Nancy Krebs has been teaching the Lessac Kinesensic Training for over 28 years and attained Master Teacher status in 2002 from Arthur Lessac himself and Senior Master Teacher Sue Ann Park. She has been teaching the Lessac training as the Senior Voice Instructor and Vocal Coach for the Theatre Department at the Baltimore School for the Arts since 1981. She was the Associate Director for the Lessac Intensive Summer Workshop from 2000-2004 where she has instructed alongside Arthur Lessac, Sue Ann Park, Deb Kinghorn, Barry Kur, Kathleen Dunn, Kate Ingram and Mary Thomas-Sala. In the summer of 2005, she and fellow Master Teacher Barry Kur created a One Week Introduction to the Lessac Kinesensic Training at DePauw University in Greencastle, IN, which later she led at The University of Mary Washington in Fredericksburg, VA with Kate Ingram in May of 2007. She and Prof. Kur also created a One Week Teacher Training Workshop at DePauw, and have taught it together since that time. Nancy was one of three Master Teachers of different voice pedagogies (Lessac, Fitzmaurice and Linklater) featured at William and Mary College for the Voice Methods workshop in June of 2005 and in NYC in 2008 organized by Amy Sue Fall. She has been the Co-Director of the Lessac Summer Intensive Workshops with Master Teacher Deb Kinghorn since 2006, and served on the board of directors of the Lessac Training and Research Institute since its inception in 2004-2010.
Nancy has taught privately in her own studio since 1994, and has served as Dialect/Vocal coach on numerous professional productions in the Baltimore-Washington area, notably: Everyman Theatre's My Children, My Africa ,Watch on the Rhine, Blues for an Alabama Sky, The Crucible, The Waverly Gallery, Red Herring, Slow Dance on the Killing Ground, Sight Unseen, Cripple of Inishmaan, Candida, The Turn of the Screw and I Am My Own Wife with Bruce Nelson; the Studio Theatre's production of Look Back in Anger, Bay Theatre Company's production of Table Manners, Washington Theatre Alliance's production of The Woman Who Amuses Herself with Nigel Reed; and for The Olney Theatre Center productions of Charlie's Aunt, Carousel, Blithe Spirit, Lend Me a Tenor, Morning's at Seven, Oliver! Doubt and The Underpants.
In May of 2009, she traveled with the BSA Senior Theatre ensemble to England as dialect/vocal coach for a joint production of Our Town with the Songtime Theatre Arts company of teen actors under the direction of Donald Hicken. Spring of 2010 found her collaborating once again with Donald Hicken as choral director/composer for Our Town at Everyman Theatre, and this Fall served as dialect/vocal coach for two productions simultaneously: Two by J.M. Barrie at Rep Stage in Columbia, MD under the direction of Michael Stebbins; and Misalliance at the Olney Theatre Center, directed by Jack Going.
As an professional actor herself, she has performed in regional theatres, summer stock, TV, film and radio, and received an Emmy for her work on the PBS TV series Once Upon a Town. She is a member of AEA, SAG, AFTRA, VASTA, and BMI. As a singer-songwriter, she has 7 albums released of original meditational music--which you can find out more about in another section of this site.
I love this work. I wouldn't use any other approach to voice and body training. It has served me well as an actor and a singer since the first time I was introduced to it in Graduate school at the Dallas Theater Center. I have used it in my professional life as a performer, and I have taught it exclusively since 1981, and have never found any vocal problem that couldn't be solved with this work. The Lessac training relies on sensations that we feel within us--rather than on outside imagery, or imitation, rote drill or inspiration. It is a gentle, self-teaching modality that (in the words of Arthur Lessac) feels good, sounds good, looks good, moves forward and communicates!