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You would have to investigate either way as HR to get the whole story which would be revealed regardless. The difference is OP looks more involved in the situation knowing all the details as part of the drama rather than a concerned supervisor seeing unethical treatment if they kept the details to a minimum.

In other words, Jane might absolutely feel differently about disclosure if you shared everything with her, but it might violate your responsibilities if you did so. This really seems like a situation where your duty as a friend to Jane is in conflict with your duty as a manager, and unfortunately manager has to guide your conduct since this is a workplace issue. Angela is behaving badly, you know more about it than Jane because you are a supervisor and she is not, and because you are more informed than Jane is (and maybe than Jane can be), you need to exercise your own judgment rather than deferring to Jane.

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Definitely time then to confront your manager and the other supervisor, however I would let Jane know first regardless of how much or how little you say. Although you would know best but I would consider the amount of sway Angela has and the politics at play in your office. At the end of the day you should fight for Jane as a friend and supervisor but I would be careful that Angela does not turn on you. You want to position your involvement as work oriented as possible so Angela cannot manipulate the situation and make your concern seem biased especially now that you are (rightfully so) pulling away as a friend.

Creating a drama free workplace does not mean that you can totally prevent drama from being present. Neither OP or Alison are suggesting telling random co workers or spreading the information. Jane does not deserve to be treated poorly by Alison and it is clear that is happening.

Yes, very much so. As Snark wrote above, knowing about the affair is critical to understanding the dynamic. Otherwise it could just sound like petty interpersonal drama, and the manager could easily choose not to get involved in that, or could default to giving the more senior person (Angela) the benefit of the doubt.

Raise it once, but then I think take a step back. If I read the letter correctly, none of these people are in your line of reports, so it really just needs to be their own supervisors who handle this.

I feel like all the circumlocution and references to Jane having a difficult time personally, etc, is a lot more gossipy and drama stirring, and therefore ineffective, than being as blunt, direct and unemotional about the facts of what has happened as possible. Being direct paints a very clear picture for the new manager. Trying to be subtle and discrete leaves a lot of room for misinterpretation, misunderstanding, and, given that Angela has thus far made a good impression on the manager, makes it very easy for the manager to dismiss this as the LW trying to start trouble.

My husband is a professor at a large university and his very first graduate student did this. The student was based in a foreign country and obviously got someone to do the phone interview for him and take his English exams because when he arrived, homie spoke barely any English. They had to revoke his admission and his visa.

The guys at the academy were the most interesting dudes I have ever seen in a historical drama. They are all matrilocal husbands (except for one guy who wants to be one cause he failed the civil service exams too many times haha) with really good house-husbandry skills.

Even though this drama is a romantic historical transmigration trope. It is anything but a stereotype. The plot is straightforward with enough complexity to engage. The characters are variable and develop as people. The themes are contemporary and relevant.

The series, created by Franc Roddam, and written by Debbie Horsfield, mixed comedy and drama in its portrayal of the women who worked on the factory floor at New Lyne Electronics in Manchester, tackling the personal lives of the characters as well as wider issues of recession, redundancy and retrenchment as the factory goes through various crises and takeovers.

As a theatre company, the 4th year actors and I had many questions approaching this work because autonomy within societal structures enmeshed with gaslighting, capitalism, patriarchy, misogyny, racism, xenophobia, homophobia, and gender conformity presented us with a paradoxical challenge. Recognizing and understanding the influence of these systems was the initial step. Cultivating critical awareness, fostering a supportive training and rehearsal community, and engaging in continuous self-reflection through meditation and the empowerment of dramaturgy, allowed us to ask each other the question of how can theatre advocate for systemic change? Embracing continual self-empowerment and adaptation while challenging and redefining the narratives imposed by these systems helped us to navigate these complexities.

