JERSEY BOYS
THE STORY OF FRANKIE VALLI & THE FOUR SEASONS
Book by Marshall Brickman and Rick Elice
Music by Bob Gaudio, Lyrics by Bob Crewe
Directed by T.J. Dawson, Musical Direction by Allen Everman, Choreography by Dana Solimando
McCoy Rigby Entertainment and 3-D Theatricals
La Mirada Theatre, Los Angeles CA
April 19th - May 12th, 2024
The fascinating story of Frankie Valli & The Four Seasons, complete with their timeless discography... and my first pro theatre gig since graduating USC. Every performance was a full workout, as I navigated portraying over 15 various characters throughout, one being the intimidating loan shark Norman Waxman, mingled with the challenge of simultaneously understudying the role of Nick Massi in addition to it all.
This show truly couldn't have been brought to life without the incredible creative team and ensemble involved, and made for an unforgettable first regional theatre experience since training. Check out one of our reviews below. Salud'!
I Think We Threw Away Grandma
A Short Film Written & Directed by Bianca Meske
Produced by Jonny Blando, DP Amanda Chen
Working on I Think We Threw Away Grandma was an absolute field day, made even better by working with a ensemble cast made up of close friends I love and respect dearly, and a crew of true artists and brilliant minds.
In this wildly hilarious short, a group of cousins scrambles to figure out what to do after they accidentally dispose of their late grandmother's ashes... while they also grapple with the finality of death.
Check out some clips in the gallery above!
URINETOWN
THE MUSICAL
By Mark Hollmann & Greg Kotis
Directed by Scott Faris, Musically Directed by David O,
Choreography by Dana Solimando
USC School of Dramatic Arts, Bing Theatre
March 30th - April 5th, 2023
My final work with the USC School of Dramatic Arts, this hilarious and thought-provoking satirical musical provided me an opportunity to truly return to my roots... very much a full circle moment here at the end of my time at USC. My very first experiences in acting were in musicals, so it was such a joy to work on Urinetown and finally get a chance to apply my acquired skills from school onto this piece.
The maniacal yet lovable Officer Lockstock presented many vocal as well as dance challenges, but was such a thrill to perform every night. The rehearsal process was two months long, resulting in a tightly knit cast. The entire team was fully on board, excited to do what they were doing every single day. Truly a memorable experience creating longtime bonds with fellow cast members and crew!
Die Schweigsame Frau
Opera Scenes
Composed by Richard Strauss
Directed by Rose Freeman, Conducted by Brent McMunn
USC Vocal Arts Program
February 3rd, 2023
USC Thornton School of Music, Newman Hall
A part of the USC Thornton School of Music's Annual Opera Scenes program, I had the opportunity to sing Farfallo in a scene from Richard Strauss' Die Schweigsame Frau (The Silent Woman).
The Opera Scenes program stretched the boundaries of my musical capabilities more than ever before. Working through Richard Strauss' complicated, layered score proved to be the most complex musical challenge in vocal arts I have yet to face.
In the recital hall space with minimal set and wardrobe, the commedia dell'arte style of the characters was the most exciting part to dig into. Die Schweigsame Frau proves to be a beast of an opera for ensemble work, and was so much fun to work on in that regard. I was also lucky enough to continue learning from my peers in vocal arts, people I admire greatly.
FLIGHT
Opera in Three Acts
Composed by Jonathan Dove, Libretto by April De Angelis
Directed by Ken Cazan, Conducted by Brent McMunn
USC Vocal Arts Program & USC Symphony Orchestra
November 16th - 20th, 2022
USC Thornton School of Music, Bing Theatre
Performing in my first opera ever, being a part of Flight at the USC Thornton School of Music provided me an opportunity to revive my love for music and vocal arts that I'll never forget.
To prepare, I was able to make a return to my roots of classical vocal training and studied closely with Maestro Brent McMunn, Professor Mark Robson, and other incredible faculty members at the music school who helped me navigate Dove's tricky 11/8 time signatures... along with getting to know a talented and truly kind group of singers.
