It was around five o’clock on a Wednesday in May, and Michelle Jabès Corpora ’03, English and theatre, was on her sofa watching her favorite British murder mystery on TV. It had been a long shot to think her newest book, His Face Is the Sun, would hit the New York Times (NYT) bestsellers list, and since she hadn’t heard anything and it was getting late, she figured it wasn’t meant to be. 

Buzz! Buzz! Buzz! Suddenly, she looked down at her phone to see a FaceTime call from five different numbers—most of which she didn’t recognize. She quickly answered and saw her agent, editor, assistant editor, and publicists in the group of smiling faces before hearing the four words every author dreams of hearing: “You’re on the list!”

“I just started crying,” recalls Corpora. “I couldn’t believe it.” 

His Face Is the Sun stayed on the NYT Bestsellers Young Adult Hardcover list for five weeks, which the author says was “absolutely unbelievable.”

Where it all began

Corpora’s journey to becoming a NYTbestselling author was not a straight line—far from it. Corpora initially came to UMBC as a Linehan Artist Scholar to study theatre. Because she’d always been passionate about writing and literature, however, she added English as a second major to supplement her studies.

“Learning about drama helped significantly with my approach to character, plot, and pacing,” says Corpora. After UMBC, Corpora earned a master’s degree in Children’s Literature from Hollins University. Then, a few more twists and turns. Among other jobs, Corpora worked as a wedding singer, as a technician in a veterinarian’s office, and volunteered at a wildlife rehabilitation center before taking a big career leap and moving to New York City to try and get a job in children’s publishing.

Pictured left: Corpora as ‘Cleo’ AKA Fraulein Kost in a 2001 UMBC Theatre production of Cabaret.

New York state of mind

One catch: Corpora didn’t have a full-time job lined up. All she had were two unpaid summer internships at children’s publishing houses. 

“It was a real gamble,” says Corpora, “but I feel like my entire career has been a series of gambles, and they always seem to work out well.”

Corpora landed an editorial assistant position at Greenwillow Books, an imprint of HarperCollins Children’s Books, where she had the opportunity to work on books by legendary authors like Kevin Henkes and Sid Fleischman, among many others. Then came her own children and another career pivot. With the birth of her daughter, Corpora moved into book packaging services.

“Book packaging is an interesting, mostly unknown side of the publishing industry where groups of writers work as a team to create concepts for series fiction,” says Corpora. “The transition was challenging because you really have to let go of ownership over your ideas, and you have to be creative in a collaborative way, which doesn’t come naturally to most people at first.”

Despite the learning curve, Corpora admits that her work as a concept creator really helped her grow as a writer, as she was coming up with ideas, developing them, and also editing manuscripts. “It made me into a jack of all trades,” she says.  

From ghostwriting to ghosts

In 2015, Corpora got her first publishing opportunity after winning an audition to be a ghostwriter for a long-running middle-grade mystery series, eventually writing five books in the series. It wasn’t until 2021, however, that Corpora would see her name on one of her creations. Her next four books, all bearing the name Michelle Jabes Corpora on the cover, were what are known as work-for-hire projects.

“These are usually projects that you audition for,” explains Corpora. “It’s not ghostwriting because your name goes on the books, but usually the publisher has a concept for a book or series they want on their list, and they hire a writer to develop and write that project for them.”

This was the process for her two middle-grade historical fiction novels, The Fog of Warand The Dust Bowl, as well as her young adult horror duology, Holly Horror, which was created in partnership with the owners of the classic character, Holly Hobbie.

Each step in Corpora’s journey built her foundation as a writer. But at that point, her agent knew she was ready for more.

“She’d seen me grow through all of this, was basically like, ‘It’s time for you to stop auditioning and ghostwriting and start writing your story—something that’s meaningful to you and that’s yours,’” recalls Corpora.

Finding her story 

In 2023, Corpora took her next big gamble: creating not only her own original series, but writing something she’d never tried her hand at before. Epic fantasy. 

“It felt like a big leap of faith at the time. I still had two young daughters, a part-time job, and a very busy life,” says Corpora, “and I was planning to put a lot of hours into a project that might never sell. But once the idea was born, I knew there was no going back.”

The Throne of Khetara series, born from that fateful conversation with her editor, is an Ancient Egyptian-inspired trilogy about a kingdom in turmoil, a forgotten oracle, and four unlikely heroes: a princess, a priestess, a rebel, and a thief.

“My parents and three of my grandparents were immigrants born in Egypt,” says Corpora. “So I grew up hearing stories about Egypt, and became fascinated by Ancient Egyptian history from a very young age.” 

Corpora describes the series as “Ancient Egyptian Game of Thrones for young adults,” and is told from the perspectives of the four main characters.

“That seemed to really resonate strongly with people,” says Corpora, who wanted to showcase the different perspectives in ancient Egypt, including the non-royal population who were most affected by war and conquest.

The trilogy was picked up by Sourcebooks Fire and is currently being published in nine territories so far, including the UK, Italy, France, Germany, Spain, Brazil, Hungary, and Greece. It has also won numerous distinctions, including being on the list of YALSA Top Ten Best Fiction for Young Adults in 2026. 

