Ann Evans Watson

Ann Evans Watson is clinical associate professor of musical theatre at the University of Michigan, as well as an Equity actor and vocal instructor/coach who specializes in musical theatre literature and the training of professional voices, with experience coast to coast. Her students have consistently placed at top universities across the country and continue to study with her post-graduation.

At the 2024 NATS Winter Workshop, “The Art of Collaboration,” Evans Watson is presenting two sessions, including one with Sarah Wigley who is a clinical associate professor of voice for the Lyric Theatre department at the University of Illinois Champaign-Urbana. The workshop is January 6-8 at the Manhattan School of Music in New York City. If you would like to attend but missed the online registration, please register in person at MSM starting Saturday, January 6.

Workshop sessions:

• Session 1: You Say Either, I Say Neither — Let’s Work the Whole Thing Out
• Session 2: Gesamtkunststudio

Tell us a little bit about yourself for folks who may not know you well. From your background in musical theatre education to your accomplishments as an actor and vocal coach, it’s clear you’ve had an inspiring career!

I am grateful for the opportunities that I’ve had and that I’ve created for myself in the arts. In addition to making the bulk of my living as an actor and an independent studio teacher in Seattle, I’ve now transitioned to academic life as an Associate Professor of Musical Theatre at the University of Michigan’s esteemed Musical Theatre Program. I’ve served on theatre education boards, as the AEA Liason in Seattle, created cabarets for my students, directed and choreographed for students and professionals, and had the opportunity to be a clinician at colleges/universities and organizations all across the U.S. and Canada.

Terrific! We’re looking forward to your shared session, “You Say Either, I Say Neither – Let’s Work the Whole Thing Out” with Sarah Wigley. How do you two know each other? And can you share an example (or two) of a time when diverse backgrounds and experiences came together to create something magical?

I met Sarah in Greeley, Colorado quite a while ago when I was doing some gig teaching at UNC, and she was teaching there. We hit it off right away — we have similar energies and enjoy many of the same things — including a passion to continue learning and exploring voice and performance. Since then, both of us have been in new locations and jobs, we find ways to collaborate and work together without students and in training courses ourselves. As far as examples, you’ll just have to come experience the collaboration in the moment. It’s never as cool on paper.

Your second session, “Gesamtkunststudio,” promises to introduce new collaborative models for musical theatre studio classes, incorporating various art forms such as dance, painting, Laban movement, and more. How have these interdisciplinary approaches enhanced the learning experience for your students, and do you have an instance where this approach resulted in a particularly memorable and successful studio session?

Did I say painting? Oh dear. I use collaborative models on many fronts. In my studio classes and in my one-one work, I draw from everything I’ve learned over the years in classes in a variety of disciplines, from vocal teachers with whom I’ve studied, and from practicing and performing myself. By using all my experiences, my intuition, my training and most particularly my willingness to listen on a visceral level, I find methodologies that work for each individual student. Frankly, every time I work in studio with a student on a challenge, they have an “aha” that they are able to replicate, and that other students not only respond to, but are able to apply to their own work. (Once again, to write down an experience that is physical/emotional/vocal wouldn’t really do it justice) Additionally, my three MT Voice colleagues at UMich and I are re-inventing the studio as a collaborative model, breaking the star model, to provide equitable experiences for every student and to allow for optimum growth.

Understood. Can’t wait to hear and see more! Are there any resources you encourage Winter Workshop attendees to check out ahead of your sessions? Any pre-reading or pre-listening that you recommend?

I’m a big fan of Brené Brown’s work, and I use some of it as a springboard for my own work. Particularly, “The Gifts of Imperfection” and “Daring Greatly.” I have been inspired by “A Spectrum of Voices” as well by Elizabeth Blades-Zeller. And if you want some deep reading, anything by Ian Howell or by Ken Bozman.

Great suggestions. Are there any other sessions or NATS activities that you are looking forward to attending as part of the upcoming Winter Workshop in NYC? Anything else you’d like to add?

I’m very much interested in what Justin John Moniz has to say about both pedagogical tactics and collaboration for CCM work — sounds like we’re very much on the same page, and I look forward to the learning opportunity. Having NYC professional on the casting side is always an invaluable look into the world my students are entering, so I’m stoked about that as well. I do have something else I’m working on, a collaborative revamping of an earlier project, that I can’t talk about just yet. If everything aligns, I’ll be choreographing abroad this summer, and directing/choreographing for summer stock, but until I sign, it’s bad luck to get specific.

How exciting! We’re so grateful for your time and thanks for sharing a sneak peek with us. See you at the workshop!

If you’d like to attend the NATS Winter Workshop, "The Art of Collaboration," please register in person starting January 6 at the Manhattan School of Music in New York City.

Winter Workshop overview

Schedule