Now, he is a fully engaged teacher whose commitment and hard work are honored this year with a Distinguished Teaching Award. Those who know him say the award is well deserved, for Parker's positive effect on undergraduate education, students and the atmosphere of the whole School of Drama. "I really like teaching," Parker said when waylaid on his schedule briefly to discuss his work and the award.

The "mercenary acting field" often centers on the self, the ego, he added, "but teaching is not about self."

Parker came to the UW as a lecturer in the School of Drama in 1996. He says he was brought here by Robyn Hunt, professor of drama and a fellow professional actor, after the two performed together in a production of Romeo and Juliet. Prior to the move, he said, "I was in L.A. working — and not working — as an actor."

Since coming to the UW as a lecturer in the School of Drama in 1996, Parker's reputation as a caring, creative and open-minded teacher, mentor and director has grown apace. He became an assistant professor in 1998, and, showing a strong feel for the work and energy of undergraduate talents, took over as Head of BA Studies for the school in 2000. He was made an associate professor in 2004. He also takes on directing duties at times, and directed the huge undergraduate spring production, The Who's Tommy.

In her letter of nomination for Parker's award, Sarah Nash Gates, director of the School of Drama, said he helped the school address "two major problems plaguing the undergraduate population at the school … absence of playwriting in the curriculum and low morale due to lack of performance opportunities. Single-handedly, and teaching an overload each year, he introduced Once Upon a Weekend …" This event, which continues twice a quarter, involves undergraduate playwrights and actors working together to write and stage entire short plays in a mere 24 hours.

"It's so implausible, it's laughable," Parker told the UW publication A&S Perspectives in 2000 of the one-day productions. "When people first hear about the schedule they say ‘No way.' And then they go ahead and do it anyway."

Nash Gates continued, "he shattered the status quo when he challenged the undergraduate students to ‘create your own opportunities … if you don't get cast in one of the mainstage productions, do your own!'"

Joining this chorus of praise is Hunt herself (sadly to be leaving the UW at the end of this year), who remains Parker's close friend and mentor. Hunt wrote not only of his work with students in general, but also of his acting prowess and mature understanding of Shakespeare.

"In all my professional work in classical plays, he continues to rank first in my mind as an artist who hears and utters Shakespeare in the hearty, robust spoken way the playwright surely intended," she wrote.

Hunt, who has witnessed and worked with Parker in performances, lectures and coaching actors, wrote, "In every situation, in every moment of these collaborations, I have been inspired by Shanga's wit and sharp intelligence, surprised and delighted by his instincts for innovation and invention. His sensitivity to the individual needs of each student is remarkable."

For his part, Parker returned the praise, saying that Hunt is "on a level that I cannot even imagine ever getting to. Gifted — as in, born gifted."

As Parker's students are undergraduates and not members of the Professional Actor Training Program, the approach is not as vocational as professional training tends to be. Perhaps that's why Parker stresses self-knowledge and balance in his work with students.

He said among his goals with these students is to help them recognize "true and legitimate interaction, on stage and off." And, the life of the stage notwithstanding, he said, "In the end, why they are themselves is enough, on stage and off."