Mckynzie
Bartee

About.

Mckynzie Bartee is a director, technical director, and designer with a B.F.A. in Theatre Performance and Production from Texas State University, with an emphasis in directing and design. She has built her work around being the person who can lead the creative vision while also handling the practical parts that keep a production moving.She is currently an Elementary Theatre Teacher at NYOS Charter School in Austin, where she teaches performance, design, and technical production and supports costumes, makeup, scenic, lighting, sound, and props while managing rehearsals, timelines, and materials. Before that, she served as Technical Director at Circle Arts Theatre in New Braunfels from June 2022 to August 2025, where she oversaw and implemented production elements, coordinated technical communication with leadership, led set and stage construction, maintained safe and clean backstage and shop spaces, and handled inventory and storage. She also took on directing and instructional work there, including casting and directing a main-stage show each season, creating organizational materials, supporting vocal direction and choreography, teaching kids’ theatre classes, and directing special productions like the Wurstfest Melodrama and a competition one act.Her training includes theatre adjudication work with Dennis Yslas and Kristi Quinn and intimacy coordination through Heartland Intimacy (in progress). Her directing and design work has also been recognized through AACT, including Outstanding Achievement awards connected to Feeding the Moonfish for direction, ensemble, and set design.

Resume.

• Download

Highlights.

• Technical Director at Circle Arts Theatre (June 2022–August 2025), responsible for overseeing and implementing production elements for each show across the season, staying in close communication with the Artistic Director and Production Director, and reading/interpreting set designs and technical plans to keep builds on track.• Led set and stage construction and management, completed scenic elements within the assigned timeframe, and maintained safe, functional work areas, including backstage, the workroom, and the costume shop, plus general upkeep and inventory/storage across scenic, props, and costumes.• Expanded beyond technical direction by casting and directing one main-stage show each year, creating organizational materials for cast and crew, supporting vocal direction and choreography, and directing youth classes and special productions like the annual Wurstfest Melodrama and a competition one act.• Current Elementary Theatre Teacher at NYOS Charter School (August 2025–present), providing instruction in performance, design, and technical production, while supporting costumes/makeup and scenic, lighting, sound, and props, and managing rehearsals, timelines, and materials.• Awarded Outstanding Achievement in Directing, Set Design, and Ensemble (AACT TexFest) for her direction of Feeding the Moonfish.• Training includes 15 hours of AACT theatre adjudication training (Dennis Yslas and Kristi Quinn) and intimacy coordination training currently in progress.• Strong, practical skill base that supports both shop and rehearsal room work, including power tool proficiency, scenic painting, directing, management, collaboration, scene shop safety, and classroom management.• Multi-hat creative background with selected credits across directing, design, choreography, music direction, and intimacy coordination, showing range across both straight plays and youth musicals.

Contact

Mckynzie Bartee
Kyle, TX 78666
[email protected]
361 541 9712

About Me

My name is Mckynzie Bartee, and I’m a director, technical director, designer, and educator. I earned my BFA in Theatre Performance and Production from Texas State University with an emphasis in directing and design. I started theatre as a kid because I was dramatic and loved performing, but I stayed because I fell in love with the backstage world. Once I started doing tech work, I realized I liked building the whole experience, not just being in it.I started doing tech around 15, started directing at 17, and I haven’t really slowed down since. I’m motivated by the fact that theatre is never finished. There’s always a better solution, a stronger choice, a cleaner transition, a safer build, or a clearer way to tell the story. That constant change keeps me learning, and honestly it keeps me humble.Professionally, I’ve spent a lot of time doing the “hands-on leadership” side of theatre. I served as Technical Director at Circle Arts Theatre from 2022 to 2025. I worked across scenery, props, costumes, and backstage operations, kept communication tight with artistic leadership, and directed at least one mainstage show each season. I also directed and taught kids theatre classes, and that experience made me even more committed to youth-focused theatre that’s high-quality and not watered down.I currently teach theatre at NYOS Charter School, where I support performance, design, and technical basics. I’m often the person people come to when they need a plan, a fix, or a creative idea that can actually be pulled off with the time and resources we have. I like building theatre that feels bold and exciting, but I’m also practical. I want the process to be organized, respectful, and sustainable, because that’s how you get good work over and over again.Some of my favorite projects include [title of show] because it was my first time independently directing and producing a musical as an underclassman, and Feeding the Moonfish because it was one of those rare projects where I got to be really creative design-wise and the final work was recognized with awards. Those projects are a good snapshot of what I care about: strong storytelling, brave choices, and teams that trust each other enough to go for it.

