PCPA (since 2017): Frozen; Songs for Nobodies; Waitress; Beauty and the Beast (2017 and 2024); 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
Other Theatres: Clarence Brown Theatre, Tennessee: Urinetown; A Christmas Carol (Rehearsal Piano). Lees-McRae Summer Theatre, North Carolina: America’s Artist: The Norman Rockwell Story (World Premiere), Mamma Mia!. St. Croix Theatre, Caribbean: Chicago. Workshops/New Works (NYC): Piper Theatre Productions: Charlotte Lucas is 27 and Not Dead. Tatum Langum Productions: Eye of A Needle. NYC cabaret appearances include The Green Room 42, New World Stages Green Room (NAMT), Rockwood Music Hall, Don’t Tell Mama
University Theatre: Manhattan School of Music: Paperboy. 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.
Training: BM Music Education – University of Tennessee, MA Musical Theatre Music Direction – Royal Conservatoire of Scotland
Teaching Philosophy:
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 management 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. 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 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 imagined 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.