“It’s been a long and winding road to get here,” says Corpora. “But I’ll always remember UMBC as a place that allows people to find their way in the world, even if your journey might take you off the beaten path.”

Pictured right: Corpora, a New York Times bestseller, at a book signing event at The Strand Book Store in New York City.

On December 5, the campus celebrated this year’s Arts+ initiative with five concurrent events featuring UMBC students, faculty, and guest artists. In a sold out concert in Linehan Concert Hall, the UMBC Symphony Orchestra and String Chamber Orchestra, directed by assistant professor Philip Mann, performed Alexander Glazunov’s Violin Concerto, featuring professor Airi Yoshioka, and works by professor Linda Dusman and Rich Sigwald ’03, music.

Down the hall in the Black Box Theatre, UMBC Theatre presented Street Scenes, with text by Langston Hughes and his contemporaries, with music by Kurt Weill, adapted and directed by associate professor Eve Muson, with musical direction by adjunct professor Andrew Hann—also to a sold out house.

The Department of Dance presented the Fall Dance Showcase on the stage of the Proscenium Theatre, featuring striking capstone works by senior students and independent student research.

The PAHB lecture hall was home to a Film and Animation Showcase, featuring works by 18 students and recent graduates of UMBC’s Intermedia and Digital Arts (IMDA) program.

The Center for Art, Design, and Visual Culture presented a collaboration between 2023 MacArthur Fellow María Magdalena Campos-Pons and musician Kamaal Malak, known collectively as KaMag. Their work, entitled Vignettes in 3 Sessions: An Immersive Ancestral Experience, delighted a capacity audience and was followed by the launch of a new public projection by KaMag, I Am Soil — My Tears Are Water, in the Fine Arts Building amphitheatre.

The Arts+ initiative will continue in spring 2026 with performances by Baltimore Dance Project and Orange Grove Dance, a faculty art exhibition, a lecture by visual artist Lynda Barry, a production of The Wonderful Wizard of Oz, and more than a dozen music concerts by faculty and guest artists. A full schedule will be available in January 2026.

Theatre magic isn’t magic at all—it’s the result of months of students conceiving, designing, and constructing the theatre set under the guidance of their mentors. Throughout various stages of the process, UMBC students get to see the world they created come to life—from prologue to final curtain call. All the detailed measuring and crafting to scale pays off, because when the curtain goes up and the lights go down, the audience surrenders to a willing suspension of disbelief.

Prologue

“Attention on stage,” echoed loudly across UMBC’s Proscenium Theatre as Malaak McDonald, a theatre design and production and geography and environmental systems junior, warned the production crew to stop and await safety instructions. 

It was a humid summer day, technically the off-season for UMBC’s theatre shows, but not for the production crew. From mid-May to mid-August, the undergraduate production staff set up construction stations across the Proscenium and the Black Box Theatres.

“Mine’s at 16, second electric, flying in, down stage,” said McDonald. The crew of five, in unison, looked up to ensure they were not underneath the second electric batten descending by a manual counterweight pulley system. The batten is a hollow metal bar, about the length of the stage, with electrical cables threaded inside, and rigged with hooks to hang stage lights and scenery. Fully loaded, it can weigh hundreds of pounds and can be flown in (lowered down) or flown out (raised) for seamless scene changes. Once the bar is at eye level and the line is locked, the crew returns to work.

All were trained by Gregg Schraven ’97, production manager for UMBC’s design shop, and Evan McDougall, assistant technical director, to use onsite industrial woodworking tools, welding machines, and behind-the-scenes stage technology. While McDonald tended to the lights, others were hand-painting a set floor. Another group inspected eight long wooden trellises drying on sawhorses, checking for scratches from their move from the paint booth to the stage through one of two 16-foot-high doors connecting the shop to both theatres.

Malaak McDonald looks up at the electric batten.Photo by Brad Ziegler.

To produce two fall plays and two spring plays annually, the faculty, staff, and students in UMBC’s theatre productions must adhere to a strict cycle that begins in November when the next season’s plays are chosen. Directors develop their script and then share their vision with the set, lighting, sound, and costume design directors. They then pick their student counterparts, all while producing the current season and teaching classes. 

Theatre magic is not magic at all. It is the product of extreme organization, hefty technical skills, and commitment to learn, show up, and do the work. Theatre is a community service, explains Gerrad Alex Taylor, assistant professor of theatre and director of the 2025 – 2026 season opener, Shakespeare in Harlem, in celebration of a hundred years of the Harlem Renaissance and part of UMBC’s Arts+ initiative.

“This phenomenon of watching a play is cathartic and an important community service. It’s healing. It’s a service of the heart,” said Taylor, a classically trained Shakespearean actor. “We have to ask, ‘What do the hearts of people need right now?’ and what stories can we be telling to connect with their hearts?”

Act One: Tools of the Trade

That kind of passion needs precision. Three years after graduation, Tyler Brust, theatre, a scenic designer and technical director, is a staple at the UMBC set design shop, where he is often on contract for the build cycle through tech week while also working in local theatre. “Coming back as an alum, it felt like I did not miss a beat as a result,” said Brust. “I immediately felt like I had the tools I needed to effectively lead small groups of student staff where necessary, all while balancing my own personal task list.”

