Queer Voice, Vocal Training, and Singing for Inclusion: Sound Collage

On April 11, 2025, Kelli Morgan McHugh, Associate Professor of Instruction in Music Theatre at Northwestern University’s School of Communication, convened more than 65 scholars, students, artists, and industry professionals for the workshop “Queer Voice, Vocal Training, and Singing for Inclusion.” Held at Northwestern and in partnership with the University of Sydney and supported by a Global Collaboration Grant from the Roberta Buffett Institute for Global Affairs, the gathering created space for dialogue, performance, and practical training focused on the inclusion of queer voices in music theatre.

The workshop addressed urgent questions facing the field: How can vocal pedagogy better serve gender-diverse singers? What does inclusive ensemble practice look like in rehearsal rooms? How might familiar repertoire be reimagined to reflect a broader spectrum of identities? By bringing together educators, performers, clinicians, and students, the event fostered an exchange grounded in research, artistry, and lived experience.

Professor KO, Donald G. Robertson Director of Music Theatre at Northwestern, opened the day by emphasizing the need for stronger standards and more intentional practices across the industry. Many gender-expansive artists, they noted, feel apprehensive when entering new ensembles or productions. Inclusion, therefore, must be embedded from the outset—in language, structure, and expectations.

Melanie Stapleton, a PhD student at the Bienen School of Music, led a session on inclusive ensemble procedures. Focusing on the first rehearsal, she outlined best practices for introductions, pronoun sharing, and equitable voice-part assignments. Participants discussed how these early choices shape rehearsal culture and signal whether singers feel respected and valued.

A highlight of the workshop was the collective study and performance of “You Will Be Found” from Dear Evan Hansen. Selected for its themes of connection and affirmation, the piece provided both musical challenge and emotional resonance. Participants applied inclusive “First Day of School” rehearsal techniques—common theatre shorthand for the first day of rehearsal—while learning and singing together. The shared act of music-making demonstrated how pedagogy and community-building can intersect in powerful ways.

Dani Goldberg, a recent Northwestern graduate, presented their capstone project: a fully staged production of Funny Girl in which they portrayed Fanny Brice as a nonbinary character. Through performance excerpts and reflection, Goldberg showed how canonical roles can be thoughtfully reinterpreted to expand representation. The project offered a tangible example of how traditional works can evolve without losing artistic integrity.

Actor, writer, and queer educator Case Davidson addressed the structural challenges facing trans and nonbinary theatre artists. Drawing on professional experience, Davidson described how established training models and production norms can marginalize gender-diverse performers. They called for sustained institutional change, urging educators and leaders to reconsider audition practices, repertoire choices, and vocal expectations. Vocal health and sustainability were also central themes.

Professor Nathan Waller, SLPD, CCC-SLP, led a session on gender-affirming voice care, offering research-informed strategies for supporting singers across gender identities. Emphasizing collaboration and flexibility, Waller provided practical tools to help performers explore and express their identities safely through their voices.

The evening concluded with a performance by Honey West, a legendary Chicago-based entertainer and LGBTQIA+ activist and member of the Chicago Gay and Lesbian Hall of Fame. Her performance served as both celebration and testimony to the power of visibility in the arts, reminding attendees of the lasting impact of queer leadership and mentorship.

The workshop was recorded by Isa Hernandez and supervised by Neil Verma, Associate Professor in Radio/TV/Film at Northwestern, resulting in a sound collage that weaves together reflections and musical excerpts from the day. This archive will serve as a resource for future teaching and collaboration.

In April 2026, Professor Kelli Morgan McHugh and Isa Hernandez will extend the initiative through workshops at the University of Sydney. Plans are also underway to publish a white paper outlining best practices for inclusive vocal training and music theatre production. Together, these efforts signal an ongoing, international commitment to ensuring that music theatre evolves to support and reflect the full diversity of its artists.

The event was created by Professor Kelli Morgan McHugh in collaboration with Professors Sarah Inendino, PhD; Nathan Waller, SLPD, CCC-SLP; and Neil Verma, PhD, from Northwestern University, as well as Professors Lee Wallace, PhD; Alice Motion, PhD; Narelle Yeo, PhD; and Aisha Malik, PhD, from the University of Sydney.

Listen to the long-form sound collage