STOOPS TO CONQUER, William Esper, Director Spring, 1986
  •   PICNIC, Harold Scott, Director Fall,  1985
  •   SUMMER AND SMOKE, Susan Kerner Fall,    1985
  •   ***
  •   HIGH BUTTON SHOES, John Bettenbender, Director Winter, 1985 
  •   LYSISTRATA, Pierre Lefevre, Director Spring 1985
  •   HOLIDAY, Ed Stern, Director Fall,   1984
  •   ELEPHANT MAN,  Joseph Patenaude  Fall,    1984
  •   THREE SISTERS, John Bettenbender, Director Winter, 1984
  •   COMEDY OF ERRORS, Michael Nash, Director Fall,   1983
  •   RASHOMON,  Claudia Anderson, Director Fall,    1983
  •   MARATHON 33, John Bettenbender, Director Winter, 1983
  •   SAINT JOAN, Harold Scott, Director Spring, 1983
  •   MODIGLIANI, William Esper, Director Fall,    1982
  •   CANDIDE, Michael Nash, Director Fall,  1982 
  •   AS YOU LIKE IT, John Bettenbender, Director Winter, 1982
  •   GETTING OUT, John Ulmer, Director Fall,  1981
  •   THE HISTORY OF AMERICAN FILM, John Bettenbender, Director Winter, 1981
  •   THE CHILDREN’S HOUR, John Ulmer, Director Spring, 1981
  •   THE MOUND BUILDERS, William Esper, Director Fall,    1980
  •   EXTREMITIES, John Bettenbender, Director Fall,    1980
  •   THE GOOD PERSON OF SZECHWAN, Michael Nash Fall, 1979
  •   A DOLL’S HOUSE, William Esper, Director Fall,    1978



Actors Movement Studio,

 Founder and Artistic Director, 1975-2004
   5 West 31st Street, Sixth Floor, New York City
• Creating and  Teaching the Williamson Movement Technique
•  Administering the Teacher Training Program for the Williamson Technique.
• Teaching advanced Technique (part-time schedule).

Mason Gross School of the Arts, Rutgers University,  1977-2002
     New Brunswick, New Jersey

  Head of the Movement Training in the Acting Program of the Theater School, MFA, BFA
• Teaching all M.F.A. and BFA levels of basic physical training through classical styles.
• Presentation of a Salon Project (semester long style project) each semester. Re-creation of an historical era with an internationally represented cast.  It contains fully researched and historically accurate characters, dances, etiquette, costumes, music, forms of entertainment, and social sexual political intrigues of the era. 
  Periods of major focus:
      1894, Court of Victoria of England.
      1670, Courts of Louis XIV and Charles II. 
      1586, Court of Elizabeth II of England
• Choreographing main stage productions
which require style scenes or dancing.
• Assisting directors of most of the main stage productions by coaching the actors
   in the physical preparation of their characters.
• Advisor to MFA Directing Candidates with weekly tutorials
for First Year Students.
• Attending and offering critique in physical technique matters for all Graduate
Director’s plays.
• Advising the B.F.A. movement teacher in teaching the Williamson Technique.
• Assisting William Esper  in directing the Rutgers Actors Showcase
       In New York City each spring. 

H.B. Studio, 120 Bank Street, NYC 10001 1972- 1982

   Teaching the Williamson Movement Technique basic levels I and II

Tisch of the Arts, Graduate School,  N.Y.U. 1987-1990   

       Williamson Technique    1987-1989

Juilliard School of Theater , N.Y.C., Williamson Technique  1985-1986

The Peal Theater , NYC

Princeton Shakespeare. Princeton NY 

University of Georgia, Athens, Georgia 1967- 1969

   Teaching Fundamentals of Speech.

Cairo High School, Cairo, Georgia 1965- 1967

   Teaching American Literature and English Grammar and Composition,
    • Directing all drama productions and construction of all scenery.



