Here's your corrected text: I have been in theater since I was 10 years old, which started when my family moved from staunchly middle-class to poverty due to the Staggers Rail Act of 1980, the deindustrialization of the United States. Theater was the only place I felt normal - my first role as Gladys Herdman centered my own poverty into something that people clapped/laughed at, and (strangely) I loved it. I have lived in several parts of the United States: Coeur d'Alene, Idaho (where I grew up and started my theater journey), Washington (both urban - where I received my BFA in Acting at Cornish College of the Arts and where I was a directing/literary manager/dramaturgy intern at Seattle Repertory Theater AND rural - my first theater professor position in Walla Walla, WA), New York State (both urban - where I received my MFA in Theater from Sarah Lawrence and worked at New York Theater Workshop and rural - my first tenured theater professor position in the Catskills of New York), and New Mexico (where I ran a black-box/fully-accessible contemporary theater and dance space and ensemble company). Some BOLD notables include working within the prison system with Rehabilitation Through the Arts at Woodbourne Correctional Facility and teaching theater/directing two plays at Washington State Penitentiary, working as an assistant director to Ping Chong on his OBON: TALES OF RAIN AND MOONLIGHT and his UNDESIRABLE ELEMENTS: ALBUQUERQUE, which centered his documentary style on disability. I was stationed through Americorps at VSA North Fourth Art Center in Albuquerque, NM, to teach theater in many marginalized communities, including the mental health, aging, disability, and at-risk youth communities. While at VSA North Fourth Art Center, I had training in dance/theater methods from Congo Brazzaville, Congo Kinshasa, South Africa, Côte d'Ivoire, Benin, Tunisia, Senegal, Zimbabwe, Mali, Russia, Japan, and South Korea. I have done performance research on Golden Age of Spain plays for 10 years, resulting in two English-language translation world premieres. My play CARBURETOR: A GHOST SONATA, chronicling my family's generational autism, won the Citizen Artist Award in 2025. I like to tell people that I'm a theater generalist: Most of my training has been conservatory training in acting, but I've run three theaters and am self-taught on many technical aspects, as most of the theaters I have run worked with only 2 staff members or less, and I always tell students you're never too important to clean a toilet or vacuum floors.