Who I Am, In Brief

I’ve been training my voice for eight years and focusing on musical theatre for the last three. My background includes a decade of experience as a multi-instrumentalist (primarily guitar, piano, and drums). I was awarded a full scholarship to Ballet Hispánico, where I studied ballet, contemporary, and jazz. I am continuing my dance education at Skidmore, taking classes in tap and ballet.

I’ve worked as a Film/Video CIT at Camp Ballibay for the Fine and Performing Arts, served as a production assistant on an NYU Tisch student film, and assistant-directed and edited The Mirror of Her, which was the runner-up in the All-American High School Film Festival’s Complete Experience Competition. My film work has also been recognized with a National Scholastic Silver Medal for Film and Animation.

Group of diverse dancers performing on stage in red tops and black pants, with colorful stage lighting and dark background.
The scene shows a theatrical performance or rehearsal with two women in the center, facing each other. Several crew members and performers surround them, some holding cameras and equipment. The stage is dimly lit with blue and purple lighting, highlighting the two women in the middle.
Two actors sitting on a white blanket on stage, performing in a theater, with dark background and stage stairs in the background.

At the Packer Collegiate Institute (Class of 2025), I led Packer Second Stage, a student-run theatre organization whose mission is to inspire and make space for student creativity. With Second Stage, I produced and participated in an array of student work, including yearly musical revues, play festivals, and a staged reading of The Laramie Project that was entirely directed, acted, and produced by students. My theatre credits there include roles such as Clyde in Bonnie & Clyde, Lieutenant Frank Cioffi in Curtains!, Hot Blades Harry in Urinetown, among others. 

A young man with brown hair wearing a black T-shirt with a colorful print, carrying a black Nike backpack, stands on a dark stage with a drum set in the background.

When I take on a role, I always start by grounding myself in the facts (the setting, the given circumstances, the tangible elements) and do a lot of research, both dramaturgical and character-driven. I focus on building the characters’ relationships because I believe the most honest and compelling performances emerge from the way a character intentionally engages with the people and world around them. My goal is to make the work feel real, alive, and connected, both for the people I’m sharing the stage with and for the audience.

Actors performing on stage in a theatrical production, with some actors kneeling and embracing in the center and others standing around them, all in costume.

That sense of connection is what drives me in the rehearsal room. I want to be part of a space where everyone feels valued, where we’re all working together toward something that’s bigger than any one of us. I try to bring openness, curiosity, and care to the work, whether it’s listening deeply to a scene partner, exploring the world of the show, or simply showing up with a sense of joy and gratitude for the process.

Theatre is, at its core, about community and storytelling. I believe in serving the story, in lifting up the people I work with, and in creating a space where the work feels safe, focused, and full of possibility. That’s the kind of energy I try to bring into every rehearsal room I step into, and I’m excited to keep learning and growing.