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Education and Training:

New York University - Graduate Musical Theatre Writing Program

Cycle 36 (expected graduation Spring ‘27)

The National Theater Institute - Eugene O’Neill Theater Center

Fall 2021 Cohort: National Music Theatre Intensive

Trinity Christian College - Palos Heights, IL

BA in Communication Studies and Theatre with a Spanish Minor

More about the National Theater Institute:

  • Eugene O'Neill Theater Center

    I loved my time at the National Theater Institute at the Eugene O’Neill Theater Center! Scroll through for some highlights from my semester there.

  • NTI Fall '21 Cohort

    I got to know and work with some really lovely fellow young artists during my time as part of the National Music Theater cohort in the fall of 2021!

  • So Many Great Labs!

    Each week, we put on a huge chunk of a show in about 48 hours, including Phantom, Cabaret, and Hadestown! Playing Orpheus was my favorite.

  • I Love Writing and Composing!

    While at NTI, I wrote an opening number for an original musical that became a hit across campus and was later performed by some of my friends!

  • So Many Great Teachers!

    To list a few: Scott Murphy, Malik Work, Jessi Hill, Ginny Andersen, Erin O’Leary, Forrest McClendon, David Dorfman, David Adam Moore, Vita Tzykiun

Check Out NTI's programs here!

Highlighted Professional Productions

  • Role: Christopher Boone

    • Quickly adjusted to a convincing RP/London British dialect

    • Delivered a monologue while walking on my hands

    • Utilizing Frantic Assembly techniques, flew around the stage supported by my castmates

    • Carefully portrayed neurodivergency honestly while avoiding stereotype

  • Roles: Emmett Forrest, Serious Violinist

  • Roles: Father, Ox Father (Puppet), Ox

    • Opened each show with unique, improvised audience interaction

    • Kept a straight face while sharing the stage with some of the funniest actors in Nashville

    •. Used a rod puppet to sing, dance, and mourn the death of his wife

    • Inserted improvised puns and references based on names given by the audience

  • Roles: Otto (u/s), Lt. Richter (u/s), Swing, Workman, Jewish Woman

    • Learned both Dutch and German dialects for this role (though with a British base)

    • Swung in for Otto without a put-in rehearsal when the actor got Covid

    • Performed as Otto for over a week alongside Nan Gurley, John Schuck, and Carrie Tillis

    • Continued as Otto during the SAG-AFTRA filming—movie was released in August 2023

  • Roles: Ghost of Christmas Future, Dick Wilkins, Caroler, Fiddler

    • Operated a 40lb stalkabout apparatus that made me 10ft tall

    • While wearing said apparatus, also flew 15ft above the stage while blinded by fabric

    • Sang and danced to choral arrangements of Christmas hymns

    • Provided live accompaniment with my violin, including a fiddle duet I helped arrange

  • Role: Scarecrow

    • Due to the Nashville-ization of our production, used a Southern dialect akin to Piedmont

    • Provided violin accompaniment, including fiddling between my own sung phrases

    • Entrusted to teach all choreography to our replacement Tinman during his put-in rehearsal

    • Learned the Charleston and danced the Jitterbug while wearing burlap

Youth Theatre Work

Crane River Theatre (Kearney, NE):

Director: Frozen Jr. (‘25), Moana (‘25), Shrek Jr. (‘26), Spongebob Jr. (‘26), Descendants (‘23)

Music Director: Madagascar Jr. (‘23)

Middle Park High School (Granby, CO):

Choreographer: Once Upon a Mattress (‘24)

BAM Theatre (Hinsdale, IL):

Assistant Director: Cinderella Jr. (‘17), Mary Poppins Jr. (‘18), Frozen Jr. (‘19), The Jungle Book (‘20)

Film Experience:

The Hiding Place (2023): Otto Schwarzhuber

Second City’s Harold Ramis Film School: Numerous short films

Skills

Instruments

Expert violinist with fiddling experience

Years of orchestra and private lessons for violin

Intermediate guitar, piano, ukulele

I pick up material, instruments quickly due to my trained ear

Vocal Training

Classical training with contemporary application

Years of private voice lessons and choral experience

Natural tendency towards dialects, plus onstage training

Near fluency in the Spanish language

Dance and Movement

Intermediate tap, including professional experience

Beginner/Intermediate experience across many other styles

Multiple award-winning athletic background

Training in theatrical movement styles (Alexander, Laban, etc.)