Kate Dunn

By Danielle Brown

Published in Print Jan 2025 order now!

Kate Dunn is a celebrated choreographer, performer, and educator whose remarkable career has spanned several prestigious realms of the performing arts, including theatre, dance, film, and television. With an impressive portfolio that includes major productions on Broadway and the West End, Dunn has worked on acclaimed shows such as Groundhog Day, Matilda, Billy Elliot, and Dirty Dancing. Her international reputation as a choreographer is matched by her commitment to nurturing the next generation of performers.

Currently serving as the Head of Musical Theatre at The McDonald College in Sydney, Dunn’s extensive industry experience allows her to provide a unique and valuable perspective to her students. From her early beginnings in Australia to performing with the Royal Ballet, choreographing for renowned companies, and playing an active role in some of the most memorable performances in contemporary musical theatre, Dunn has spent her career weaving together artistic disciplines and shaping the future of theatre.

In this interview, Dunn shares her personal and professional journey, her teaching philosophy, and the innovative ways she fosters creativity, growth, and individuality in her students. Her insights into musical theatre, performing arts education, and personal development paint a clear picture of why she is a cherished figure in the Australian performing arts community.

Dunn’s decision to become the Head of Musical Theatre at The McDonald College came at a time when both the school and her career were poised for new opportunities. Reflecting on her decision, Dunn shares, “When I saw the advertisement for the Head of Musical Theatre at The McDonald College, it immediately caught my attention. I remembered its strong reputation from the 90s and thought it could be a great fit for me, considering my experience and where I was in my life. It felt like everything was aligning at the right time.”

Her admiration for the school’s ethos and the leadership of Principal Maxine Kohler made the decision even more compelling. “I’ve always admired Maxine Kohler, the Principal, and what she has built at the school—it’s something truly special. The performing arts teachers are specialists in their fields and also actively work in the industry.” Dunn emphasises that the opportunity to work with teachers who are still active practitioners in their respective fields is a significant advantage for students.

She continues, “Staying connected to the industry is so important in performing arts education because the field evolves rapidly. Having teachers who are current practitioners gives students a more relevant and practical education. It’s a crucial message that I think needs to be emphasised more, especially here in Australia, where we often prioritise degrees over real-world experience.” In her view, a curriculum that balances academic qualifications with hands-on experience prepares students more effectively for the fast-paced, ever-changing world of the performing arts.

As Head of Musical Theatre, Dunn has witnessed firsthand the wide range of skills and experiences that students bring with them into the program. She is passionate about encouraging them to embrace their unique learning journeys. “It’s fantastic to see students come into the program with such a wide range of skills—or sometimes, no prior experience in a particular area. I’ve had students who’ve never sung, acted, or danced before, and it’s great,” she says.

Dunn’s approach is rooted in patience and persistence. She encourages students to take risks, step outside their comfort zones, and accept that growth often begins with discomfort. “I encourage them to take courage, even when it feels uncomfortable or unfamiliar. It’s okay to not feel great at first and to not be good at something right away,” she explains. Her nurturing yet firm teaching style is designed to create an environment where students feel safe to try, fail, and ultimately succeed.

Equally important is Dunn’s focus on creating an equitable environment, where every student has the chance to succeed, regardless of their background or experience. “Equity is about ensuring everyone gets the chance to fully participate and grow, no matter their past experience,” she says. She understands that each student is at a different point in their journey, and she encourages them to reframe their self-doubt as an opportunity for growth. “It’s not about ‘I’m not good at dancing,’ but rather, ‘I haven’t had much experience in dance.’ Reframing those core beliefs helps students see every challenge as a learning moment and an opportunity for growth.”

Dunn firmly believes that students today must embrace hybridity in their work, constantly creating, collaborating, and evolving. The performing arts world is no longer just about mastering one discipline but about being adaptable, versatile, and continuously challenging oneself. This belief is ingrained in her teaching. “I truly believe that students today need to embrace hybridity, which means being makers—constantly creating, making work, and being open to direction,” she says.

