Welcome to my portfolio website. Here you will find information on my current projects; resumes for acting, directing, and fight choregraphy; details about coaching; and headshots and show photos. I can be reached by email at email@example.com.
Most recently, I appeared as the Jailor and the Old Shepherd in The Winter’s Tale, produced by UpstART/No Holds Bard in Ouray, CO.
I appeared in the title role of It’s A Fiasco’s staging of Macbeth in Cambridge, MA in June 2016. Previous roles with the company include Antiochus and Old Pericles in Pericles, Theseus in A Midsummer Night’s Dream, and Don Pedro in Much Ado About Nothing.
Other recent performances include the role of Jacky Nickels in Boston Crime Scenes by Peter Charles Holm, staged at The Rockwell in Davis Square, Somerville MA; Uriah Heap in the 10-minute play Protocol by Brenda Foley as part of Boston Theater Marathon XIX, produced by Boston Playwrights’ Theatre; Heracles in J.A.S.O.N. by Pete Riesenberg (directed by Hatem Adell) at the Cantab Lounge in Cambridge, MA; and Bobbie Torbett in the staged reading of Scenes from the Big Picture by Owen McCafferty, produced by Solas Nua in Boston.
I directed the Praxis Stage production of Shakespeare’s Julius Caesar in Danehy Park, Cambridge MA in August 2017.
I directed the Clark University Players Society production of Argonautika by Mary Zimmerman, in Dec. 2016.
I directed a staged reading of Thomas Middleton’s The Revenger’s Tragedy as a joint fundraiser project of It’s a Fiasco and Theatre @ First in March, 2016.
I directed the ten-minute play Welcome to the Beekman Arms by Marisa Smith (sponsored by It’s A Fiasco) for the 2015 Boston Theater Marathon.
I directed the Clark University Players Society production of The Man Who Came To Dinner by Moss Hart and George S. Kaufman, performed in April 2014.
I am currently a faculty member at College of the Holy Cross in Worcester, MA, teaching Stage Combat. I have choreographed fights for their productions of Hamlet, directed by Edward Isser; The Royal Family, directed by Steve Vineberg; The Curious Incident of the Dog in the Night-time, directed by Scott Malia; and Little Women, directed by Meaghan Dieter.
I choreographed fights for the New England College/Open Door Theatre production of Hamlet, directed by Glenn Stuart, in July 2016.
I continue to work as a Guest Artist for the Harvard Office of the Arts, teaching classes in unarmed stage combat and basic rapier combat. I have also choreographed fights for Harvard student productions of Little Women, The Pirates of Penzance, Lord of the Flies, and Acis and Galatea.
I also choreographed a fight for the Vine book trailers for The Rebel Pirate, the next book in Donna Thorland’s “Renegades of the Revolution” series. (See the trailer for the first book The Turncoat).
I am currently a member of the Theatre Faculty at the College of the Holy Cross in Worcester, MA where I teach Stage Combat and Basic Acting. I am also an adjunct professor at Worcester State University in the Visual and Performing Arts Department. Previously, I have been an Assistant Professor in the Theatre Division at Boston Conservatory at Berklee.
In October 2018, I was a presenter for the Shakespearean Studies Seminar at the Mahindra Humanities Center at Harvard University. My paper was titled “‘To See Thee Fight, To See Thee Foign:’ Early Modern English Theatre and Dueling Culture.”
I was a panel member for a colloquy on “Theory and Original Practices” at the Eighth Blackfriars Conference at the American Shakespeare Center in October, 2015.
I was chosen as a presenter for the inaugural symposium of the New Researchers Network of the Society for Theatre Research in London (UK) in May 2014. My paper was titled “‘My Assurance Bids Me Search’: Towards a New Understanding of ‘Original Practices'”.
I was chosen to present at the the Seventh Blackfriars Conference at the American Shakespeare Center in Staunton, Virginia in October 2013. I led a staging session to illustrate critical variants in the Quarto and First Folio texts of Richard III with particular emphasis on the “Lady Anne” scene.