Deborah A. Kinghorn (Deb) has worked as a professional actress and director, and teaches a variety of classes in theatre training, including Acting I, Advanced Acting, Movement and Vocal Production, The Actor’s Voice through Text, Dialects, Period and Style, and Audition Technique. She holds degrees from SUNY at Fredonia (BA,Theatre) and TrinityUniversity through the Dallas Theatre Center (MFA,Theatre, with emphasis in Acting). She has also done a year of intensive study in Acting, Voice and Movement at the Manchester Polytechnic School of Theatre in Manchester, England. She is a member of the Voice and Speech Trainer’s Association (VASTA). She is a Master Teacher of Lessac KinesensicTraining. She currently serves on the Board of Directors of the Lessac Training and Research Institute and regularly teaches and conducts research at the Lessac Summer Intensive Workshop. She has been the Voice, Dialects and Text coach for over 100 shows in many theatres, including the Alley Theatre in Houston, Texas, the Dallas Theatre Center, the Houston Shakespeare Festival, and Fordham University in NYC. She has directed a wide variety of styles of plays, including Much Ado About Nothing, Lend Me a Tenor, Tartuffe , Macbeth, Kindertransport, The Memory of Water, The Bear, The Proposal, The Last Night of Ballyhoo, A Murder is Announced, and The Servant of Two Masters. Her favorite acting roles include Cecily in The Importance of Being Ernest, Curley’s Wife in Of Mice and Men, and Desdemona in Othello, She received the University of Houston Teaching Excellence Award in 1995 and the Lessac Institute Leadership Award in 2009. Deb presently serves as Chair of the Department of Theatre and Dance at the University of New Hampshire. Her current research involves the Kinesensic training and its connections to the subtle energies of the mind and soul, and its applications to health and wellness.
She loves to sing. She and her husband, Jeff are often seen making fools of themselves over their two mini-dachshunds, General Bonaparte and Mocha.
Dialogue Essay: When You Walk, Do You Feel Like You Are Dancing?
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