Meet Andrea
I’m Andrea Chenoweth Wells, DMA, a soprano, stage director, educator, and certified intimacy director whose work is rooted in the belief that rigorous artistry and performer agency belong together.
My perspective has been shaped by a lifetime spent both telling stories through my own body and voice and helping other artists bring theirs to life. That experience continues to inform the way I approach intimacy work.
I view the intimacy director as a creative partner and curator of relationships, attending not only to moments of explicit intimacy but to the physical vocabulary through which characters communicate trust, desire, power, vulnerability, and connection.
I currently serve as Intimacy Director in Residence with Dayton Opera and Assistant Professor of Voice and Musical Theatre at the University of Dayton. Through Intimate StageWorks, I help artists and organizations build consent-forward, collaborative rehearsal practices that create the conditions for specificity, artistic courage, and confident storytelling.
Selected Experience
My work in intimacy direction spans opera, musical theatre, and plays, alongside workshops, consulting, and presentations for artists, educators, and arts organizations. Across each of these settings, I bring the same commitment to thoughtful collaboration, performer agency, and rigorous storytelling. The selected experience below offers a snapshot of the productions, institutions, and professional communities that have shaped and continue to inform my practice.
Intimacy Direction
Operas
Aida
La Bohème
Carmen
Dido and Aeneas
Tosca
Musicals
American Idiot
Carrie: The Musical
Hunchback of Notre Dame
Natasha, Pierre, and the Great Comet of 1812
Only in New York
Pippin
Ride the Cyclone
South Pacific
Sweeney Todd
1776
The Wedding Singer
West Side Story
Plays
Concord Floral (Jordan Tannahill)
The Crucible
Decision Height
Everybody (Brandon Jacobs-Jenkins)
The Game’s Afoot (Ken Ludwig)
The Humans
Much Ado About Nothing
Workshops, Consulting & Presentations
"Performer Tools for Ethical Engagement with Traumatic Narratives,"
Boston Conservatory at Berklee College of Music
“Rehearsing Resistance: Consent, Vocalizing, and Collective Care as Human Rights Practice,” Social Practice of Human Rights Conference,
University of Dayton
“The Intimacy of Learning: Reimagining Consent for the Classroom,” Learning and Teaching Innovation Day, University of Dayton
“Integrating Consent Practices into K-12 Theatre Classrooms,”
Muse Machine
“Trauma-Informed Tools for Ethical Opera Practice;”
National Opera Association
“Building Consent in the Voice Studio: Creating Collaborative Spaces with Theatrical Intimacy Practices,” Ohio National Association for the Teachers of Singing
“Inclusive Vocal Pedagogy;” College Music Society
Training & Credentials
Doctorate of Musical Arts in Voice and Opera Directing,
University of Cincinnati College Conservatory of Music
Certified Intimacy Director, Intimacy Directors and Coordinators, Inc.
Mental Health First Aid Certification
More than 160 hours of specialized training in intimacy direction and related practices, including training with Intimacy Directors and Coordinators, Inc., Theatrical Intimacy Education, alongside ongoing extensive self-study in conflict management, trauma-informed practices, antiracism and antibias work, and gender studies.
Professional Appointments
Intimacy Director in Residence, Dayton Opera
Assistant Professor of Voice and Musical Theatre, University of Dayton
**Fully insured for intimacy direction and consulting services.
Reflections from Collaborators
My experience working with Andrea was short yet incredibly impactful. Andrea showed up and provided a safe space for performers to speak up in an environment where power dynamics can make communication uncomfortable. Andrea took the time to gain the trust of the cast and really listen to their boundaries and concerns. Oftentimes intimacy directors can feel like HR, an out of touch department that is there to fix things and stay uninvolved, but Andrea’s approach provided more than just a quick fix. She was able to uplift the culture of our cast and set us on the right track. By uplifting our voices, Andrea gave the cast freedom to play and make bold choices in rehearsal. This made the director’s job easier and enhanced the shows final product.
Anonymous Actor
Andrea developed and led a professional development workshop for faculty and staff titled, "The Intimacy of Learning: Reimagining Consent for the Classroom." From the beginning of the process through the workshop itself, she was collaborative, thoughtful, and highly responsive. What stood out most was her ability to translate complex ideas into approachable and practical concepts that participants could apply to their own teaching contexts. She facilitated the session with warmth, clarity, and intentionality, creating an environment where participants felt comfortable engaging with new ideas and perspectives. Topic related to consent, vulnerability, and classroom dynamics can sometimes feel abstract or uncomfortable for participants, but Andrea created a space that felt welcoming and grounded.
Ryan Allen
Executive Director, Learning Teaching Center, University of Dayton
Working with Andrea on Dayton Opera’s Carmen was an incredibly positive experience. Going into the process, I had some specific concerns and vulnerabilities around the material, and she handled them with so much care and professionalism. She created an environment that felt collaborative and grounded in trust, which helped me immensely throughout the process. I felt genuinely supported and respected in the room, and I’m eager to work with her again. She consistently fostered an atmosphere of trust where I felt comfortable asking questions, advocating for myself, and fully engaging in the work. Andrea’s work was crucial in supporting both the artistic process and the emotional demands of playing Carmen.
Maire Therese Carmack, mezzosoprano
As a director I am instantly relaxed when Andrea enters the room. I can let a professional handle a bit of business that to me is fraught but to her is Tuesday. Better yet I feel confident that she is going to check in with me regularly and make sure that my artistic vision is being realized to the best of everyone's ability which usually exceeds my initial expectations.
Charlie Cromer, director