He remembers his first production team project in 2019, building the floor layout for The Turn of the Screw set in late 1800’s England. The students created an illusion, a forced-perspective floor. Wooden floorboards were designed to be widest near the audience and gradually narrow toward the back of the stage, making the stage appear deeper and longer, creating a railroad-track effect. “This was all done by hand, with a straight edge and a router,” said Brust.  

The forced perspective floor designed for the 2019 The Turn of the Screw. Photo by Marlayna Demond ’11.

“Now, for Shakespeare in Harlem, Evan helped us through a multi-step process to modify the hardboard floor from last fall’s play. I now have the skills to completely fake these lines via paint and handle the complex layout of overlapping ovals and forced-perspective bricks,” said Brust.

McDougall calls this “theatre production with training wheels.” Before the drilling and the cutting commence, he has students start with what he calls the boring part—reading the manufacturers’ manuals. He then reminds students of his number one rule: Don’t trust anything—even if it’s in the manual. “The students say I have trust issues.

You can’t make any assumptions about what is true in theatre production,” said McDougall. As UMBC’s master electrician with decades of experience in woodworking, welding, and blacksmithing, he is indispensable for students to understand the mechanical, manual, and technical aspects of set design, growing in expertise over their time at UMBC. 

“I joke with my students that they come in with this preconceived notion of ‘this is parallel, this is plumb or level’—and once we begin installing sets and moving pieces around in the space, those realities don’t exist anymore,” said McDougall. After all, the production director aims to execute the set designer’s vision, while the set designer works to visualize and create the environment the director imagines.

Brust absorbed every lesson alongside McDougall and Schraven, which helped him become a Swiss Army Knife of technical abilities as a carpenter, scenic artist, puppet artist, associate scenic designer, and design and technical coordinator. “The agency and mentorship that Gregg and Evan give students is what makes all the difference,” said Brust. “It allows us to flex our muscles into actual project management, which is otherwise difficult to emulate during a class session.” 

Schraven and McDougall’s mentorship helped Brust branch out of UMBC to local theatre production companies like the Strand Theatre, Submersive, and True Penny Productions as a scenic artist, carpenter, general fabricator, and technical director. It is also why he is highly sought after in the UMBC theatre cycle.

“Tyler is a person I trust. I want to know what he’s thinking and can have dialogue about a problem,” said McDougall. “Here’s what my gut’s telling me. What do you see? We can start riffing off of each other. He’s now a coworker.”

Act Two: Metal, Steel, and Wood

In partnership with the Langston Hughes estate, Taylor adapted Hughes’ collection of monologue poems exploring the rhythms of jazz, the blues, Black love, and the daily struggles and joys of life in Harlem into a full-length play, blending poetry, music, and dance for an immersive journey into the world he so vividly celebrated. The only thing left to do was to construct an equally inspiring home into being. To bring the physical world of the Harlem Renaissance to UMBC, Taylor worked with Nate Sinnott, the scenic designer and faculty properties and paints supervisor.

Sinnott found inspiration in the original New York City Penn Station of the 1920s with 150-foot ceilings, granite columns, steel-vaulted ceilings, and an arching glass roof. Enter Schraven, McDougall, Brust, and the summer student production staff: McDonald, Adam Harper, a theatre and engineering and information systems senior, Ann Davies, a visual arts senior, and Abigail Adams, a media and communication senior.

Together, they built the director’s vision creatively and safely—with a unique twist. Taylor, who is a member of the resident company at Chesapeake Shakespeare Company (CSC) and founder of the company’s Black Classical Acting Ensemble, thought through a project that could “uplift the Black students who are about to graduate and have the acting chops to handle the material, and bring some of the Black Baltimore community to UMBC,” said Taylor. “Then take this Black ensemble and bring it back to Baltimore City’s community.” In brainstorming what all that could look like, UMBC theatre developed a collaboration with CSC.

This means that the technical crew designed the set to work for both UMBC’s Proscenium Theatre and Baltimore City’s CSC’s stage. The production team built a forced-perspective floor and 16 faux steel trellis arches constructed from multiple layers of wood and foam. Each trellis was finely carved with intricate triangular patterns using a computer-controlled machine, then glued together in pairs to form eight lightweight units. The arches had built-in break points, allowing them to be disassembled, packed into a 16-foot truck, and reassembled identically at each theatre—even with performances months apart.

“My job is to teach the students to the point where they can do it all,” said Schraven, associate teaching professor and technical director. For Schraven, UMBC is more than where he began studying theatre in 1989 and more than the place where he has worked, off and on, since the 1990s. It is where he gets to pass down the more than 30 years of theatre tech knowledge to students working in a scene shop he helped design.

“When I was a student, I was easily in the shop six to 10 hours a day. I probably did more welding in a year than they will do in their entire careers. That’s why I keep the shop open to students in the summer. That’s why I have a student labor budget and why 100 percent of all show proceeds are for undergraduate scholarships. I want to use every single penny of it on students,” said Schraven. “The more you’re in the shop, the more you learn. When students learn how to weld, I tell them to give it 80 times. Then they’ll be really comfortable with it.”

