To start, here is a bit about me. I do my best work wandering Edmonton’s river valley. My wildest ideas come to me while listening to music or during late-night drives with friends. At home, brewing coffee is more than just a routine—it's a pursuit of the perfect blend, fueled by perhaps a touch too much caffeine.

My passion for play, imagination, and connection was nurtured by some of New Brunswick's finest educators. For ten formative years, I trained as a performer at the Theatre New Brunswick Theatre School, where East Coast professionals provided invaluable mentorship. During my undergraduate studies, I sought out unique opportunities for training that weren’t formally available, forging new partnerships and charting unconventional paths. These experiences planted the seeds of my vocation, teaching me to challenge complacency and embrace innovation. They also instilled in me a deep entrepreneurial spirit, resourcefulness, and a refined sense of diplomacy.

In 2019, I pioneered an interdisciplinary degree in Artistic Direction at St. Thomas University—a milestone made possible by the unwavering support of New Brunswick’s arts community and STU’s administration. This achievement afforded the rare gift to travel west and embark on three intense years of training in Edmonton, AB, where I earned a Master’s in Directing at the University of Alberta. This experience — submerged in their vibrant theatre community, exposure to the professional realm, conservatory-style training, 1970’s performance art and auteur-directors — profoundly reshaped my vision for theatre-making.

My career so far has been dedicated to making sense of these varied and often conflicting influences. Through practice, I have learned that inclusive collaboration and a strong directorial vision are not mutually exclusive; they can coexist and even complement each other. Through impassioned and empathic processes we can build spaces where everyone feels empowered, valued, and supported, and where the collective drive inspires us to uncover and express emotional truths.

Grad school allowed me to explore a text-centric approach. Rather than pursuing avant-garde theatre merely for novelty's sake my work is; instead, about presenting fresh perspectives on texts while honouring the writer’s original intentions and core values. The goal is not to impose unwarranted meanings or indulge in fanciful imagery but to prioritize meticulous analysis that serves the text and, ultimately, the audience. Questions like “Why does the character say this?” or, in a musical, “Why is this crescendo here?” guide my process, highlighting the importance of understanding the internal logic behind any given moment. This way of working requires careful interpretation and attention. After all, there is no singular truth to a text — only the truths we discover for ourselves.

Naturally, I have my preferences. I am captivated by complex questions, often political in nature, and the profound inquiries they provoke. I find inspiration in the musical interplay of words and movement, and I am drawn to stories that challenge convention, embrace non-linear timelines, and transcend reality. The process of transforming spaces to create dynamic visuals with seamless transitions, revealing delicate moments of tenderness within expansive journeys, excites me. Most importantly, rehearsal environments that foster generosity, courage, and playful exploration are where I thrive.

This path of reconciliation has taught me the real social significance of theatre. While art and society operate with distinct dynamics, goals, and resources, they are fundamentally intertwined. If politics builds a society through dialogue and the acceptance of diverse ideas, then art engages in a parallel process on a more poetic level. Art is vital to society because it allows us to confront and explore our deepest fears, frustrations, and desires within the safe confines of community spaces.

”Art enables us to find ourselves and lose ourselves at the same time."

- Thomas Merton

I think of our theatres as mirror mazes: we step inside and are immediately confronted with countless reflections of ourselves, each one slightly different. As we navigate through, we are forced to confront aspects of our identity and psyche from various angles, some distorted, some more honest than others. This journey through the maze has helped me understand, control, and embrace facets of my being and reach toward the very depths of my humanity. Just as navigating a mirror maze sharpens our self-awareness, art is essential for the health of society. It purifies and revitalizes our collective consciousness.

On stage, we witness Orpheus's haunting quest to reclaim lost love, Hamlet’s paralyzing indecision, and Antigone’s unwavering defiance in the face of social expectations and moral dilemmas. These characters, and their stories, provide a stage for us to confront scenarios that resonate deeply within our everyday fears and aspirations. This, I believe, is the essence of art: a sanctuary for self-exploration and societal reflection to reveal the richest dimensions of our humanity.

In 2023, I began teaching in Grant MacEwan University’s new BFA program in Musical Theatre Performance where my process is rooted in collaborative leadership. Educating to me, is about empowering student voices, offering craft and support to fuel their passion. I mistrust hierarchical models of expertise, viewing students as experts in their own truths. Instead, I embrace the challenge of navigating diverse perspectives and finding inspiration in the collective. Together, we forge authentic expressions and shared visions.

It is a privilege, as an artist and human being, to live and work in Canada, alongside the banks of the kisiskâciwanisîpiy on Treaty Six Territory. This land was originally occupied by many First Nations, who signed a treaty with the British Crown at Fort Carlton on August 23, 1876. This land is not and was never ours as settlers—the treaty promised health care, education, hunting rights and freedom in exchange for sharing the land to the depth of a plough. According to this agreement, the mining of minerals and other resources (below the depth of a plow) belongs to First Nations and not to government or private industries.  Despite this, the Canadian government passed the Indian Act, which forced Indigenous people onto reserves and implemented the residential school system. In this era marked by institutional distrust, I uphold the cultural institution's role as a community resource. Upon entering any institution, my questions revolve around its purpose and potential beneficiaries. I strive to envision excellence in serving every community. I pledge to learn and continuously adapt to provide better support as a stone on the path to reconciliation.