Resume

• Download

Artistic Statement

I believe theatre is at its best when it respects the audience, builds genuine connection, and tells the truth in a way people can actually feel. For young audiences especially, I don’t believe in “talking down” or settling for work that is cute but shallow. Kids are perceptive, families are busy, and if we want them to choose live theatre, the experience has to be worth it. My goal as an artist and leader is to create work that is imaginative and accessible, but also emotionally honest and crafted with real intention.My directing and design approach starts with clarity. I want the story to be understood, the world to be specific, and the choices to be motivated. I’m drawn to theatrical storytelling that uses design as a partner, not as decoration. Because I’ve spent years working as a technical director and carpenter, I’m used to making big ideas practical. I think constraints can sharpen creativity, and I’m comfortable building an artistic vision that matches the budget, space, and resources without sacrificing quality. I care just as much about how the show gets made as what the final product looks like, because the process is where the culture is built.As a leader, I’m collaborative and direct. I like building teams where communication is clear, expectations are consistent, and people feel supported enough to do their best work. I’m interested in leadership that protects the rehearsal room as a focused, respectful space, and I’m currently completing intimacy coordination training because I believe strong boundaries and clear practices make theatre safer and stronger. I want artists to feel empowered, and I want students and emerging artists to feel like theatre has a place for them, not just someday, but right now.I’m also motivated by the idea that theatre should be active in its community, not separated from it. I’m excited by organizations that connect productions with education, outreach, and real relationships with schools and families. In an Artistic Director role, I would bring a mission-focused approach to season planning, programming, and partnerships, with the goal of creating work that audiences trust and come back for. The long-term win, to me, is a theatre that builds loyalty through quality, grows new audiences by being welcoming and relevant, and invests in artists and educators in a way that lasts.

LEADERSHIP + CULTURE

I lead theatre the same way I make theatre. I start with a clear goal, I communicate it early, and then I build a process that helps people do their best work without feeling rushed, lost, or disposable. I don’t believe leadership is only about having vision. Leadership is protecting the work and the people at the same time. That means being organized, being consistent, and making decisions the team can understand, even when they don’t totally agree with them in the moment.The first thing I try to build is trust. I want people to know what is expected, what the timeline is, and how we will handle problems when something changes, because something always changes. Clear communication matters more than big speeches. I’m direct and honest, but I’m not interested in harsh or intimidating rehearsal rooms. I want spaces that feel focused and respectful, where people can take real risks and still feel supported. I don’t expect perfection, but I do expect effort, preparedness, and collaboration. When those standards are clear, the room runs smoother and the art gets better.My technical background makes me a practical leader. I’ve built sets, run shops, managed safety, and kept productions moving even when time and resources were tight. Because of that, I don’t get stuck in “in theory.” I like solutions. I like building systems that work, whether that’s how departments communicate, how we schedule so people aren’t burning out, or how we plan a season so the budget and the artistic ambition match. I believe constraints can sharpen creativity, and I’m comfortable making strong choices that fit the reality of space, money, time, and staffing.When I’m directing, I focus on clarity and story. When I’m leading a program or an organization, I focus on mission and consistency. I want the theatre’s productions, education work, and community engagement to feel connected instead of siloed. If we say we serve young audiences and families, that should show up in everything, in what we program, how we teach, how we welcome people in, and how we talk about our work. I care a lot about youth and family audiences because early theatre experiences shape whether people see theatre as something for them. I want the work to be welcoming and accessible without ever being watered down. Quality is part of respect.I also believe the process matters. The way we work together becomes part of what we’re making. I’m currently completing intimacy coordination training because I believe clear practices and boundaries make braver art possible. When people feel safe and respected, they work better, they take bigger risks, and the process stays healthier. That carries into leadership decisions, too. An Artistic Director sets the tone for the culture, and I take that responsibility seriously.My goal is always to build a culture where artists, students, and staff feel supported enough to do their best work, and where the audience can feel that care in the final product. I want theatre-making that is ambitious, organized, collaborative, and sustainable, so the work can keep getting better and the people making it can keep showing up with pride.If you tell me what the vibe of the website is, I can adjust this to match. Like if the whole site is super casual, I can make this a little warmer and less “statement-y.” If it’s more formal, I can tighten it and make it feel more executive.