Act Three: Dress Rehearsal

It’s two weeks before showtime. At 6:30 p.m. sharp, the unspoken hero of the play, Tatiyana ‘Tati’ Terrelonge, an acting and media and communication studies junior, is poised at center stage on the floor designed to look like brown bricks. Terrelonge, who intrepidly served as the entire cast’s understudy, is holding a binder with the lead’s lines at the ready. Looming behind her is the finalized, floor-to-ceiling vaulted arch. Four costumed students sit in wooden chairs recently stained brown by the production crew, while another peeks out of a window, one of several frosted glass ceiling panes below the arch.

In the audience are four crew members managing lights, sound, props, and character lines. Today, the lines are for a scene where a character, Bruce, is writing a letter to his mother in the South, and another character, Leonard, is reading a letter to his sweetheart, begging her not to return to the South. 

They represent the millions of Black men and women of the Great Migration, who fled the legacy of slavery and the terror of racism of the South between 1910 – 1970 for the North. Hundreds of thousands arrived at NYC’s Penn Station with the artistic talents and skilled labor that birthed the Harlem Renaissance. Their success inspired others to follow, who were ready to reap all the freedom that the Harlem Renaissance promised, only to be met first with the daily grind of work that made Harlem glimmer with the dreams of its people. 

Dario Prioleau, acting senior, as Leonard. Photo by Kiirstn Pagan ’11.

“Langston Hughes was canonizing Black life in America in the same way that William Shakespeare did, of life during England’s Elizabethan era,” said Taylor, who added a personal touch by including some of his grandmother’s stories and kept the show going by stepping in as the character of Simple. “A lot of my research here at the university and as an artist is looking at African American stories and stories of the diaspora that have been forgotten about, misrepresented, and stolen,” said Taylor, “and bringing a new lens and a new perspective of our contemporary consciousness to them.”

Curtain Call

Lauren Davis, as Griot—the play’s storyteller—gives respects to the ancestors that made the play possible. Photo by Kiirstn Pagan ’11.

“You are here!” said Lauren Davis, in the commanding voice of her character, Griot—the play’s storyteller, historian, and cultural guide—to the first audience of the fall season. Davis, a guest artist and member of the CSC’s Black Classical Acting Ensemble, is radiant in golden light. Behind her, the arched glass ceiling transforms with a projection of stained glass in rich royal hues, thanks to McDonald, the show’s head electrician, and the lighting team, who hung the lighting designer’s light plot—a map, essentially—a month early to give lighting design students time to learn the process.

“I want to get the acknowledgment well of the ancestors into the space,” booms Griot, lowering a large basket—the well—onto the floor. “I call so that you remember the grandmothers on whose shoulders we stand. I’m no longer accepting the things I cannot change. I am changing the things I cannot accept.” 

With that, the set morphs into bedrooms, apartments, and streets, made real by the artistry of UMBC’s theatre students and their mentors. Traveling trunks become an altar, and light posts double as clotheslines. The actors tap in, weaving with the words and sounds—reading, stomping, marching, crying, laughing, inhaling—that syncopate the lives of lovers, friends, entrepreneurs, religious leaders, landlords, family, and a fledgling poet—an homage to Hughes—whose future letters are masterfully projected across the Harlem sky.

Top: The ensemble creates a church with luggage trunks as the altar and chairs as pews. Bottom: The ensemble creates a church with luggage trunks as the altar and chairs as pews. Photos by Kiirstn Pagan ’11.

Learn more about UMBC’s spring 2026 theatre season.

When we think of toys, we imagine a finished product, a remote-controlled car, a mini piano, or a glitter-filled beach ball. The internal pieces that make up the toy are only seen if the toy breaks. However, for some children with disabilities, the feel, sound, and shape of a toy’s exterior can be as important as the internal components. Features such as a multi-button remote, pressing piano keys, or grasping a ball can reduce accessibility to developmentally essential play.

Molly Y. Mollica, assistant professor of mechanical engineering (ENME), challenges sophomores in her ENME 204 class, Engineering Design with Computer Aided Design (CAD), to create an accessible toy for an individual with a specific disability or a toy for collaborative play between children with and without disabilities. CAD helps students create, modify, and analyze technical drawings and 2D or 3D models.

Team Goat Cheese, a five-student collaboration that included Adam Harper, a mechanical engineering and theatre design sophomore, was voted the ENME 204’s Most Creative Design and the Most Viable Product by UMBC faculty, ENME 204 teaching staff, and needs experts. Their competitors also voted them the Most Creative Design for designing two accessible toys for children on the autism spectrum: a soft, stuffed sea turtle and a bald eagle with weighted body parts, textured fabrics, and interchangeable parts. 

Integral to their success was the involvement of community members on the autism spectrum. “Many of us have someone close to us on the autism spectrum,” said Harper. “We asked them what kind of toy they would have wanted when they were seven or eight.” Harper’s close friend shared that they never had a stuffed animal because the stuffed animals on the market never met their sensory needs. 

“Students have the opportunity to design in collaboration with needs experts—including physical therapists, special education teachers, and potential product users,” said Mollica. “In some cases, the resulting designs are developed enough to be shared with these experts to help address real challenges in accessible play.” 