She emphasises the importance of self-directed creative exploration, encouraging her students to take ownership of their artistic process. “In Term 3, the senior stream perform a showcase consisting of 3 or 4 different numbers created by the faculty. For my piece, I wanted to push them to move in new ways, so I gave them tasks to create their own movement,” Dunn explains. Her approach isn’t about following set choreography but about encouraging students to contribute their own ideas, which makes the entire process feel more authentic and empowering.

She recalls how, during this process, students learned the value of improvisation and the importance of being adaptable. “I may not use all of what is created, but some of it might make it into the piece. What’s important is that they are practising being makers.

This spirit of exploration and creativity extends to Dunn’s lessons on individuality. She strongly believes that students should avoid comparing themselves to others and instead focus on their own growth. “It’s crucial to understand that it’s not about your talent—it’s about who you are as a person. Everyone in the room has talent; you wouldn’t be there if you didn’t. What really matters is how you show up as a human being,” she affirms. In her view, the ability to connect with one’s authentic self is what sets performers apart in a competitive industry.

For Dunn, creating a supportive and collaborative classroom environment is essential to her teaching philosophy. She wants her students to feel safe and valued, knowing that their voices and ideas matter. “At the beginning of the year, we sit down and have the students write their own guidelines for the room. I contribute three: respect, do your best, and turn up on time. The students write the rest of the guidelines they want to practice, and we check in throughout the year to make sure we’re sticking to them,” she shares.

This collaborative approach encourages students to take ownership of their learning. Dunn’s leadership style is one that balances authority with empathy, showing students that while she holds them to high standards, she is always there to support their personal growth. “I prefer to tell the students, ‘I’m here to share my knowledge. Some of it will resonate with you, some won’t, and that’s okay.’ Their job is to show up, receive the information, try it out, and see what works for them,” she explains.

One of Dunn’s key priorities is the mental and emotional well-being of her students. She encourages them to take mental health days when necessary, advocating for self-care and emotional balance. “Mental health days are really important, and I always encourage my students to take them when they need them. If you need to regroup and reset, you must do it because, unless you’re healthy, nothing matters,” Dunn advises. This holistic approach to teaching helps students thrive not only as artists but as individuals.

One of the most exciting challenges in Dunn’s role is producing a full-scale musical theatre production each year. Despite the time constraints of just two hours a day and a limited 12-week rehearsal period, Dunn guides her students through a process that teaches them the importance of teamwork, discipline, and professional standards. “Producing a musical every year is a big task, especially with just two hours a day and only 12 weeks to get it all done. Last year, for example, we did A Chorus Line, and I double-cast the show to ensure every student had the chance to be involved,” Dunn reflects.

Dunn is deeply committed to providing her students with a comprehensive understanding of musical theatre, not just through technical rehearsal but by immersing them in real-world experiences. Recognising the importance of industry connections, she frequently invites seasoned professionals into the classroom, offering students invaluable insights into the practicalities of the profession. “I invited professionals into the room. My husband, Scott Farris, who has an extensive career in the industry with credits including Cats, Les Miserables, City of Angels, Cabaret, Ain’t Misbehavin’, They’re Playing Our Song, Children of a Lesser God, Grease, Busker Alley, and Whistle Down the Wind, among others, worked closely with the students. We also had Priscilla Lopez, the original Diana Morales from A Chorus Line, join us via Zoom to share her experience.” Through these interactions, Dunn ensures that her students are not only learning technical skills but are also gaining an authentic understanding of the demands and opportunities in musical theatre.

This exposure to industry veterans ensures that the students understand the expectations and standards they will face when they enter the professional world.

Kate Dunn’s approach to teaching is a harmonious blend of practical industry experience, creative exploration, and emotional support. Through her leadership at The McDonald College, she is shaping the next generation of musical theatre performers to not only master their craft but to understand the value of individuality, resilience, and collaboration. By encouraging her students to embrace hybridity, take risks, and focus on their unique journey, Dunn is preparing them to face the ever-evolving world of musical theatre with confidence and creativity. With her guidance, students are not just learning how to perform—they are learning how to thrive as artists and individuals in the competitive world of the arts.