Selected Work

This section highlights a few projects that show the range of what I do, from directing and design to leadership and production problem-solving. I’m happiest when the work is imaginative, the team is supported, and the final show feels like a full world the audience can step into.Feeding the MoonfishFeeding the Moonfish is one of my favorite projects because it gave me space to be bold and creative while still staying true to the story. I directed and designed the set for the production, and I focused on building a world that felt beautiful and specific without being cluttered. The goal was to create strong visual storytelling that supported the emotional tone of the piece.This production was also meaningful because it was recognized at AACT TexFest with awards for direction, set design, and ensemble. I’m proud of that, but what I’m most proud of is the team process. It was the kind of show where everyone was locked in, communication was clear, and the final result looked and felt like we were all telling the same story.[title of show][title of show] matters to me because it was the first musical I directed and produced independently as an underclassman at Texas State. I was the director and producer, and I also handled multiple design areas. It was a big learning moment for me, not just artistically, but as a leader. I had to stay organized, keep the team motivated, and make a lot of decisions quickly while still keeping the work fun and creative.This project is a good example of what I like about theatre leadership. I like when the room feels alive, when the team trusts the process, and when we’re honest about the work we still need to do. It’s also one of the projects that pushed me into being comfortable leading both the artistic vision and the practical execution.Frozen Jr.Frozen Jr. was a project where I had to bring together a lot of moving parts. I served as director, set and costume designer, musical director, and choreographer. The challenge was building a show that felt big and exciting for families while also supporting the performers and the team behind the scenes.What I took from this experience is how much young audiences notice. They notice pacing. They notice clarity. They notice when a moment lands emotionally. My goal was to create a production that felt polished and joyful, while keeping the rehearsal room structured and supportive. This show reinforced why I’m drawn to youth and family theatre, because it’s demanding in the best way.Drinking HabitsDrinking Habits was a chance to lean into pacing, comedy, and clean storytelling. I directed and designed set and costumes. The main goal was making sure the production felt tight and intentional, because comedy falls apart fast when the blocking and timing are messy.This show is a good example of how I balance creativity with structure. I love fun work, but I’m also serious about rehearsal discipline, clear communication, and making sure everyone knows what the plan is. That’s what allows the fun to actually land.Parallel LivesParallel Lives let me work in a style that is actor-driven and character-specific, while also making strong design choices that supported quick shifts and sharp contrasts. I directed and designed the production, and I focused on keeping everything clean, clear, and bold.I like work like this because it rewards strong collaboration. The performance choices and the design choices have to be in sync, and the room has to be a space where people can take risks without feeling judged for trying something that doesn’t work the first time.Singing in the Rain / Silent SkyServing as an intimacy coordinator on Singing in the Rain and Silent Sky strengthened how I think about trust in a rehearsal room. Even outside of intimacy-specific work, those projects reinforced something I already believe: clear communication and clear boundaries create stronger art. When people feel safe and respected, they work better, they take bigger risks, and the process stays healthier.