Designing with needs experts

The team’s online market research found that stuffed animals with sensory designs, such as weighted bodies, textured fabric, and scents, can help reduce anxiety, increase focus, and ease transitions for children on the autism spectrum, fostering greater engagement with peers and family. Another key takeaway of their research was that many sensory toys included only one sensory feature, limiting their effectiveness for children who benefit from multiple tactile inputs. 

Team Goat Cheese used this as their inspiration. “We felt we could do better,” said Harper. “We decided to create two cartoon-like stuffed animals with multiple sensory inputs.” First, they used CAD to design interchangeable body parts. After several trial-and-error sessions, they created a lock-and-release mechanism for interchangeable parts. The eagle’s head, wings, and legs all come off the body. The sea turtle’s front and back flippers and head are also interchangeable. If a child doesn’t like the texture of the bald eagle’s head, they can swap it for the turtle’s head, creating a completely different sensory experience.

Sewing tactile play 

Choosing the materials was also a process. The team chose soft brown corduroy for the eagle’s wings due to its unique texture and geometry, and extra soft sweatshirt fleece for the eagle’s head and tail feathers. The beak and talons are a yellow iridescent mesh fabric with metallic gold squares fused onto it, noted Harper.

(l-r): The eagle’s right wing insert, stuffed eagle without weighted wing pockets, and the fabric for the beak and talons. (Images courtesy of Harper)

The turtle’s body was made of minky fabric—a soft, velvety green plush, polyester fabric—with raised almond-shaped dots that felt like soft scales. The shell was made from a soft brown fleece. 

Harper—the team’s secret weapon as the only member who knew how to sew—owned a sewing machine and had years of experience sewing, welding, sawing, and constructing theatre sets, so he was in charge of sewing the final product.

“For the weighted components, I double-stitched corduroy pockets and filled them with glass microbeads, then placed them inside the wings, head, and body. I filled the rest of the body with polyester fiberfill—a synthetic fiber used for stuffed animals,” said Harper. “It was many hours and days of sewing and making pouches and remaking pouches and seam ripping and fixing.” 

“Our goal is to prepare the next generation of engineers who understand the engineering design process,” said Mollica, “are proficient in engineering design tools, value input from needs experts, and are equipped to create high-quality products that are accessible to as many people as possible.” 

While photos of the eagle and turtle stuffed animals still exist, the physical toy is no longer in the team’s possession—it has been passed on, and they hope it’s now in the hands of a child who is happily creating turtle-eagles with their friends. 

Learn more about UMBC’s Department of Mechanical Engineering.

A cross-disciplinary incubator rooted in theatrical storytelling. Artificial intelligence and machine learning ethics education that blends ethical inquiry with hands-on technical exploration. Letterpress printing and bookmaking while students uncover “The Secret Lives of Books.” These are several of the 2024 – 2025 projects selected to receive grants in the Hrabowski Fund for Innovation competition. The fund supports initiatives to enhance teaching and learning at UMBC, with specific emphasis on innovative approaches to increase student success.

“The Hrabowski Innovation Fund has helped to drive innovation in pedagogy and student success at UMBC for the past 13 years. Recent projects have enhanced course and curriculum development, built generative AI literacy and introduced AI-powered tools, and engaged students in cross-disciplinary, international, and community-based projects that prepare them for their majors and careers.” says Kerrie Kephart, interim director of the Faculty Development Center.

Implementation and Research Awards

• IMPACT Lab: Interdisciplinary Music, Performance, Art, Collaboration, and Theatre Lab – Nigel Semaj (THTR) and Colleagues
• Developing Ethical Inquiry: A Participatory and Exploratory Lab Model for AI/ML Ethics Education – Rebecca Williams (CSEE)
• Computing for All: Cultivating a Culturally Responsive and Inclusive Computing Ecosystem – Patricia Ordóñez (IS) and colleague

Adaptation Award

• Hilltop Print Shop: Supporting Applied Learning in a Humanities Makerspace – Lindsay DiCuirci (ENGL) and colleague

Scholarship of Teaching and Learning Award

• Developing an Approach to Creating and Refining Innovative Learning Outcomes in a University Music Education Program – Brian Kaufman (MUSC) and colleague 

SEED Awards

• Transforming Graduate Writing Support – Nicole Morse (LLC) and colleagues
• Centering Student Perspectives on Generative AI Integration in a Design Classroom – Yasmine Kotturi (IS)

The Hrabowski Fund for Innovation exemplifies UMBC’s commitment to investing in faculty initiatives that fuel creativity and enterprise and also create opportunities for student engagement. Proposals for the next round are due by October 31, 2025. For more information and to apply, visit UMBC’s Faculty Development Center website. 

Meet Alan Aymie’94, theatre. After graduating from UMBC, Alan went on to work professionally in D.C., New York City, and Los Angeles. As a playwright, he has been produced across the country and has optioned several screenplays. In 2021, the actor published his first book, Turning Points: Tips, Tales, and Tactics of a Revolutionary Teacher, a memoir of his years teaching in South LA. He currently lives in LA with his wife and family. Take it away, Alan!