“Physical Communication for Organization Development   August 1996
  Consultants: The Williamson Technique,” three day workshop
  for individual members of the Organizational Development
  Graduate Program, American University, Washington, D.C.
   (not an official part of  the American University curriculum.) 

• Tamarack Lodge, Boonville, New York.extended training of NY and conservatory actors

“Movement Coach and Director in Production: Collaboration August 1996
  in Artistic Vision,” Panel; Co-Presenters:
  Loyd Williamson & Harold Scott, Rutgers University,
  Dawn Moira & Ann Woodworth, Northwestern University,
  Katherine Gatley-Poole & Deborah Robertson, Northern Illinois University

• The American Theater in Higher Education Conference, New York City

“The Williamson Technique,” week long workshop,  July  1998

• Webster Movement Institute, Conservatory of the Arts,
   Webster University, St. Louis, MO.

“The Williamson Technique,” three day workshop, The Atlanta June  1996
• Professional Actors’ Group, Atlanta, Georgia. March 1996
         Nov. 1995
         June  1995
         March  1994
         May 1993
         Sept. 1992
         May 1992
“The Williamson Technique,” three day workshop,  March 1996

• University of North Carolina, Greensboro, NC.
  “The Physical Process of Acting, The Williamson Technique”    August 1994
  Participation Workshop: Co-Presenter: Deborah Robertson, 
  Head of Movement, Northern Illinois University.

• The American Theater in Higher Education Conference, Chicago, Ill. 
“The Williamson Technique,” week long workshop. Assisted by  July   1994
  Deborah Robertson, Northern Illinois University.

• Webster Movement Institute, Conservatory of the Arts,
   Webster University, St. Louis, MO
“Period Style: The Inseparable Relationships of Etiquette, Politics,   November 1991
  Music, and Dance”, Graduate Seminar, Music Department

• Mason Gross School of the Arts, Rutgers University.                                 
“Movement Specialists Speak: Resources for the Field, Part I,”
American Theater in Higher Education, Chicago, IL August 1990
Karen Bradley, Laban Bartenieff Technique.
  Allen Suddeth, fight director, The Juilliard School.
  Colleen Kelly, Chair of Movement, Southern Eastern Theater Conference.
   Edward Bouchard,  Director of Chicago Center for The  Alexander Technique.
“Dance for Actors,” Lecture/Demonstration, Loyd Williamson, Chair; August 1990
  Susan Dibble (Brandeis University, Shakespeare & Co.) participant.

• American Theater in Higher Education Conference, Chicago, IL
“Moliere and Movement,” Roosevelt Hotel Ball Room: American Theater in Higher  Education Conference, New York City.
  Three part presentation and performance. August 1989
  Part I: Rehearsal Technique for Period Style (Jennifer Martin,
   Missouri Repertory Theater);
  Part II: Seventeenth Century Dance for the 1989 Actor (Catherine
   Turocy, New York Baroque Dance  Company);
  Part III: The Court of Kings (Presentation of the Court of Louis XIV,
   Loyd Williamson), cast: 20 actors of the Williamson Technique.
“Tour of  the Metropolitan Museum Costume Institute Vaults,”  August 1989
  Field Trip, Loyd Williamson, Chair.

• American Theater in Higher Education  Conference, New York City.
Ensemble Studio Theater: Summer Acting Intensive, one week,
  William Esper, Acting.  July 1989
  Loyd Williamson, Movement.
  Patricia Norcia, Voice. 
"The Williamson Technique," three day workshop January 1988

• State University of New York, New Paltz Drama Department.
"The Williamson Technique,” workshop February  1988

• Circle Repertory Lab, New York City.
"The Williamson Technique,” workshop April  1988

• Circle Repertory Lab, New York City.
“The Development of Characterization, Movement for Actors,” American Theater in  
Higher Education Conference, San Diego, Ca. August 1988
"Approaches to Developing the Movement Curriculum,” American Theater in Higher  
Education Conference, Chicago, IL
  Panel: August 1987
  Sara Barker, Alexander Technique, Webster University.
  Jim Hancock, Head of Movement, Southern Methodist University.
  Jennifer Martin, Head of Movement, University of Missouri.
  Loyd Williamson, Head of Movement, Rutgers University.  .
"The Williamson Technique," workshop for actors in the  January 1987