Community Theatre (Selected)2025 Singing in the Rain – Intimacy Coordinator2025 Silent Sky – Intimacy Coordinator2025 Parallel Lives – Director and Designer2025 Frozen Jr. – Director, Set/Costume Designer, Musical Director, and Choreographer2024 Drinking Habits by Tom Smith – Director and Set/Costume Designer2024 Feeding the Moonfish* by Barbara Weischman – Director and Set Designer2024 Matilda Jr. – Director, Set Designer, and Choreographer2023 The Mousetrap by Agatha Christie– Director and SetCostume Designer2023 Winnie the Pooh Kids – Director, Set Designer, and Choreographer2022 25th Annual Putnam County Spelling Bee – Assistant Director and Choreographer – Broke Thespians Theatre CompanyCollegiate Theatre (Selected)2021 Title of Show – Director, Producer, Set/Costume Designer, Lighting/Sound Designer, Choreographer2020 The Door – Director and Sound Designer2020 The Moors – Costume Designer2019 The Red Couch – Director and Sound DesignerAwards and Nominations*Outstanding Achievement in Direction – Awarded by AACT*Outstanding Achievement in Ensemble – Awarded by AACT*Outstanding Achievement in Set Design – Awarded by AACTNominated for Outstanding Senior Woman at Texas State University by Natalie BlackwellNominated for Best Direction of a Musical – Broadway World AustinNominated for Best Supporting Actress of a Musical – Broadway World AustinNominated for a feature in the Marquis Who’s Who in AmericaIn-depth performance, directorial, and technical resumes available upon request

EDUCATION + IMPACT

Education has been a major part of my work, not just something I’ve done on the side. I currently teach elementary theatre at NYOS Charter School, where I teach performance basics, design, and technical production. I work with students at different levels, and I focus on building confidence while still expecting them to take the work seriously. I want students to feel supported, but I also want them to feel proud of what they can accomplish.My approach to education is structured but not rigid. I like clear goals, simple systems, and a process students can understand. I use repeated practice, clear feedback, and a lot of “learn it by doing it.” I also believe education programs should be able to explain their impact without overcomplicating it. If we say theatre builds skills, we should be able to show it through growth in collaboration, communication, focus, and creativity over time.I’m especially interested in education programs that connect directly to programming. When a season and a curriculum speak to each other, families feel it. Schools feel it. Students feel like the theatre is made for them, not just visiting them. That kind of alignment is a big reason I’m excited about Artistic Director work in a youth-focused organization.EducationBachelor of Fine Arts: Theatre Performance and Production, with an emphasis in directing and design, from Texas State UniversityAdjudication Training with Dennis Yslas and Kristi QuinnIntimacy Coordination through Heartland Intimacy (In Progress)2 years of workshops with the American Association of Community Theatre (AACT

PROGRAMMING VISION

When I think about season planning for youth and family audiences, I think about trust first. Families come back when they trust the quality. Schools partner when they trust the values and the learning. Artists return when they trust the leadership and the process. My goal in programming would be to build a season that is exciting and fun, but also balanced and intentional.A strong youth and family season, to me, should include a mix of familiar stories and new discoveries. It should have at least one piece that feels like an “event” for families, and at least one piece that feels made specifically for young people who want to see themselves and their world reflected honestly. It should also include work that supports education tie-ins without feeling like homework.If I were building a sample season, I would include one large family musical, one brand-new or lesser-known story that gives the audience something fresh, one show that leans into humor and play, and one piece with deeper themes that still meets young audiences where they are. I also care about access, so I would plan for sensory-friendly options and student-focused experiences that reduce barriers and invite new audiences in.I’m also interested in developing new work for young audiences. New plays and new musicals keep the theatre alive, and they help youth audiences feel like theatre is something happening now, not just something from the past. I want to support artists and playwrights who take young audiences seriously and tell stories that are imaginative, specific, and honest.

PRESS + AWARDS

I’m proud of the work I’ve made and the recognition it has received, especially when that recognition reflects strong team work and strong storytelling. Feeding the Moonfish was awarded Outstanding Achievement in Direction, Outstanding Achievement in Ensemble, and Outstanding Achievement in Set Design at AACT TexFest. I’ve also been nominated for Best Direction of a Musical and Best Supporting Actress of a Musical by Broadway World Austin, and I was nominated for Outstanding Senior Woman at Texas State University. I take awards as a bonus, not the point, but I do think they can reflect when a production’s choices and execution really landed.Awards and Nominations*Outstanding Achievement in Direction – Awarded by AACT*Outstanding Achievement in Ensemble – Awarded by AACT*Outstanding Achievement in Set Design – Awarded by AACTNominated for Outstanding Senior Woman at Texas State University by Natalie BlackwellNominated for Best Direction of a Musical – Broadway World AustinNominated for Best Supporting Actress of a Musical – Broadway World AustinNominated for a feature in the Marquis Who’s Who in America

Gallery