Q: What initially brought you to UMBC?

A: I originally moved to Baltimore from Boston following a promotion in my career. Uninspired and unfulfilled in that career, I made the choice to pursue a second degree after seeing a production of the UMBC Theatre Department’s Shakespeare on Wheels (S.O.W.). I had never acted before, but was inspired by what I saw. I applied to the department, met the department chair and some of the professors, and was accepted into the department, where I met so many creative and passionate people. I performed in S.O.W. the following year. 

Q: Can you talk more about the impact of the Theatre Department?

A: Being a part of the UMBC Theatre Department was my first real experience of community. It greatly influenced my life as an artist and as a person. Currently, I am a producer for Rogue Machine Theater’s RANT & RAVE here in LA, and I get to bring those same lessons to this community.

Q: Where did you find support while at UMBC?

A: I was blessed to have many amazing professors who inspired me in various ways, including Sam McCready, Xerxes Mehta, Wendy Salkind, and Alan Kreizenbeck. I was also fortunate to make many great friends during my time at UMBC, who provided support, direction, and guidance, including James Brown-Orleans ’05, theatre. James has directed me in some of my work, acted in others, and has been a constant supportive voice.

Photo right: Alan Aymie ’94 with James Brown-Orleans ’05 before the latter goes onstage with Broadway’s The Lion King.

Q: Can you tell us about your current job and your book?

A: I am an actor (SAG/AFTRA), playwright (Dramatist’s Guild), and author. After graduating from UMBC, I landed a national commercial and a few films, Guarding Tess and Foreign Student, which earned me enough money to move to LA to study with Sanford Meisner. Once in LA, I booked roles on stage and in commercials, film, and TV before being an official selection of the HBO Aspen Comedy Festival, a teacher, and, more importantly, a father. 

When my second child was diagnosed with autism, I wrote about it in the now critically acclaimed solo play, A Child Left Behind, which was seen across the country. For the next 10 years, I performed solo work, did stand-up, starred in a short film that featured Kyle Bornheimer, Wolfgang Bodison, and Scoot McNairy, and wrote the award-winning Best New Play, RAP. In 2021, I published my first book, Turning Points: Tips, Tales, and Tactics of a Revolutionary Teacher, which details my journey from struggling Hollywood actor to a heralded school teacher and the lessons I learned along the way.

* * * * *

UMBC’s greatest strength is its people. When people meet Retrievers and hear about the passion they bring, the relationships they create, the ways they support each other, and the commitment they have to inclusive excellence, they truly get a sense of our community. That’s what “Meet a Retriever” is all about.

Learn more about how UMBC can help you achieve your goals.

On May 2 and 3, the campus celebrated the 30th anniversary of the Linehan Artist Scholars Program with two days of festivities attended by dozens of alumni, current scholars, and incoming students.

Exhibitions and performances featured works by scholars from across the years, including choreography by Ryan Bailey, LAS ’16, a theatrical performance by Grace Marsh, LAS ’28, music performances by Michelle Purdy, LAS ’10 and Christian Hartman, LAS ’20, artwork by Petra Janka, LAS ’25 and Riley Payne, LAS ’29, and creativity by many other alumni and students. Featured speakers included Cameron Slayden, LAS ’99, from the very first LAS cohort and now CEO of Microverse Studios, James Dorsey, LAS ’05, a music teacher in Prince George’s County Public Schools, and Courtney Culp, LAS ’20, a designer with Warner Brothers Discovery.

Left: Brechtel and Haynes are greeted by UMBC President Valerie Sheares Ashby following their performance, joined by Shaness Kemp, assistant professor of dance. Right: Christian Hartman plays the cello, while Ryan Bailey and Clarisse Lukban dance on stage in Linehan Concert Hall.

“The Linehan Program has strengthened my passions for new music and interdisciplinary collaboration, and I am so grateful to the program for supporting me as an artist and providing me with so many opportunities to create and collaborate,” says Hartman, who played the cello for the event. “I was so thrilled to get the opportunity to perform once again on the stage I called home for four years, and to work with Clarisse and Ryan. I didn’t see their choreography or the projections until the day of the performance, and to see it all come together was such a breathtaking experience.”

Left to right: Darielle and Earl Linehan at the post-celebration luncheon; Jillian Casey, LAS ’27 with her mom at the post-celebration luncheon; Ann Sofie Clemmensen, director of the Linehan Artist Scholars Program, poses with Petra Janka, LAS ’25.

“Earl and Darielle Linehan’s commitment to UMBC and the Linehan Artist Scholars Program has created transformative learning experiences for hundreds of talented undergraduates majoring in the visual and performing arts,” says Ann Sofie Clemmensen, director of the program. “Our focus for the celebration was to highlight the past and the future of the Linehan Artist Scholars program, and what makes our program and community unique and essential to the undergraduate rigor at UMBC.”

Juju Ayoub, LAS ’25, and Sarah McHale perform a dance duet, accompanied by music sung by Jacob Perry, LAS ’14, with visual projections by Jillian Casey, LAS ’28.

