PCPA (since 2021): Sandra Wilkins, The Play That Goes Wrong (2024); Yolot, Wolf at the Door (2024); Jovie, Elf The Musical (2023); Lucha Morales, American Mariachi (2023); Helena, The River Bride (2023); Tania De Valle, Native Gardens (2022); Elsa Schraeder, The Sound of Music (2022); Cinderella, Into The Woods (2022); Celia, As You Like It (2022); and Martha Sowerby, The Secret Garden (2021).
Other Theatres: Arizona Theatre Company: Lucha, American Mariachi; Teatro Luna: (Company Member) ensemble in The Times and Lovesick; Southland Rep: Celia, As You Like It; NYC Summer Series: Ophelia, King Of Infinite Space; The Hive: Angelique, The Imaginary Invalid; Guerilla Rep: Julie, Miss Julie; Boston Court Theatre: understudy Clara, Passion; Tennessee Stage Company: Rosaline, Love’s Labor’s Lost and Witch 3 in Macbeth; Nymph Productions: Hermia, A Midsummer Night’s Dream; Clarence Brown Theatre: ensemble, Trojan Women, manicurist Born Yesterday, ensemble, The Laramie Project
Commercials: Ruffles, Pollo Loco, Verizon
Films: Friends in High Places, La Sirena, Die Trying
Other: Director and writer for Pocha Productions, author of prose in We Crossed the Line/Nos pasamos de la raya vol 1 and 2
Awards: Best Short Script La Sirena Nice International Film Festival, Best Director La Sirena Amsterdam International Film Festival, Official Selection numerous film festivals
Teaches: Movement I
Training: B.A Theatre/Literature University of Tennessee Knoxville, M.F.A. University of Washington Seattle
Member: *Actor’s Equity Association, SAG-AFTRA
Teaching
I believe education is a dialogue and like all dialogues it involves active listening, imagination and empathy. We all learn differently. One statement can be interpreted in many ways and so effective education means listening to what the student is receiving. I also believe in the miraculous power of play and aspire to integrate a sense of play as often as possible. I also believe school is where we learn how to begin our education. The truly committed student begins their education in school and continues the rest of their lives. My job is to equip students for that journey and hopefully inspire a hunger for play and an insatiable curiosity that will serve them long after their schooling is over. Teaching isn’t about getting results; it’s about equipping students for a much longer journey.
I am also committed to decolonizing theatrical education as often as opportunity allows. This also means de-centering a cis male narrative in a way that honors the myriads of journeys, backgrounds and narratives that feed our collective work as members of the American theatrical community. Such an endeavor is bound to involve a learning curve as my own education was strictly centered around a colonized and cis male scope. Since I believe school is only the beginning of our education, my continued independent studies have been inspired by the awe and curiosity that comes from dismantling that colonized gaze, which continues to inspire me as an artist and a teacher.