Dr. Budi Miller is the former Head of Acting at the Victorian College of the Arts, University of Melbourne (UoM), Australia (the 1st black person to hold this position at one of the top 3 drama schools in Australia). He is the Co-Artistic Director of The Theatre of Others; a Lead Teacher of Fitzmaurice Voicework, a certified integrative studies practitioner; and an UNESCO designated master teacher of mask work. He teaches acting through Balinese Performing Art Training (BPAT) with Mask Work, Fitzmaurice Voicework, Michael Chekhov, Clown, Viewpoints, and Grotowski. He holds a B.F.A. in theatre from NYU Tisch School of the Arts and a PhD in Practice-as-Research from the University of Melbourne.

+ BA program in Theatre and Performance. From traditional theatre to cutting-edge interdisciplinary work, the theatre and performance major encourages creativity, intellectual curiosity, social engagement, and critical thinking. The core requirements combine scholarship and practice to provide students with a strong foundation in theatre history and dramatic literature, with mandatory stagecraft/production courses. Theatre and Performance majors are encouraged to expand the scope of their education by studying abroad, as well as pursuing coursework in other programs of study within the School of Liberal Arts and Sciences at Purchase College.

It is with profound sorrow that we announce the passing of Professor Steven L. Warner. A faculty member at UVA since 2006, Steve was a beloved husband and father, an extraordinary teacher, a brilliant theatre specialist, and a colleague, friend, and mentor of unparalleled generosity and good will. His loss will be felt across the department, the university, the Charlottesville community, professional theatre and the entertainment industry, on all of which he leaves a deep impact.

Mericola began his LORT career as an intern at Indiana Repertory Theatre in 1980 under artistic director Tom Haas, working on the team of production stage manager Joel Grynheim. On staff at IRT, Mericola was an assistant stage manager and later mainstage stage manager, working there until 1989 on such productions as Dracula, Heartbreak House, Home, A Streetcar Named Desire, and many more. He briefly held positions as stage electrician and production supervisor in his decade with IRT.

Therefore, She And Her Perfect Husband is not a cookie-cutter style fake couple drama like Warm Meet You and Time To Fall In Love. There is originality to the story for the most part until you reach the last quarter.Acceptable But Imperfect Ending (Spoilers Alert!)I think a lot of viewers have raised their displeasure at the way the story ended. It is indeed a pity to spoil a good story with a very average ending. Some have complained about the divorce in Episode 36 which comes about quite suddenly. Personally, I feel that the breakup is inevitable because the relationship started on a lie anyway and they always have this understanding that they could walk away.

Don't stir up drama. "The key to handling work after a breakup is to keep work and your relationship separate as much as possible," Atik says. "Any unfinished business or breakup related conversations should take place after-hours; do not talk about your breakup or vent to any of your co-workers, no matter how close you are (or how upset you feel); and unless a significant amount of time has passed, refrain from bringing new boyfriends or girlfriends to work-related social functions, out of respect for your ex." Also--the next time you find yourself about to embark on an office romance, set guidelines about communication from the get-go, and come up with a "breakup contingency plan," she says.

She lives in Brandon with her husband, Dave, son Eli, and daughter, Madeleine. Also at home are dogs Roxie and Stella and cats Charlie, Metro, and Celia. She loves to watch students unleash their creativity and imagination in a safe, judgment-free space. Why yes, you can be a princess-robotsuperhero-cat!

Susanne White has been a proud member of the Drama Kids family for over 5 years. She has always enjoyed being dramatic and making people laugh. Ms. Susanne has 20 years of teaching experience in the classroom. She currently teaches VPK in the morning and drama in the afternoon. She holds a BA in theatre performance and BS in special education from the University of South Florida. Ms. Susanne lives in Seffner with her husband, Michael, daughter, Rory, and two dogs, Baby and Teddy. She loves having a front-row seat to the amazing talent and creativity of the Drama Kids students.

Working with Drama Kids allows her the opportunity to merge her two passions, working with kids and the arts. She loves working with children and teaching them drama. It always amazes her to see how quickly they learn and absorb everything you show them. It is her goal to help her students flourish by becoming amazingly confident young men and women, and allow them to enjoy their learning process so they can become the leaders of tomorrow. ff782bc1db