• Circle Repertory Lab, N.Y.C.
"The Williamson Technique," workshop for actors in the  March 1987

• Circle Repertory Lab, N.Y.C.
“Theater Movement Specialists: Their Function as Performance  August 1986
  Coaches in Theater and Film: 
  “Movement Coaching in Film.” Loyd Williamson.
  “Movement Coaching the Individual,” Sara Barker, Webster College.
  “Movement Coaching in Production,” Michael Sokoloff,
  Society of Stage Directors and Choreographers. 

• National Educational Theater Conference,
   New York University, New York City.
“Commitment to Results: First Principles in Training Actors” August 1985 

• American Theater Association, Toronto, Canada



L’HISTOIRE DU SOLDAT : Narrator;  A.N.T.A. Theater  1973
      (Anna Sokolow, dir.) NYCS

A MIDSUMMER-NIGHT’S DREAM : Oberon;   Gene Frankle  1977
      DREAM Theater, NYCA

SAINT JOAN:  The Archbishop of Reims ; Harold Scott, dir.   Mason Gross School/Arts        1983

JULIUS CAESAR:  Brutus   Shawnee Theater  1972
(H.  Adrian Rehner, dir.) Indiana

BLITHE SPIRIT Charles Condomine; Shawnee Theater  1972
   (H. Adrian Rehner, dir.) Indiana

MACBETH:  Second Witch; Murderer;  McCarter Theater  1971
  First Murder (Arthur Lithgow, dir.) Princeton, N.J.

ROSENCRANTZ AND  GUILDENSTERN ARE DEAD:   Hamlet   (Angus Bowmer, dir.) Oregon Shakespeare Co. Ashland, Oregon 1970
RICHARD II : Stephen  Scroop Oregon Shakespeare Co.  1970
    (Nigel Jackson, dir.) Ashland, Oregon

TROILUS & CRESSIDA:  Troilus (Dennis Carey, director-Bristol Old Vic Co.)
  University of Georgia  1969
BLOOD WEDDING :The Moon  (Robert David McDonald, dir, Royal Shakespear Company) .  University of Georgia  1969

BLACK COMEDY: Harold (John Bettenbender, dir.)  Levin Theater Professional Company  1983
       Rutgers University

DARK OF THE MOON: Witchboy;  1010 Players, NYC  1977

DRACULA:  Jonathan Harker;  Bankside Theater, NYC  1976

6 RMS RIV VU;  Paul  ,  (Susan Shulman, dir.)  Promenade Theater 1974
      Hempstead, Long Island

FUNNY GIRL: Nicky Arnstein.   Village Dinner Theater  1974

CAESAR AT THE RUBICON: Taylor  (By T.H. White, Premiere, Arthur Lithgow, dir.)  McCarter Theater,  Princeton, N.J. 1971

YOU CAN’T TAKE IT WITH YOU::Tony Kirby;  Oregon Shakespeare Festival 1970
MOUSETRAP: Giles  Shawnee Theater, Indiana  1969


Actors Equity

American Guild of Choreographers and Driectors

American Theater in Higher Education, member Current
Association of Theater Movement Educators
Society of Theater Movement Specialists: (founding task force) 1989- 1990
  National Chair
Board of Directors, Art and Work Ensemble, New York City  1989
American Theater in Higher Education: January 1988
  National Forum Representative for Society of
  Theater Movement Specialists, San Diego, CA.
The National Movement Task Force, Rutgers Representative,  January 1987
  Other Representatives: Southern Methodist University, University
   Of Washington, University. Of Missouri, Miami University, Oxford Ohio
National Association of Schools of Theater, Toronto August 1985 
  Rutgers University Representative.
American Theater Association, Member 1984- 1986