Designer, Thinker, Collaborator

When I was eleven, my older brother crammed me into the trunk of Greased Lightning in his high school production of Grease. They needed someone small to set off the pyro and fog effects rigged in the car.  As the youngest of seven in a theatrically inclined family, I was always being dragged from one rehearsal to another.  But in that moment, as I wondered whether the trunk lid could support the pounding feet of dancing teenagers, I tasted the excitement of making unseen magic happen onstage.  I was hooked.

I bring that sense of childlike wonder to every project I work on. I love collaborating with teams that brainstorm ferociously, throwing all the marbles on the floor and seeing what flies into the air. Let’s dream up the impossible, and then join forces to make it an onstage reality.

Aesthetically, I’m driven by connectivity and emotion.  My color choices, shadows, and angles are meant to help tell the story, painting the stage as a canvas for the emotional response the audience has to the text and movement.

As a colleague, I value communication, preparation, and hard work. I come into a process with a coordinated plan in place, but ready to provide adaptive solutions as our needs evolve. Most importantly, I love what I do. Approaching diverse projects with the same enthusiasm I had in the back of Greased Lightning, I’m always looking for the next frontier of theatrical collaboration.

Factory 449’s The Ice Child.
“actors neither look at each other nor physically interact: Deployed in two-person scenes and positioned symmetrically on either side of the stage, This arrangement can appear striking, especially when saturated colors, like bright yellow and cobalt blue, drench the backdrop. (lighting design by Joseph R. Walls)”