Meet Dr. Rosalind Flynn
At The Catholic University of America, the arts are more than just performances on a stage—they are a means of inspiring, educating, and transforming lives. Few embody this mission more fully than Dr. Rosalind M. Flynn, who brings theatre to life in the classroom.
As a dedicated educator and teaching artist, Professor Flynn’s work bridges the worlds of theatre and education. Viewing teaching as her highest artistic practice, she has spent her career exploring the power of drama-based teaching strategies to make learning more engaging across all subjects.
In collaboration with the Education Department of The John F. Kennedy Center in Washington, D.C., Professor Flynn has developed and led national touring workshops, including Dramatizing the Content: Curriculum-Based Readers Theatre within the Changing Education through the Arts program. Her work has provided professional learning opportunities for teachers across the country.
During our interview, Professor Flynn—a 1978 graduate of Catholic University’s Drama Department—shared her insights on integrating artistic practices into the classroom, the challenges facing arts programs, and the transformative impact of theatre in education. With decades of experience as both an educator and arts advocate, her reflections draw deeply from her roots in performance and her commitment to empowering teachers through creative, drama-based learning strategies.
Interview with Dr. Flynn
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What was your journey into theatre education, and what led you to become both a professor and a teaching artist?
I began my career as a high school theatre teacher, teaching both Theatre and English during the day and directing plays in the afternoons. When I had children and was not working full-time, I launched a theatre program at their elementary school, working with students ages 5 to 11. Together, we staged impressive productions that became a highlight of the school community.
While raising my three children, I pursued a Ph.D. in Education with a focus on Curriculum and Instruction. Whenever possible, I tailored my coursework to explore the educational uses of drama as a learning method, driven by my passion to make learning more engaging across all subjects.
During this time, I immersed myself in reading and research on drama-based teaching strategies. I also used my children's classrooms as informal laboratories, testing out ideas I had studied. In education, a strategy might sound promising in theory, but putting it into practice with real students often presents unexpected challenges. Working directly with students in real classroom settings gave me valuable insight into what truly worked—and, more importantly, what didn’t.
Along the way, I published several articles on using drama as a learning tool. At the same time, I was involved in various projects at The Kennedy Center. Thanks to my publications—and a bit of being in the right place at the right time—I was invited to become a teaching artist for The Kennedy Center. In this role, I led professional development workshops for in-service teachers, first in Washington, DC, and eventually across the United States.
As part of my professional development work, I demonstrated these strategies in real classrooms. While the teachers were my primary audience, working directly with students allowed me to show how the methods we explored in the workshop translated effectively into practice.
I continued this work for several years, traveling to 43 different states. During this time, I also served as a lecturer at Catholic University. In 2007, when the Drama Department sought to develop a Master of Arts in Theatre Education program, they invited me to lead the initiative, and I eagerly accepted.
Eventually, I was hired full-time, and since 2012, I have been the full-time head of the Master of Arts in Theatre Education program. Over the years, I have had the privilege of teaching, advising, and mentoring a diverse community of graduate students, many of whom have gone on to become influential educators and advocates for the arts.
The legacy of this now-retired program underscores the vital role arts education plays in shaping creative, confident, and community-minded individuals. With renewed support from donors and advocates, we remain hopeful for future opportunities to expand and enrich arts programming for generations to come.
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How do you integrate your own artistic practice into your teaching?
I consider myself first and foremost an educator, with the arts as my guiding focus. Teaching has always been my true passion—I never aspired to a career in acting or directing. Over time, I have come to see teaching as my highest artistic practice. With that in mind, I have worked to ensure that my contributions to drama education extend beyond my own years in the classroom. To date, I have written and published three books and 24 articles, and I hope these works will continue to inform and inspire students and scholars for years to come.
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What is an example of a particularly meaningful or transformative experience you’ve had while teaching theatre?
There are so many meaningful moments that choosing just one is difficult. Above all, the most transformative experience has been witnessing students come alive—demonstrating extraordinary insight or ability through theatre and drama. I’ve lost count of the times a classroom teacher has been astonished by a student’s engagement in a drama activity. To me, that student often seemed like the brightest in the room, only for the teacher to later reveal their struggles with learning difficulties or behavioral challenges.
There is something about a script that compels students to step forward and perform. There’s something about creative, active learning that invites enthusiastic participation. And there’s something about a theatrical production that inspires students to work tirelessly—collaborating, problem-solving, and dedicating countless hours to creating a performance they are proud to share with an audience.
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What are some of the biggest challenges facing theatre educators today?
Funding remains one of the biggest challenges for theatre educators. Arts programs are often the first to be cut when school budgets shrink. Low enrollment can also jeopardize classes, and expanding core course requirements leave students with fewer opportunities to take electives like Theatre. In addition, educators often struggle with limited production budgets and even face censorship, adding more hurdles to their already demanding roles.
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What advice would you give students or educators aspiring to work in theatre education?
First and foremost, make sure you genuinely like the age group you plan to teach—appreciating who they are and believing in their potential to do great work is essential. Once you're sure of that, get hands-on experience. Work with young people in theatre camps, after-school programs, or any setting where you can engage with students and see how the work feels to you.
If you thrive on the challenges, the creativity, the energy, the long hours, and even the frustrations, then dive deeper—pursue studies that will enrich your work in educational theatre. And if you’re worried about job prospects, let me reassure you: Every single graduate of our M.A. in Theatre Education program who wants to work in the field is working in the field. The demand is still strong, and schools continue to need passionate, well-trained theatre educators.
The Transformative Power of Theatre in Education
As Professor Flynn reflects on a career dedicated to theatre education, one theme remains constant: the power of drama to engage, inspire, and transform students. Grounded in educational theories that emphasize experiential learning, collaboration, and creative expression, her teaching philosophy continues to evolve, adapting to new pedagogical insights and student needs.
For educators without a theater background, Professor Flynn emphasizes that drama is not about performance alone—it is a tool for fostering empathy, critical thinking, and communication in any subject. While integrating drama into the curriculum may present challenges, from time constraints to institutional resistance, the rewards are undeniable.
Through innovative teaching, dynamic productions, and a heart for developing the next generation of artists and educators, Professor Flynn continues to shape the future of theatre at Catholic U.
Professor Flynn has authored three books and published over 24 articles. To learn more about her work, visit her blog at Dramatic Approaches to Teaching. For a complete list of her published books, see Dr. Rosalind Flynn's Publications on the Catholic University website.
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Mrs. Terrie Gomillion-McPherson is an Instructional Project Coordinator at CTE. She supports faculty in integrating innovative teaching strategies, with a special focus on storytelling, course design, and inclusive pedagogy.