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.
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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