I'm a director who has spent nearly two decades learning that great theatre happens at the intersection of artistry and business. I started as an actor, performing Off-Broadway in the original cast of Dear Edwina at the Daryl Roth Theatre and earning a Kevin Kline Award for Outstanding Ensemble in a Musical for Urinetown at Repertory Theatre of St. Louis. My work in farce, musical comedy, and intimate plays is shaped by mentors who understood the balance between art and commerce: Steve Woolf, the late Artistic Director of Repertory Theatre of St. Louis, taught me that a director's job extends beyond staging scenes. It's understanding the ecosystem in which theatre lives. Daryl Eisenberg showed me how artistry and commerce intersect during my years as her associate casting director.

My path has been unconventional. I've cast Off-Broadway productions, negotiated union contracts at Disney Parks, and managed million-dollar budgets. None of this was a detour from directing. It was training for it. Theatre at the right time, in the right place, for the right audience creates something transcendent. Getting there requires understanding more than blocking and beats.

My production of The Lifespan of a Fact at The Ensemble Company earned recognition as Orlando Theater Best of 2020: Director, Comedy. In rehearsal, I collaborate with actors and designers to find the singular most important thing in each scene, then trust them to discover the details organically. I'm currently pursuing my MFA in Directing at the University of Idaho, deepening my craft while staying grounded in the realities of how theatre actually works.