PCPA: Beauty and the Beast; Lend Me A Tenor the Musical; Newsies; Leo Cortez’ Young People’s Project
International Tour: The Sound of Music (Asia)
Broadway (Special Event): Broadway Backwards (2022)
Off-Broadway: Woman Of The Year (2023 revival); The Office: A Musical Parody
Regional Theatres: Clarence Brown Theatre, TN: Urinetown; A Christmas Carol (Rehearsal Piano). Lees-McRae Summer Theatre, NC: America’s Artist: The Norman Rockwell Story (World Premiere), Mamma Mia!
University Theatre: Connecticut College: Cabaret. Hofstra University: State Fair. Montclair State University: Pippin. Royal Conservatoire of Scotland: Assassins; Fiddler on the Roof; Scenes from Jesus Christ Superstar, Sweeney Todd.
Other: St. Croix Theatre, Caribbean: Chicago. NYC cabaret appearances include The Green Room 42,
New World Stages Green Room (NAMT), Rockwood Music Hall, Don’t Tell Mama
Training: BM Music Education – University of Tennessee, MA Musical Theatre Music Direction – Royal Conservatoire of Scotland
Teaching Philosophy: Musical theatre training provides an opportunity for actors to learn the complex and multifaceted skills required to work professionally in theatre while also building self-confidence, unlocking self-expression, and constructing a meaningful community within a training institution. My philosophy centers on assisting students in developing skills that will be of immediate use in their training while also instilling the immediate and far-reaching benefits of performing arts education that will be helpful for a lifetime in both theatrical and non-theatrical settings.
An actor is only as effective as their tools. Through this lens, voice and singing work moves away from crossing one’s fingers and hoping to recreate a successful performance of the past, to breaking down the components of the respiratory and vocal tracts in a way that gives each performer agency and a greater sense of control over their instrument. Just as spoken voice work leads to a more authentic and grounded interpretation of text, so singing voice work does the same for interpretation of lyrics and musical performance.
Similarly, developing musicianship and musical awareness adds more tools and ways of working to an actors’ skillset. Through the demystification of music theory and music literacy, we come to see the building blocks on which Western music is formed. By developing pragmatic ways of analyzing what we see and hear in music, the manipulation and combination of twelve pitches creates a sense of connection between all the music we encounter in life. It is my hope that the music education actors receive at PCPA achieves two goals. Firstly, providing a greater understanding and connection to music as a whole and to one’s one voice, with increased competency and comfortability in music-related settings. Secondly, that actors would, through the combination of music and lyric, deepen their connection to storytelling by responding truthfully in imaginary circumstances. As musical aspects improve, the story becomes clearer; as the story becomes clearer, musical aspects improve. This constant unification of craft and truth is my goal as an educator.