With a deeply held belief in the importance of the arts in society, Earl and Darielle Linehan launched the Linehan Artist Scholars Program with a generous gift in the 1990s. (To this day, Earl Linehan loves to recount that he and Darielle met UMBC President Emeritus Freeman Hrabowski on a bus in Israel, and that Hrabowski asked them right then for their support.) In 2015 the Linehans fully endowed the Linehan Artist Scholars Program, ensuring its future ability to continue and grow. Now, its graduates in dance, music, theatre, and the visual arts number almost 400.

Left to right: An audience cheers on dance and music performances in the Theatre atrium; a group of Linehan Artist Scholars pose for a group photo during the post-celebration luncheon; Marlayna Demond, LAS ’11, center, talks with her husband, Adam Rhoads, and Tom Moore, director of arts and culture.

“Artists are the leading edge of creativity in our society,” says Earl Linehan. “They inspire our thinking and enrich our lives. But how can we encourage more young people to turn their talents into a career? Young artists seem to thrive best in an atmosphere that blends critical study with creative expressions—the kind of interdisciplinary environment that UMBC has always fostered.”

See more photos from the two-day celebration. Learn more about the Linehan Artist Scholars Program.

In the early hours of the morning, as the windows of Albin O. Kuhn Library begin to reflect the sunrise, UMBC’s faculty and staff are making sure all the campus needs—technology, buildings, streets and sidewalks, lessons, and social media—are ready for students. A close-knit community of over 2,500 faculty and staff is at the heart of UMBC’s vibrant campus, and for the 15th consecutive year, UMBC has garnered the distinction of being on ModernThink’s Great Colleges to Work For list. 

Retriever Nation spoke loud and clear, sharing what makes their work fulfilling on the 2024 Great Colleges to Work For survey. The survey covered 10 categories, including faculty and staff wellbeing, compensation and benefits, and confidence in senior leadership. The resounding feedback secured UMBC a spot on the Honor Roll among the top 10 four-year institutions with an enrollment exceeding 10,000 students out of 75 outstanding workplaces.

“Great workplaces don’t just happen,” says Lynne Adams, UMBC’s chief human resources officer. “They are built through a collaboration of the community, care, connection, and a shared vision. Our culture really does reflect a team working together continuously evolving into an inspiring workplace for everyone.”

Faculty and staff flourish and enjoy sharing their talents and personal journeys, adding to the campus life through events like yoga and other classes at the RAC taught by Joella Lubaszewski ’10, theatre. UMBC gives space for people to be brave and share their whole selves, as executive administrative assistant Melessia Jasper knows. Visit a McNair Scholars information session to see leadership in action with Michael Hunt ’06, computer engineering, and current Ph.D. student leading the pack. The dedication of our faculty and staff allows students to receive support and shine.

“As we nurture an inclusive and welcoming community and support the professional development of our staff and faculty, they see themselves fully in our mission and believe deeply in the transformative power of education,” says President Valerie Sheares Ashby. “Staff and faculty know their work serves both individual students and the public good. They know their work matters and that they are seen and valued.”

MeetMichelle Jabes Corpora’03, English and theatre. Michelle is the author of nine novels, an editor for commercial fiction, and an avid student of Brazilian Jiu-Jitsu. She came to UMBC as a Linehan Artist Scholar in 1999 to study theatre before deciding to double major in English. Michelle has found that her background in theatre has been a helpful tool in her writing. Take it away, Michelle!

Q: What’s one essential thing you’d want another Retriever to know about you?

A: I am a 2003 alumna, a double major in English and theatre. Today, I am the author of nine novels for young readers, and have been an editor of commercial fiction for 17 years for both big publishing companies in New York and a book packaging company based out of London.

My latest novel, Holly Horror: The Longest Night, is scheduled to release on August 13, 2024. It is a young adult horror story and the terrifying sequel to Holly Horror.

The first book in my newest series, a trilogy that was pitched as “Ancient Egyptian Game of Thrones for YA readers,” is slated to be published by Sourcebooks Fire in Summer 2025. Stay tuned!

​Q: What is your WHY? What brought you to UMBC?

A: Initially, I came to UMBC as a Linehan Artist Scholar studying theatre, but once I began my years on campus, I realized I wanted to supplement my studies with a major in English. The experiences I had in both academic departments went on to inform my choice of career in book publishing, and the way that I write novels. Learning about drama helped significantly with my approach to character, plot, and pacing.

Pictured right: Michelle as ‘Cleo’ AKA Fraulein Kost in a 2001 UMBC Theatre production of Cabaret.

Q: Tell us more about your career. What do you like most about writing and editing?

A: I am an author as well as a senior commissioning editor at Working Partners, Ltd. Fiction has always been my passion, so I love working creatively every day and writing books for young readers. But it’s been a long road to get where I am today!

After receiving my bachelor’s degree in English and theatre from UMBC, I went on to earn a master’s degree in Children’s Literature from Hollins University. After that, I did some weird stuff. I was a wedding singer for a while. I also worked with animals in a vet’s office and at a wildlife rehabilitation center. Eventually, I moved to New York and worked as an assistant editor at Greenwillow Books before getting my job with Working Partners. All of these serendipitous events eventually led me to the #AuthorLife.

