After graduating from James Madison University and moving to NYC in 2014, I performed in various venues & productions across the city for seven years, working with companies such as Barefoot Shakespeare, The Fools & Kings Project, Queens Shakespeare, and The Public Theater, in addition to my own company, Company of Fools. I further studied acting & scene study techniques under Arian Moayed (TV/film: Succession, Inventing Anna, Spider-man: No Way Home; Broadway: Bengal Tiger at the Baghdad Zoo, A Doll’s House)

Some favorite roles include: Brick in Cat on a Hot Tin Roof (Parkside Players); Benedick in Much Ado About Nothing, Antonio in The Tempest (Fools & Kings); Orlando in As You Like It, Angelo in Measure for Measure (Barefoot Shakespeare); Danny in Danny and the Deep Blue Sea, Doug in Gruesome Playground Injuries (Company of Fools); and a member of the Ensemble in The Public Theater’s “controversial” Julius Caesar.

My work focuses on redemptive and uber-contemporary reworkings of Shakespearean and 20th-century American texts, as well as small-scale, gritty productions of new, vibrant work. I fuse multiple genres & tactics, incorporating my experience with various acting techniques, artistic disciplines, and performance styles. I was also one of the first directors in New York City theatre to hire & retain an intimacy coordinator, and my company went on to mandate that practice in all future productions.

Selected NYC directing work includes: The Pillowman (workshop), True West, Plucker, Belleville, and Gruesome Playground Injuries (co-director), all with Company of Fools; Gender of Attraction (one act) for the Latinx Fuerza Fest; and Pericles, Prince of Tyre (asst. dir.) for the Fools & Kings Project.

I am an experienced arts administrator, having founded and helmed Company of Fools for six years as artistic director, before shifting roles to become the company’s literary director, with a focus on soliciting, commissioning, and developing new, original texts. My artistic focus with Company of Fools (and outside of it) is on the highlighting and elevating of new, underrepresented, and unknown artists.

As a theatre educator, I have experience in private one-on-one scene study coaching, monologue coaching, Shakespearean text study, clown, farce, stage & close-up magic, and playwriting.