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FOXBORO - In naming her choreographer of the year in 2006, I once described Dori Bryan's ability to get amateurs to dance as if they've been chorus line hoofers all of their lives as "turning Bronko Nagurskis into Najinskys."

Bryan, 43, is the youngest of seven children. A lifetime theater director/choreographer/performer, and Bay Colony's resident choreographer at the Orpheum in Foxboro since 2004, a small section of her theater resume includes directing "It's A Wonderful Life," "Smokey Joe's Café," and "Nuncrackers" for Bay Colony. She is currently directing "A Christmas Story" there, set for a December opening.

She is also a force in front of the house. Some of her acting credits include the part of Lee in "Marvin's Room," Blanche in "Broadway Bound." Velma Kelley in "Chicago," Germaine in "Picasso at the Lapine Agile," Princess Winnifred in "Once Upon A Mattress," and more.

Bryan also has directed several operas including: Britten's "Noyes Fludde," Massanet's "Cendrillon", Copeland's "The Tenderland," Humperdinck's "Hansel and Gretel" and, currently, Mozart's "The Magic Flute," all at the Orpheum.

Highly trained A BFA graduate of the Boston Conservatory of Music, Bryan holds a teaching certificate from the Dance Teachers' Training of America. She has been teaching and mentoring youth in the areas of acting, dance, musical theater and choreography for the past 23 years. She has received numerous awards, including "Most Inspirational Teacher," "Best Directed Workshop" from The Boston Conservatory, "Who's Who Among America's Best Teachers," as well as Recognition for Excellence in Direction and Choreography in national competitions.

Bryan selflessly dedicates her skill and talent to help develop Operatunity - a collective dream of professionals enriching the lives of local youth through exposure to and participation in the operatic arts, also in Foxboro.

"I am inspired by kids. I love to be around them," said Bryan. "They bring out the best in me."

SUN CHRONICLE: You seem to have a reputation as a really nice person in theater. I've worked with some divas and beauts. Does niceness work best for you?

DORI BRYAN: I have a sensitive nature. I suppose I try to treat others as I hope they will treat me. As for my actors, I work slowly and deliberately which they seem to appreciate. I am not shy with my enthusiasm when my actors make even the smallest moment on stage authentic and meaningful.

SUN CHRONICLE: What's the best show you've ever been a part of? Why? What made it great?

DORI BRYAN: They have all been great. Some of my personal favorites: "Into The Woods," "Sweeney Todd," and "Clue."

SUN CHRONICLE: What's the worst show you've ever had to work in? Why? What made it horrible?

DORI BRYAN: Oh, dear. I was in a show where the leads didn't know their lines. It was painful.

SUN CHRONICLE: I've often told my best, strangest or funniest theater stories in my weekly theater column in GO in The Sun Chronicle over the years. You must have some doozies - actors running around without clothes backstage? Worst cue ever missed? Biggest mess of lines? We'd love to hear them. No pressure. DORI BRYAN: (Laughs hard) I have a cute story. In my work with "A Christmas Story" I am reminded once again of the endless imagination and creativity of children. I am surrounded by future directors. "Excuse me... excuse me... ummm, lady ...." "I have an idea ..." This seems to be the theme of each rehearsal I run.

Now, because I think it is very important to allow children the room to express themselves I have had to be very clever in rewarding their suggestions while keeping the rehearsal in check. Most recently upon hearing "Excuse me, excuse me..." I turned to face one of many enthusiastic youngsters. "I have an idea...," the little voice said. "I think after she says that line she should twirl!"

I got this advice complete with demonstration. My wheels started turning. How was I going to turn this one around? Then it came to me. "Oh my goodness," I said. "I think you might have a future in choreography!"

SUN CHRONICLE: I once described you as being able to turn "Bronko Nagurskis into Najinskys." How do you approach teaching big dance numbers to groups of varying talent? What technique works best?

DORI BRYAN: Thank you very much. I establish my expectations from the ensemble right from the beginning. They know I will never ask them to work harder than I work.

That relationship is key to the success of anything I set out to do. As to teaching choreography to new dancers, time and repetition. My dancers and I undergo an aggressive rehearsal schedule.

SUN CHRONICLE: What theatrical moment have you ever experienced or witnessed that has moved you the most emotionally?

DORI BRYAN: I saw "WIT" with Judith Light. I was overwhelmed. The first and only time I have ever written a fan letter.

SUN CHRONICLE: What does theater and musical theater do best that nothing else does?

DORI BRYAN: I am not well versed enough in other fields to state emphatically that theater "does this best," but I very much appreciate the way in which theater can challenge people's views of the world.

Theater done well can evoke compassion and empathy or at the very least a new way of thinking. I'm for anything that can do that.

SUN CHRONICLE: Long hours. Back pain. Feet hurt. Little money. Casting problems. Rejection. Criticism. Hard to stay alive at the box office. Why do you do love this so?

DORI BRYAN: Well, clearly Jamie, nothing really happens until the afternoon. I can sleep in.

Truthfully, I never really took to anything else the way I took to theater. I think I am where God wants me. Who am I to argue?

JAMES A. MEROLLA can be reached at 508-236-0431 or at jmerolla@thesunchronicle.com.