​Before I wrote books with my name on the cover, I was a ghostwriter for a world-famous middle-grade mystery series. I wrote my first five novels in that series, and enjoyed every minute of it. It was an honor to be a part of a legacy that is cherished by so many. Looking back, all those detours were exactly what I needed. Not only do different experiences help you become a more well-rounded person and writer, they allowed me both to meet people who would become so important in my career, and teach me—through learning to be an editor—what really makes a good book. It also taught me to embrace my “chameleon” self—I’ve always loved many different genres of fiction, and felt that it was somehow a personal failing that I could never choose just one. Today, I’m happy to say that I’ve written mysteries, historical fiction, horror, and fantasy, and I see no reason to stop now.

Q: What do you like to do when you’re not writing?

A. I live in Frederick, Maryland, with my dear husband, my two wonderful daughters, two guinea pigs named Fireball and Olive, and a rescue mutt named Charlie. When I’m not writing and editing books, you can usually find me at Crazy 88 MMA, training in the art of Brazilian Jiu-Jitsu. Competing at tournaments and being promoted to blue belt in BJJ were some of the proudest moments of my life. Some people may see videos of me rolling around on the floor and fighting my friends and think that I’m crazy. I can neither confirm nor deny the validity of this statement.

Q: What’s the one thing you’d want someone who hasn’t joined the UMBC community to know about the support you find here?

A: UMBC is a tight-knit community. Even though it’s a public state university, it has a private college feel with big university resources. It’s a place that allows people to find their way in the world, even if your journey might take you off the beaten path.

Q: What’s your favorite part of being a part of Retriever Nation?

A: I meet so many other UMBC alumni out in the world, and we always have great stories to tell about our time on campus. It’s a wonderful shared experience that always feels personal.

* * * * *

UMBC’s greatest strength is its people. When people meet Retrievers and hear about the passion they bring, the relationships they create, the ways they support each other, and the commitment they have to inclusive excellence, they truly get a sense of our community. That’s what “Meet a Retriever” is all about.

Learn more about how UMBC can help you achieve your goals.

On May 30, Kelley Bell, M.F.A. ’06, associate professor of visual arts, was named one of the six 2024 Baker Artist Awardees, receiving the $10,000 Mary Sawyers Baker Prize. The awardees were selected by an anonymous jury from a field of almost 700 artists from across the greater Baltimore region. Corrie Francis Parks, associate professor of visual arts, and Katie Hileman ’12, theatre, and general associate in the department of theatre, were among the finalists for the prestigious 2024 Baker Artist Award.

Established in 2009, the Baker Artist program was created to support artists and promote greater Baltimore as a strong creative community. Since then, more than 150 artists have been awarded $1.3 million in grant money. The program was established by the William G. Baker, Jr. Memorial Fund and is managed by the Greater Baltimore Cultural Alliance.

As part of the Baker program, artists across six disciplines—visual arts, film/video, interdisciplinary, literary arts, performance, and music—are invited to establish online portfolios of their work, which are housed on the Baker Artist Awards website. The 2024 portfolios, numbering more than 700, were reviewed by an anonymous jury which selected the 36 finalists. One artist in each of the disciplines was awarded the $10,000 Mary Sawyers Baker prize, and one of those six awardees was selected to receive the additional $30,000 Mary Sawyers Imboden prize.

The work of Bell, Parks, Hileman, and other finalists will be featured in a series of finalist showcases. Kelley Bell’s work (in the interdisciplinary category) will be on display at Current Space from April 20 to June 2; Katie Hileman’s work (in the performance category) will be featured at Theatre Project on April 27 at 7:30 p.m. and on April 28 at 4 p.m. The showcase that will feature the work of Corrie Parks (and others in the film/video category) has yet to be scheduled.

UMBC is no stranger to the Baker Artist Awards. Previous recipients have included:

• 2011—Andrew Liang, M.F.A. ’24 ($1,000 b-grant)
• 2013—Jenny O’Grady, assistant vice president, strategic content ($1,000 b-grant)
• 2015—Eric Dyer ’95, visual arts, and professor, visual arts ($25,000 Mary Sawyers Baker prize); and Dominique Zeltzman, M.F.A. ’14, ($5,000 Nancy Haragan award)
• 2018—Lafayette Gilchrist ’92 ($10,000 Mary Sawyers Baker prize)
• 2021—Rahne Alexander, M.F.A. ’21, ($2,500 Baker Artist award); and Mina Cheon, M.F.A. ’02 ($2,500 Baker Artist award)

“Being counted among the 2024 Mary Sawyers Baker Prize awardees is amazing,” said Bell. “I am fiercely proud to call Baltimore my home and inspirational wellspring—it‘s a city like no other, and there is no other creative community I‘d rather be a part of. My colleagues from CAHSS, Katie Hileman and Corrie Francis Parks, were also included in the finalist‘s circle for this prestigious acknowledgment, and that’s a testament to the wonderful things that can happen when UMBC supports and invests in the arts and culture—our colleagues, our institution, and our city all reap the benefits of an active and vibrant creative community.”

Bell’s work will be featured in an exhibition of works by Baker Award recipients at the Baltimore Museum of Art in spring 2025.