Acting offers a unique opportunity for an artist to step into a character's shoes and "go to bat" for them. Whether I am a villain or a hero, my approach to understanding the psychology of my role stays consistent. This practice of radical empathy is what drives me when analyzing new characters.
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My love for script analysis led me straight from high school to Atlantic Acting School, where I mastered Atlantic's native "Practical Aesthetics" Technique, helping me translate the radical empathy I have for my characters from page to stage or set. At Atlantic, I also fell in love with Tadashi Suzuki's "Suzuki Method" and Anne Bogart's polished "Viewpoints." Under the wing of Kellie Maurer, master of both methodologies, I learned how to sharpen my physical instrument into one that is generous to the audience and my ensemble. ​
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My passions extend beyond acting on stage and in front of the camera. I am deeply invested in the exploration of the avant-garde and uncanny performing arts. When not on stage or at rehearsals, I am usually found hunched over on my bedroom floor pressing buttons on synths and samplers, warping audio into surreal soundscapes for the stage, camera, or my band Kid at the Corner.
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