In this three-act opera, I had the chance to tap into my dark side as the feared Immigration Officer... who makes us all wonder whether we're truly that different than he is in some ways.
MOMENTS in time: With and without words
Three Short Plays by Samuel Beckett, José Rivera, and Murphy Guyer
Directed by Mary Joan Negro
October 21st - November 6th, 2022
The Odyssey Theatre
Working on Moments in Time provided me a special chance to work with a close mentor and teacher of mine, Mary Joan Negro, for the first time apart from USC.
Along with fellow castmates, I had the opportunity to fuse together my knowledge and love for various art forms such as dance and music to create carefully choreographed transition sequences the idea being to transport the audience seamlessly across the threshold of each play's world.
I also had the honor of working alongside my mentor, former director, and friend Jay Lee as assistant fight director to his choreographed fight sequences.
Troilus and cressida
by William Shakespeare
Directed by Mike Limone
July 1st - July 24th, 2022
The Carriage House Players
Set in the beautiful, scenic courtyard of the Vanderbilt summer estate in Centerport, Long Island NY, I performed Troilus and Cressida outdoors with the Carriage House Players in the summer of 2022, surrounded by the beautiful sound of chirping birds... and the occasional plane or two. A vocal challenge no doubt!
The work that was involved was some of the most intense work I've ever had to do - together as an ensemble we assembled a two-and-a-half hour play over the course of only a four-week long rehearsal process. This one was a true challenge, giving me the opportunity as Troilus to tackle a person's tragic descent into madness and hatred throughout the course of the play.
Shakespeare's Troilus and Cressida is a true epic. Set during the heat of the Trojan War, the fifth act includes a lengthy stretch of mid-war battle scenes for which we trained for weeks with heavy steel Greek xiphos swords to put together the vicious-looking fight sequences.
THE SEAGULL
by Anton Chekhov
Directed by Jay Lee
November 4th - November 7th, 2021
USC School of Dramatic Arts
The process of working on The Seagull was unlike any theatrical experience I had ever encountered up to that point. It also marked a major turning point in my life since it forced me to redefine my own idea and notion of what theatre and storytelling can be.
Though it was part of USC's mainstage season, our production of The Seagull was a workshop production, meaning that we would be tasked to work together as an ensemble to build a space and assemble our own wardrobe and props. This inspired in us a sense of closeness that is so incredibly difficult to achieve in an ensemble.
We even assembled our own arrangements of Russian classical and folk music to further establish the world we were operating in. I was lucky to get to bust out the trombone and work on the musical atmosphere with my ensemble members.
Under the direction and leadership of Jay Lee, a brilliant, passionate, and meticulous artist, as well as under the guidance of Stephanie Shroyer, a mentor, teacher, and director we both share who has an astoundingly acute kinesthetic intelligence, we created 1890s Russia in a gymnasium. The Seagull will forever be a landmark in my artistic development.
The Comedy of Errors
by William Shakespeare
Directed by Edgar Landa
April 9th & 10th, 2021
USC School of Dramatic Arts
The Comedy of Errors, my first production at the USC School of Dramatic Arts, was difficult for many reasons. Our first time performing since starting training at USC, the difficulty of a Shakespeare text, and most definitely the fact that the play took place online (due to COVID) were all factors.
So we had to get a little creative.
We were all lucky to meet and work with the fantastic Edgar Landa, who continues to be a mentor of mine for fight directing, and who pivoted the direction of the play into 1920s keystone-cop, Buster Keaton-esque style. Under his guidance, we were able to maintain the love and spirit of theatre despite our online format. We created fantastic moments of physical comedy. A live puppet show. I was tasked with musical underscoring, tapping into my Ragtime piano background, and I created animated video transitions in 1920s animation style. We took full advantage of the medium we were in, which was an immensely important learning experience.