I grew up performing with a small but mighty theater ensemble on the east coast. There were 15 of us passionate teens studying theater together. We were a tight ensemble that performed ten shows a year ranging from full-length classical plays to original short works to outdoor mask and puppet shows. We journeyed as a group to see The Bread And Puppet Theater and trained rigorously, drawing from the naturalistic, absurdist and avant-garde traditions. With this group, I received my foundation in Ensemble Technique, physical theater, mask, and puppetry. Our ethic was holistic and apprentice-oriented. You learned everything, working side by side adult artists. You were encouraged to be artistically agile. As a result, I came away with strong skills in traditional and non-traditional performance forms as well as a kind of artistic versatility.
So Many Ways To Kill A Man an original adaptation of The Orestia
Fortune: The Complete Works
At Bucknell University I continued performance studies receiving my degree cum laude with a double major in Theater & Art, university awards in both majors and an emphasis in dance. Drawing inspiration from the dance department, I devloped a love of choreography. It was here I had my experience with Butoh, Kabuki, Kyogen and Noh.
Once out in the world, I performed with such companies as Shotgun Players, Mettle Theater, CAFE and Subterranean Shakespeare. Since forming Ragged Wing Ensemble, I created the practice for rigorous actor training for our company artists blending Suzuki, Viewpoints, Butoh and Contact Improvisation. I had the pleasure training overseas with Australia-based Butoh/Burlesque dance theater group, Zen Zen Zo.
So Many Ways To Kill A Man An original adaptation of The Orestia
While I mostly identify as a director, acting was my first love and remains a regular part of how I develop professionaly. As a theater maker, I remain deeply committed and connected to the foundation of my medium, ever seeking ways to grow & practice vocally, physically and imaginatively.