Theatre roots and select images from theatrical performances
My acting career began in theatre, where I developed strong roots in performance and a deep understanding of the intricacies of community-based storytelling. I trained and worked on stage with Carroll College, Helena Area Theatre, Grandstreet Theatre, the Last Chance Play Fringe Festival, and most recently The Verge Theatre as part of the New Works Play Festival (2025).
I was cast by playwright Kate R. Morris in her original work Replaceable as the lead character, Miriam, a scientist in a futuristic drama. Kate is a recipient of the SAIC Writing Fellowship Award and has taught playwriting at both the School of the Art Institute of Chicago and the University of Montana. The cast worked in close collaboration with Kate for development of character and tone.
I was also part of a small team of artists working under the vision of theatre manager Jerry Morrison to open IT Productions. Our mission was to bring intimate, small-stage productions to life that explored complex human relationships and works largely unseen in our local community. During its operation, IT Productions produced Columbinus, Angels in America, The Underpants, Eleemosynary, The History of the Devil, Soccer Moms, Dinner Party, Accomplice, and Extremities, among others.
Our theatre troupe staged the first local performance of The Vagina Monologues, helping to open community-wide conversations around female body image, autonomy, and voice.
IT Productions operated as a black box theatre for nearly eight years and served as a primary training ground for my character work and craft development. Productions were staged in theatre-in-the-round, proscenium, thrust, and traverse alley configurations. For The Blue Room, all seating was removed, and the audience moved through illuminated pools of light as each scene unfolded, physically traveling with the actors through the story.
Selected photos below capture visual moments of process, collaboration, and physical storytelling that shaped my work as an actor. These moments reflect the discipline, presence, and ensemble awareness that continue to inform my work on stage and on screen.
The performances represented span dramatic, comedic, classical, and musical productions.
I was cast by playwright Kate R. Morris in her original work Replaceable as the lead character, Miriam, a scientist in a futuristic drama. Kate is a recipient of the SAIC Writing Fellowship Award and has taught playwriting at both the School of the Art Institute of Chicago and the University of Montana. The cast worked in close collaboration with Kate for development of character and tone.
I was also part of a small team of artists working under the vision of theatre manager Jerry Morrison to open IT Productions. Our mission was to bring intimate, small-stage productions to life that explored complex human relationships and works largely unseen in our local community. During its operation, IT Productions produced Columbinus, Angels in America, The Underpants, Eleemosynary, The History of the Devil, Soccer Moms, Dinner Party, Accomplice, and Extremities, among others.
Our theatre troupe staged the first local performance of The Vagina Monologues, helping to open community-wide conversations around female body image, autonomy, and voice.
IT Productions operated as a black box theatre for nearly eight years and served as a primary training ground for my character work and craft development. Productions were staged in theatre-in-the-round, proscenium, thrust, and traverse alley configurations. For The Blue Room, all seating was removed, and the audience moved through illuminated pools of light as each scene unfolded, physically traveling with the actors through the story.
Selected photos below capture visual moments of process, collaboration, and physical storytelling that shaped my work as an actor. These moments reflect the discipline, presence, and ensemble awareness that continue to inform my work on stage and on screen.
The performances represented span dramatic, comedic, classical, and musical productions.
Latest Theatrical Performance
My most recent theatrical appearance was in Frankenstein, produced by Interwoven Productions Studio and directed by Bryan Ferriter. The adaptation was developed for the stage by Bryan Ferriter in collaboration with screenwriter Ryan Pfeiffer. The production was performed in late 2025 at the Helena Avenue Theatre, a venue dedicated to spotlighting female talent and nurturing new playwrights and screenwriters.
I was cast as Captain Walton, a role traditionally played by a male actor. In conversation with the director, I proposed a gender reimagining of the character, which he supported. The choice was made to expand the thematic frame of destructive ambition beyond a solely male trait, positioning it instead as a human one. This shift reframed Walton’s letters to her sister, Margaret, as correspondence between two women navigating isolation within societal norms and historical limitations.
The presence of Captain Walton as a female leader suggested the quiet breaking of barriers during the period—leadership that existed but was rarely acknowledged or made visible within traditional narratives.
In performance, I approached the role through an empathic, relational lens, and as a witness to the emotional devastation left in the wake of Victor Frankenstein’s pursuit of knowledge. The portrayal emphasized responsibility alongside authority, grounding Walton’s intellectual curiosity in human connection rather than conquest. This approach shaped a leadership presence that was measured, observant, and thoughtful as the character journeyed in the story.
I was cast as Captain Walton, a role traditionally played by a male actor. In conversation with the director, I proposed a gender reimagining of the character, which he supported. The choice was made to expand the thematic frame of destructive ambition beyond a solely male trait, positioning it instead as a human one. This shift reframed Walton’s letters to her sister, Margaret, as correspondence between two women navigating isolation within societal norms and historical limitations.
The presence of Captain Walton as a female leader suggested the quiet breaking of barriers during the period—leadership that existed but was rarely acknowledged or made visible within traditional narratives.
In performance, I approached the role through an empathic, relational lens, and as a witness to the emotional devastation left in the wake of Victor Frankenstein’s pursuit of knowledge. The portrayal emphasized responsibility alongside authority, grounding Walton’s intellectual curiosity in human connection rather than conquest. This approach shaped a leadership presence that was measured, observant, and thoughtful as the character journeyed in the story.
